#edit: ok problem solved i dropped out of school when i was 8
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Initiates -- Original AC OC Fic
8//12/2020: Okay so yup hereâs my OC espionage story that Iâve adapted for the AC universe. I proofread it once and will probably edit it again when I reread it in like two days lol. Thanks to @alexiios for solving my temporary naming crisis lol. If you want me to post OC fact files (if you enjoy this), then hmu/lmk! I loved writing this (like months ago) and I want to give you guys SOME content, so I hope youâll have as much fun reading it as I had writing it! Tagging people that might enjoy it? (plus @/alexiios lmao donât want to spam you with mentions)
Hard to believe that this is only 2242 words but ok go off i guess
Feedback greatly appreciated, as always!
WARNINGS: Violence, car crash, hospital mention, blood mention
Tagging: @marshmallow--3 // @britishhotassassin // @rahdahleigh // @iceboundstar // @sofiewithat // @mythandmagik (Iâm guessing your url changed aha)
âI think Iâm gonna check,â Jake lightly knocked his knuckles against the wooden table.Â
Zoe lifted the corner of her hand. âI raise thirteen.â
The last card was placed onto the table. Last chance to bet. âTwenty-six,â Jake gazed through his eyelashes, raising the bet once again.
Groaning, Zoe threw her cards onto the pile of chips in the middle of the table, two fives staring her in the face. âFine, you win.â
âAs per usual!â Jake laughed as he slapped a pair of kings down in front of him and collected his chips.Â
âJesus! You always get the good hand!â Jake flashed a look of offense.Â
âNo I do--â He was briskly interrupted.
âName one time youâve lost! I bet you cheat.â
Before he could reply, someone walked through the door of the lunch room. âNick?â Jakeâs voice laced in confusion as his smirk dropped.
âBreakâs over. We need you both.âÂ
Startled, the two followed their boss into a briefing room. âWhatâs the problem?â Zoe asked, leaning against the table. Jake sat down on a chair next to her, kicking his shoes onto the polished wood beside her. He popped some gum in his mouth before undoing his top button of his checked shirt; the two of them opted for a casual office day. Zoe and Nick both declined as he offered them each a piece. âReally? Itâs strawberryâŚâ
âNot now, Jake. We have a missing agent. You are two of our best trackers; no one else in the whole department is as⌠experienced. We need you to find him before itâs too late.â A picture was brought up; blond hair and brown eyes.Â
âHe was last seen at these coordinates-- get on it.â Nick left the two in silence as he dropped two files on the table and left the room.
Zoe picked one up and slid the other one Jakeâs way, hitting his shoes. Sitting straight, he leaned forwards to take a closer look. âI have the agent.â
âIâve got the leadsâŚâ Zoe mumbled with a frown, sifting through the relatively thin file that had been accumulated over the past few days. CCTV screenshots, cases previously solved that could harbour motive for revenge, and a few other documents referring to things she had never seen or heard of before. âHey, Jake?âÂ
âHmm?â He looked up with interest, his chewing paused.
âHave you ever heard of Abstergo Industries?â
There was a silence as he thought. âNo; is it one of those massive corporations?â
Zoeâs eyes roamed various images of murder scenes, all having one thing in common; jewellry in the shape of a cross, circled in red ink. âSomething like thatâŚâ
Did Nick mean for us to see this? It feels classifiedâŚ
âSo his name is Matthew Anderson. Twenty-six, unmarried, single child, no children. There is literally no record of him anywhere; no school record, no criminal record, no family record; nothing. Only things like âFavourite coffee shopâ. The manâs an enigma. Why would anyone want to kidnap him? Thereâs no evidence to justify a ransom or leverage of any sortâŚâ
âIt does seem strange, but it might have something to do with this Abstergo place. Letâs go to that coffee shop and see what we can find.â
Jake followed Zoe towards the armory; full of necessary gear and equipment. The pair grabbed what they needed, namely the issued pepper spray and tasers. Their badges waited for them, along with any IDs they may need. âReady?â Zoe debated bringing a firearm, but decided against it; there was already going to be one in the glovebox.Â
All Jake did was wink and smile, donning his jacket. âAlways.â
----------
They spent the rest of the afternoon searching for answers in the coffee shop. Social media, local news posts, Police records-- even private databases -- all with the keyword, âAbstergoâ. Jake left to the counter after a while to buy more coffee for the two of them; their eyes had begun to sting from staring at a screen for so long. Zoe was writing some information down in her notepad when she saw movement out of the corner of her eye. She glanced to see someone dressed in a grey hoodie and tracksuit bottoms. They had hidden their features under their hood, but Zoe could tell that they were looking in her direction. Hiding behind fallen hair, she rubbed her palms against her jeans.Â
Jake returned with her latte, placing it down before sitting to nurse his cappuccino. He noticed how unsettled she had become. âYou okay? You look as if youâve seen a ghost.â After he spoke, he licked the milk mousse moustache from his upper lip.Â
Zoe smiled, his actions calming her slightly. âIâm fine,â she said. âItâs justâŚâ She lowered her voice. âThereâs a guy over there. Heâs just⌠staring.â Jake quickly flitted his gaze over in that direction and then back at his partner, his head unmoving.
âHe is a bit creepy, isnât he?â he mumbled. âFeel like getting out of here?â
âPlease.â Jake left to get takeaway cups as Zoe started clearing the table.Â
The sun had already begun to set as they left the coffee shop and got into an unmarked van designed for undercover work. As they were driving down some narrower country lanes, Jake noticed something out of the rearview mirror. âUh, Zoâ?â She hummed in reply from the driverâs seat, preoccupied with the road. âI think someoneâs following us.â
âWhat should we do?â she asked, turning left. For the second time that day, Jake was interrupted. A bullet shattered one of the back windows.
âNot much!â Jake took the pistol out of the glovebox and began firing back. Zoe stole a glance behind her.Â
âLook out!â Jake grabbed the steering wheel and pulled. The wheels veered out of control and the van tumbled. It rolled off the road.
The vehicle eventually stopped, lying capsized on the grass. Footsteps approached the door. âYeah, boss; we got âem,â a gravelly voice stated. Jake, barely conscious, never moved a muscle. âRoger,â the voice said again, and footsteps started to recede.Â
âZoe,â Jake groaned. He got a quiet mumble in response. His nose alerted him to the imminent danger they were in; the smell of petrol. Trying to move, he winced at the sudden throbbing pain in his head.
And his torso.
And his back.
He took a step to remove his seatbelt, bracing himself as he hit the roof below him. He groaned as his upper back collided with the ground. âHey, Zoâ.â Jake crawled below her and tried to unbuckle her seatbelt with a sense of panic. âDamn,â he cursed. The seatbelt wasnât going to loosen willingly. He searched for any solution and found a glint in the half opened glovebox by his feet. He had rediscovered his pocket knife.Â
Quickly, he pulled it open and stuck it in the seatbelt box, jiggling it around; waiting for the click.
After a few painstaking moments, the restraint opened. He ripped it off and Zoe fell onto Jakeâs torso, immediately winding him.Â
âCome on, Zoâ; we need to get out of here.â His arm clung to her waist and he wriggled out as fast as he could from the flammable scrap. He was relieved as he inhaled fresh air; flushing out his lungs from the scent of leaