#9_2

[anime-lover999]

So sad 🥺😭 あたしの幸せな結婚 9_2

[kidge-planet]

Kidge headcanon! Pt 16:

For kidge's wedding, Lance and Shiro had an Idea:

They had a tones of videos of Pidge and Keith just holding hand or being a cute couple ( like, video that were filmed when they didn't know)

They made a lil video with these and used the song "golden hour" in the background. The videos were kinda illustrating the lyrics of the song.

It was very cute, Keith cried. ( Pidge probably did too................)

( I once did a post about the speech that Matt and Lance did at the wedding but I'll do it again and I'll add Shiro, Hunk, Colleen and Sam and mama krolia because €:+€€-#(:€(€€:_(€;"(€:@)€!€+2(€+9_2);"_(3-_8(-_83+3_-_884.... Probably Coran too.)

[jewy-gum]

🌐 Week Nine: Gaming Communities, Social Gaming, and Live Streaming 🎮💬

Welcome to Week Nine! Gaming has transformed from a solitary pursuit into a vibrant, social experience. With platforms like Twitch, YouTube, and Facebook Gaming, live streaming has created a real-time connection between players and audiences, turning gaming into an immersive global phenomenon. Today, let’s explore how gaming communities thrive and how Vietnam’s gaming scene is making waves internationally!

🎬 The Rise of Live Streaming in Gaming

Live streaming has revolutionized gaming culture, making it accessible to a global audience. Twitch alone has over 2 million active streamers each month (Taylor 2018), and streamers like Ninja and Pokimane attract millions of viewers. Taylor (2018) describes how Twitch’s real-time chat fosters interaction between viewers and streamers, creating a community feel that makes live streaming feel like a shared virtual stadium experience.

In Vietnam, live streaming is taking off through platforms like Youtube, Facebook Gaming and Nimo TV, where Vietnamese streamers such as Độ Mixi (Youtube: Mixi Gaming)  have built large fanbases. This growing trend highlights the communal nature of gaming in Vietnam, helping shape a new generation of gamers passionate about building a supportive community.

👾 Gaming Communities: From Social Play to Indie Innovation

Gaming has always had a social side, but multiplayer and online games have expanded these connections. Games like Minecraft and Fortnite allow players worldwide to collaborate and compete, forming friendships across digital spaces. Hjorth et al. (2021) call this ambient play, where gaming naturally integrates into daily life, blending digital and physical realms. Gaming communities - especially around popular games like League of Legends or Dota 2 - allow players to bond, sharing strategies and experiences on platforms like Discord and Reddit.

Vietnam’s indie game industry is also on the rise, showcasing creativity and innovation. Titles like Tai Ương (The Scourg) from Beaztek Studio are gaining international recognition, offering a unique cultural perspective. As Keogh (2021) notes, indie game communities foster creativity and provide support for local developers, which is evident in Vietnam’s indie scene as it contributes fresh ideas and cultural narratives to the global market.

📲 Vietnam’s Place in the Competitive Gaming World

Vietnam’s gaming industry has grown rapidly, with the government actively supporting local game studios and tech innovation. Vietnamese esports teams, such as Team Flash, Saigon Phantom, Team Secret, etc... have gained international acclaim, competing in tournaments worldwide and bringing home titles in games like Arena of Valor. This competitive spirit positions Vietnam as a rising force in esports, with teams and players representing the country on the global stage.

With government support and a dedicated player base, Vietnam’s gaming sector is expanding and taking its place among gaming giants like South Korea and China. By focusing on both community building and competitive excellence, Vietnam is creating a dynamic and inclusive gaming culture that continues to grow.

📲 The Future of Gaming: Interactive and Inclusive

Looking ahead, live streaming and gaming communities will continue evolving. With technologies like VR and AR on the horizon, gaming will offer increasingly immersive experiences that further blur the lines between spectators and participants. Streaming platforms are also exploring interactive features, allowing audiences to influence the game in real time and participate directly in the action.

As gaming becomes even more social and accessible, communities - both local and global - will continue to flourish, connecting people across cultures and creating spaces where everyone feels welcome.

References

Hjorth, L, Richardson, I & Davies, H 2021, Exploring Play, Palgrave Macmillan, DOI: 10.1007/978-3-030-59908-9_2.

Keogh, B 2021, The Melbourne Indie Game Scene, in P Ruffino (ed.), Independent Videogames: Cultures, Networks, Techniques, Taylor & Francis, pp. 210-214.

Taylor, TL 2018, Broadcasting Ourselves: Watch Me Play and the Rise of Game Live Streaming, Princeton University Press, DOI: 10.1515/9781400889796.

[cliffwjenkins]

MO DAILY RECAP - DAY 9_2 from cliffjenkins on Vimeo.

[mda20009blogassignment]

Week 9: Gaming Communities, Social Gaming and Live Streaming

Because of the internet, gaming is no longer played alone but rather as part of a thriving global tapestry of communities, social gaming, and live streaming. The emergence of live streaming services, indie game developers, and social media have all contributed to this change, resulting in a vibrant ecosystem where players interact in many ways, both with the games themselves and with one another.

The value regimes that influence this dynamic industry are brought to light in Keogh's work, which shows how independent creators deal with the challenges of making games that appeal to both domestic and international audiences (Keogh, 2023).

Game live broadcasting, especially on sites like Twitch, is explored in "Broadcasting Ourselves" by T.L. Taylor from her 2018 book. Taylor delves at the ways in which streaming has transformed into a different kind of entertainment, one that promotes communities and interactions among viewers, streamers, and players. This chapter highlights how live streaming has become an integral aspect of gaming culture as a whole, turning viewers from onlookers into active participants (Taylor, 2018).

In their investigation of Minecraft gameplay, the game as a representation of larger social gaming trends. As a reflection of the trend towards games as mediums for social interaction and expression, their work sheds light on how Minecraft has evolved into a place for learning, creativity, and community development (Hjorth et al., 2020).

The idea of "Platformisation in game development" to shed light on the ways digital platforms are changing the distribution and development of games. In the future, as this analysis shows, platform ecosystems will affect the social dynamics of gaming communities in addition to the technological and economic parts of game development (Chia et al., 2020).

Taken as a whole, these materials demonstrate how the gaming world is dynamic, ever-changing, and characterised by strong social interactions. The lines between gamers, content makers, and viewers are blurring as live streaming becomes more popular, leading to a more participatory culture that values teamwork, creativity, and shared experiences. In this digital mosaic of gaming culture, we see how games have become a powerful tool for 21st-century community development and social engagement.

References

Chia, A., Keogh, B., Leorke, D., & Nicoll, B. (2020). Platformisation in game development. Internet Policy Review, 9(4). https://policyreview.info/articles/analysis/platformisation-game-development

Hjorth, L., Richardson, I., Davies, H., & Balmford, W. (2020). Exploring Play. Exploring Minecraft, 27–47. https://doi.org/10.1007/978-3-030-59908-9_2

Keogh, B. (2023, April 19). Independent Videogames : Cultures, Networks, Techniques and Politics. Taylor & Francis Group; Taylor & Francis Group. file:///Users/hanhtrang/Downloads/Keogh%202021%20MDA20009%20Melbourne%20Indie%20game%20scene.pdf

Taylor, T. L. (2018). Watch Me Play: Twitch and the Rise of Game Live Streaming. In JSTOR. Princeton University Press. https://www.jstor.org/stable/j.ctvc77jqw?turn_away=true

[v1821anna]

Gaming Communities: Uniting Players, Sharing Experiences, and Building Connections! 🎮🌐✨

Hei kaikki Tumblrissa! 👋 Are you ready to dive into the fascinating world of gaming communities? 🌍🎮✨ In this Tumblr post, I'll explore the power of gaming communities, the rise of social gaming, and the exhilarating world of live streaming. Get ready for an exciting journey! 🚀💥

1️⃣ Gaming Communities: More Than Just Online Connections

Gaming communities go beyond pixels on a screen; they are vibrant, diverse ecosystems where players come together, forge friendships, and create lasting memories. 🤝🌟 Whether it's a guild in your favorite MMORPG or a Discord server dedicated to your preferred game, gaming communities provide a sense of belonging and shared experiences. 🏰⚔️

As Hjorth et al. (2021) emphasize, these communities transcend geographical boundaries, allowing players from all walks of life to connect and collaborate. They foster a space for mutual support, knowledge sharing, and collaboration, amplifying the joy and excitement of gaming.

2️⃣ Social Gaming: Play Together, Stay Together! 👥🎮💞

The emergence of social gaming has revolutionized the way we interact with games and each other. 🌟🎮✨ From cooperative gameplay to massive multiplayer online worlds, social gaming encourages players to team up, strategize, and embark on epic adventures together. 🌟⚔️🚀

In their study on platformization in game development, Chia and Keogh (2020) highlight how social gaming blurs the line between virtual and real-life interactions. Through multiplayer experiences, players develop social skills, teamwork, and even forge lifelong friendships. It's incredible to witness how virtual worlds can bring people together like never before! 🌐💙

3️⃣ Live Streaming: Where Gaming Meets Entertainment 🎥🔴🎮

Live streaming platforms like Twitch have taken the gaming world by storm, transforming it into a thriving form of entertainment. 🌟🎬🎮✨ Gamers from all corners of the globe can now share their gameplay, engage with viewers, and build dedicated communities around their passion. It's a whole new level of experiencing games! 🌟🌍📺

In the book "Watch Me Play," Taylor (2018) explores the rise of game live streaming and its impact. Viewers can tune in to watch their favorite streamers showcase their skills, provide commentary, and even participate in interactive chats. It's an immersive and interactive experience that blurs the boundaries between player and spectator. 🎭📱💬

4️⃣ Embracing the #GamingCommunity 🌟🌐👥

Join the conversation and embrace the power of gaming communities! Share your gaming experiences, connect with fellow players, and discover new perspectives. Together, we can create a supportive and inclusive gaming culture that celebrates our shared love for games. 🎮❤️🌍 References Chia, A., Keogh, B., Leorke, D., & Nicoll, B. (2020). Platformisation in game development. Internet Policy Review, 9(4). https://doi.org/10.14763/2020.4.1515

Hjorth, L., Richardson, I., Davies, H., & Balmford, W. (2020). Exploring Play. Exploring Minecraft, 27–47. https://doi.org/10.1007/978-3-030-59908-9_2

Taylor, T. L. (2018). Watch Me Play Twitch and the Rise of Game Live Streaming. Princeton University Press.

[yeayiec4life]

Hypothalamus synopsis

,^/6_2,@4,^@1&%/6,@7^@9×/7/4,@3_1,@6/4,@3%×127,^@7_2,%@3×/7^@6×/7_8^@3×@1_1,@127,%/2_1,%@6_1,%@6^721,%@8/1,%@(3^8/1,%@7_1×8,%@(3,^@6^versus@9,%/3×&^/2,^,%/6,%@7×/1_/2%×1,%@3_9,^%&^,%/6_7^1.

By Aaron Bynum

Spine vertebrae synopsis

3%×7,@9%/6/8,^/1,^@6/1,@&^versus 8^29,_3/7,@(3_9,^@7_3^4,%@()7_1,%@()6/2&@()4/1,^/7/4,_4&^8,×9%×38/1,^@9%/7,@&^_67_1,^@8/1,%@67_1,^@()),@2&41,%@())/2,^7&%×3^2&,%/1_7&8,@6_1^8&%/37%/1,^@3/1,%@628,%@3_1.

Feet anatomy synopsis

Hemodailysis synopsis

721,^/9,^@8%×3/6,@&^@6_2×741,@6^@127,@3^1,@6/7^@7_428,@1_8,^26&7,%@8^/1&,@741&,@9^7/4&,%43_6&:7,%@324&,%@6^27,@:4,@2&,%@627,^@6×8^4/2,%&^@3_7,@&^/2_1,%/6^/1,@724&,^@4_1,@8_1,@6&8,42/1,%/8,27^1&@8/9,^@2&%,%×7^1&,%/3^@249%/8,@4&_68^9,%@4&,_2/1,^@6_8/4&,%/2/4,%@67,^8/1,^26/4&,@3^1,%@6&7,%@1_724&,×/2^941,%@2&1_6-7/4&,%@624&%,7_1,^@2&×/3^@6/2^8&9/1,%@1×&^@3-4,%/6&7,^27,%/1&726,%@4&,^/6_1.

By Aaron Bynum

Hindfoot synopsis

786,%×4/9,%@7^/_5,×/627^@8/9,%@7^2/7,@1^5×/8^928_1,%@3^/7_3/2,%/6&848&9×/2^8/5^2&@846/2,%/7^1,%@6^942&%@3/2,@1&%47^@3/7,^6&3,^@1^9,@627,%@9%@3/9,%×6&8,%@4^9,%@321,/(6^@9/1,%@4^9,%27_4&%@(3^6&8_3/4&^@8×/1,%@6-1^8×/3,%/4^@8_9,@4&,%×727,@1%/6&842&_/3&4^62749.

Arthroplasty synopsis

Forefoot synopsis

7/2,%@(345&,%@6_7/4,^26_8,%@2/1&,%@84_9/4,@726_8&%/1,^@628/1&,@349,%@6%42&,^@6_1,%@4&×/3,^1&,^@321,^&^@6/8,^@1/4&,@8_1,^27,%/1&,@7_942&7-329,%@4&,^/3%@1_5.

Pore synopsis

3%47^@6^@3/2,@4/9,%&^@4/6,%@3/8,^/8%&^@1^6_3%×7,@627,^&^@8_126^1&3,%@7,^21&%@621,%@3×/7%×8&×/7&,@6_1,^26&8,@3^1,%@6^7,@3^1,%@429,^@6&8,%@2_4,^@2×/1,%@6/1,%@3+@427×@389,%%×4&,%/326/1;%&^@7_426&,%/1^7&%/4,@6%/8,@6%×1,%@4_/2_425,@6728/1.

Sebaceous glands synopsis

423,@746,%/(3^@728&,@78489,@()726,%@(3×@7^%×627,@9/1,%@3^1,%/6,^46^8&,^/726,%@4&,@8^@4,%/7×&^@2,%/7,^@9^528,%&^@327,%@147&,@647,@8/1,%@3&,%@2/4,%@3%/2,^/747,^/8^21,^@6741/7,^@3&7.

Keratinocyte synopsis

7,^/6^%27,^@3×/8&,%×3/2,^@1&,%×627,^@1_1,×/6&7/4&%×8×/1,%@6_748&9%/(2/7,^@1,%×(3×/7&,@4%×9,@2^1,@627,%×(37,^27,%/4&,@(2/1,%@4_5,@7^8/1,2841,%@(2/6,%×(9&(3/2,%@&^%/3,×/8&7,@1^8,%@2/4,^@321,^@3/6&8^1.

Blood vessel synopsis

Epidermis synopsis

,@(797,%@(429,%@7^/9,%4829,2%@(6,@(2/4,@(824,%@924&^@8,%×349,%@8/4,^/627,^@9×/4,%×8&9,%@7^/3_1,%@2/4,^@5,_2/1,^/7/2,@4&:,×/1^6&8,%&^@715,%@(3,^_148&,%@3^@8/1,%@745,%@2_1,^@647,%/21^@627,_@137921,^@37,%247,^%/(37,@2&,/4^/6&8/1,^@3721,%/826,%@(3/4,%@6×/7^6,21%×7&6,23/1,@6%×8^/7,@9%/1^6/1,^@(6,%/4^1&,%/7_4&,%@2/1,%@7^@628/1,%@6&:741,%@3×/1&8,%@4_9/4,@627,@1_746,%/4&,%@7^%/627,^@3/1,%@4&×/6&@:,_127,%@621,%@4&×/8/4,^@747,%@(())42@1.

By Aaron Bynum

Thenar synopsis

(8/4,%@749,^/6/4,%×8/7_4,%@3/42,%×1,%/3%×6:7,%/4&8,^@2/1,%%×3&628_1,%@2_4,%/6&,@7^1,%/32541,^%×3/2,^@647&%@3^%/2,7,%@641&,%/3,^/7,@6&521,^@8,_9/2,^@3&6/4,%23&,%/6/4,@7^1,%/3&6,^@4_1,%@6&@:(2%/3&8,2741,%/(1^6&,%/3/4,%/2&,^@4,_127&8.

Interdigital synopsis

Halucal synopsis

Mitochondria synopsis

(9,^%/3_6&@7^_748,%/3%/724&,^@3_1,@4_/7&:@647,%×1_@3,%×2/1,@4^@6-2^1,%@827,%/1^7&@8_1,%/3^%/2&,%@1/427&%@:649,%×(3&8,%×7,^@627&,@:^1^7/3^/6&84123%×9/1,^@6&7,^@3,×/4&,%/6&,@:(2^9,%/621,^@347&@:_4@1_(27/4,%×(36,^_7/4,@6&,:_72648×/1&,@(37^6%×4&,_3×/4&^@627,%@1^/7_4&@329,@6/1.

Calcar synopsis synopsis

724,%×38/9,@×&_3,@(7×/4_^6&:^746/1,@7/1,@9%/6&8,@3&8,%&^/72_1,^@627^_4&,%/2^1,@7&-@624&%/8&,@1^7,@8^1,%@8×/4^@6-7,%/2_1,^@3/4,@2&,%/6&,:%@1^847,26&,%/4,%21_6_1,^@3,%/4&@7/5,%@(3,×47:,%/821,^@7/1,^@4&_8,^2647,%/321,@7^@849,%@7_647,_8&,^/7^_648&×/(325,^27/8,%@(3×/7&@641,%@8,^27&%@6^2947,@6,^841,%@(3,^%/7_648,%@3^21,%@7/4,%@2_5,^@2%/3,_146@8/1,%/3&4,%/7:8,%/4,@6-148,^9%/7&@6,%23/4,^@6&%/4^@3×/2_1,%/6&,47/1,^/6&8,%/4_1,%/789%/6/4,^@2/4,%/6&8,@&^/2_5,^@641,%/7^26&8×/3_4&@9%/6&,@:_7,^@4/7_7,@&^%23@6,-7%/1&,@429.

By Aaron Bynum

Proximal delta synopsis

Eccrine sweat glands synopsis

(2,%@(7%×3^@8/7,@&^26_8,%@6/8,^21_827&,%@2/1&,%/1&6/4,%/721,%@67&8/1,@7^/2/7,%@1^@3&,×/6&7^/8×/1_7,@&^/7,^1,%@2_127_648,%@3×/2^/@3/421,^@8%×7^1,@627^/127,%@842&,@9_2^8^,@6/2&^@841,@2&,%/2^@6/4,%/3^@7&×/1^627,(mean49,^@(341,%/7^627/6,%@(3×/4_7/4&,%@(349,^@(3×/2_4,@9/1.

By Aaron Bynum

[sunkissed-moon]

RED HAIR JIMIN?????????????? *war flashbacks*

[skopostheorie]

YOUR BIOO¥1=:(:1=1(:/1^/(/^1^1/;/2%2(;/2;×%(;%+;%+(;%1&/1(/^1/1^(^=^(=^(^=₩=^₩^=£^1/1^=?=^?:$($:$;+£+%;:%£^=+¥^$+^/1¥^/2(/:×*:$*=:&%=£^/1%;×£;^×9_2^:%×9:$¥$:+¥;%×

i am jealous of the scrooge sex.

[johnlee-fabrticationstudio]

9_2 - Feedback

Reflection

To reflect based off the formative assessment that has been submitted, our tutor, some of classmates and myself have had discussions on the design that I proposed to identify aspects to improve for further development. Great feedback are given that allows me to reconsider and adjust to move further. 

Characteristics - The characteristic created by the story was identified but contained some confusing parts to understand just off the book. The design lacks in cultural identity. Making use of Te Aranga principles is crucial.

Restrictions - The fact that the design must only stay for 10 years, it must be temporal. Almost like installation (No major permanent structures)

Space Orientation - The interventions would be created out of community fabricated papers and there aren't any programme or space located to allow the community to create them.

Creation Method- If material of the interventions are to be structured by fabricated papers from the community, the duration to produce them in large number of scales to fill the space would take awhile. It will also need consistent participants. 

Inclusive and Equality - Only accessible route for mobility disabled users are through the entrance of the hall, which instructs them to take unnecessary footpath to use the space that are located on the other side of the building. More inclusive ideas not only the entrance but for accessing other spaces as well.

Staff Area - Given the fact that the librarians are the people that stay in the library for the most, the scale of the staff area is considerably small as storage is included.

In relation to reflecting my own work, I also reflected on the creative references to analyse what makes them an outstanding designs and to refer to. 

Te Oro & CMHR

Engagement - The success of Te Oro has drawn from the expansive and multilayered process of engagement undertaken, involving community, Mana Whenua, Local Government, artists, designers, users and staff. It allowed the creation of a rich, meaningful and nuanced building and an important community facility in an area that has historically lacked social and cultural infrastructure. 

Place - Te Oro is strongly grounded in its context by the narratives it speaks of and to, and the cultural expression and behaviours it accommodates. Te Oro demonstrates the potential for kaupapa Māori to locate a development in its site and context, and highlights the benefits of architects/artists/designers collaborating on projects. 

Living Culture - Culture is lived at Te Oro day-to-day. Te Oro highlights the potential for a community facility to work equally for Māori and the broader community while expressing kaupapa Māori values. In so doing Te Oro moves kaupapa Māori into the public domain, clear of the shadows of the mainstream.

Quality – Te Oro is a complex, interesting and sophisticated piece of architecture which manages to very clearly express its purpose as a community art centre. In doing so Te Oro highlights the importance of aspirational goals, of not succumbing to easy and cheap options, and of the importance of resourcing appropriately for engagement, building, art and landscape. 

Inclusive Environments - CMHR created its space through innovation and collaboration. This includes the use of technology and the creation of physical and social environments that welcome and enable people of all ages and abilities.

.

[verandakara]

2019/11/9_2

[idashinomd03]

http://www.seiryo-u.ac.jp/u/education/gakkai/ronbunlib_human01.html#17

[mbezzene2]

Behavioural Management Strategies

‘Learning to behave” is not the same as ‘behaviour for learning’

 The clauses are so similar to one another, but yet the meaning behind each is vastly different. Throughout history, educators have struggled to find the most effective strategies to create classroom environments that every single student can effectively learn in.

Post your own opinions/advice on how pre service teachers entering the classrooms should approach students behaviour and strategies to negate unwanted behaviors or how to promote more positive ones in order to achieve the desired outcomes to optimise learning.

Or reflect on your own experiences on how you’ve correctly or wrongly managed student behaviour in the past and what you would of done differently. 

As a current teacher in training myself; here’s my advice!

Some argue that more punishment is the answer and if they won’t behave to learn then we need to make them learn how to behave first. Johnson (2016) argues, “Kids need to learn right from wrong… do something naughty you will be punished!” Sounds like the words of a mad man. Looking at a different point of view, Sullivan, et al (2014) notes that many teachers tend to follow policy or step by step procedures to gain “classroom control”. But policies that focus on gaining control “do not necessarily engage students in their learning.” This is a simple method that most educators use, due to their own uncertainty on how to deal with poor behaviour. Sometimes the best way to gain control of the classroom is to reflect on your teaching practices and look into why the students may be acting out Are they bored? Disengaged? It could be as simple as modifying your pedagogy to regain the control and behaviour you want in the classroom.

Johnson, B. (2016). Daring to Disagree About School ‘Discipline’: An Australian Case Study of a Media-Led Backlash. Challenging Dominant Views On Student Behaviour At School, 15-26. https://doi.org/10.1007/978-981-10-0628-9_2

Sullivan, A., Johnson, B., Owens, L., & Conway, R. (2014). Punish Them or Engage Them? Teachers’ Views of Unproductive Student Behaviours in the Classroom. Australian Journal Of Teacher Education, 39(6). https://doi.org/10.14221/ajte.2014v39n6.6

[yeayiec4life]

Hypothalamus synopsis

,^/6_2,@4,^@1&%/6,@7^@9×/7/4,@3_1,@6/4,@3%×127,^@7_2,%@3×/7^@6×/7_8^@3×@1_1,@127,%/2_1,%@6_1,%@6^721,%@8/1,%@(3^8/1,%@7_1×8,%@(3,^@6^versus@9,%/3×&^/2,^,%/6,%@7×/1_/2%×1,%@3_9,^%&^,%/6_7^1.

By Aaron Bynum

Spine vertebrae synopsis

3%×7,@9%/6/8,^/1,^@6/1,@&^versus 8^29,_3/7,@(3_9,^@7_3^4,%@()7_1,%@()6/2&@()4/1,^/7/4,_4&^8,×9%×38/1,^@9%/7,@&^_67_1,^@8/1,%@67_1,^@()),@2&41,%@())/2,^7&%×3^2&,%/1_7&8,@6_1^8&%/37%/1,^@3/1,%@628,%@3_1.

Feet anatomy synopsis

Hemodailysis synopsis

721,^/9,^@8%×3/6,@&^@6_2×741,@6^@127,@3^1,@6/7^@7_428,@1_8,^26&7,%@8^/1&,@741&,@9^7/4&,%43_6&:7,%@324&,%@6^27,@:4,@2&,%@627,^@6×8^4/2,%&^@3_7,@&^/2_1,%/6^/1,@724&,^@4_1,@8_1,@6&8,42/1,%/8,27^1&@8/9,^@2&%,%×7^1&,%/3^@249%/8,@4&_68^9,%@4&,_2/1,^@6_8/4&,%/2/4,%@67,^8/1,^26/4&,@3^1,%@6&7,%@1_724&,×/2^941,%@2&1_6-7/4&,%@624&%,7_1,^@2&×/3^@6/2^8&9/1,%@1×&^@3-4,%/6&7,^27,%/1&726,%@4&,^/6_1.

By Aaron Bynum

Hindfoot synopsis

786,%×4/9,%@7^/_5,×/627^@8/9,%@7^2/7,@1^5×/8^928_1,%@3^/7_3/2,%/6&848&9×/2^8/5^2&@846/2,%/7^1,%@6^942&%@3/2,@1&%47^@3/7,^6&3,^@1^9,@627,%@9%@3/9,%×6&8,%@4^9,%@321,/(6^@9/1,%@4^9,%27_4&%@(3^6&8_3/4&^@8×/1,%@6-1^8×/3,%/4^@8_9,@4&,%×727,@1%/6&842&_/3&4^62749.

Arthroplasty synopsis

Forefoot synopsis

7/2,%@(345&,%@6_7/4,^26_8,%@2/1&,%@84_9/4,@726_8&%/1,^@628/1&,@349,%@6%42&,^@6_1,%@4&×/3,^1&,^@321,^&^@6/8,^@1/4&,@8_1,^27,%/1&,@7_942&7-329,%@4&,^/3%@1_5.

Pore synopsis

3%47^@6^@3/2,@4/9,%&^@4/6,%@3/8,^/8%&^@1^6_3%×7,@627,^&^@8_126^1&3,%@7,^21&%@621,%@3×/7%×8&×/7&,@6_1,^26&8,@3^1,%@6^7,@3^1,%@429,^@6&8,%@2_4,^@2×/1,%@6/1,%@3+@427×@389,%%×4&,%/326/1;%&^@7_426&,%/1^7&%/4,@6%/8,@6%×1,%@4_/2_425,@6728/1.

Sebaceous glands synopsis

423,@746,%/(3^@728&,@78489,@()726,%@(3×@7^%×627,@9/1,%@3^1,%/6,^46^8&,^/726,%@4&,@8^@4,%/7×&^@2,%/7,^@9^528,%&^@327,%@147&,@647,@8/1,%@3&,%@2/4,%@3%/2,^/747,^/8^21,^@6741/7,^@3&7.

Keratinocyte synopsis

7,^/6^%27,^@3×/8&,%×3/2,^@1&,%×627,^@1_1,×/6&7/4&%×8×/1,%@6_748&9%/(2/7,^@1,%×(3×/7&,@4%×9,@2^1,@627,%×(37,^27,%/4&,@(2/1,%@4_5,@7^8/1,2841,%@(2/6,%×(9&(3/2,%@&^%/3,×/8&7,@1^8,%@2/4,^@321,^@3/6&8^1.

Blood vessel synopsis

Epidermis synopsis

Thenar synopsis

Interdigital synopsis

Halucal synopsis

Mitochondria synopsis

Calcar synopsis synopsis

Proximal delta synopsis

Eccrine sweat glands synopsis

(2,%@(7%×3^@8/7,@&^26_8,%@6/8,^21_827&,%@2/1&,%/1&6/4,%/721,%@67&8/1,@7^/2/7,%@1^@3&,×/6&7^/8×/1_7,@&^/7,^1,%@2_127_648,%@3×/2^/@3/421,^@8%×7^1,@627^/127,%@842&,@9_2^8^,@6/2&^@841,@2&,%/2^@6/4,%/3^@7&×/1^627,(mean49,^@(341,%/7^627/6,%@(3×/4_7/4&,%@(349,^@(3×/2_4,@9/1.

By Aaron Bynum

[inrd604-wendywang]

Organized processes keep people on track and curb the tendency to spend too long exploring a problem or to impatiently skip ahead. They also instill confidence. Most humans are driven by a fear of mistakes, so they focus more on preventing errors than on seizing opportunities.

https://link-springer-com.ezproxy.aut.ac.nz/content/pdf/10.1007%2F978-1-4842-4514-9_2.pdf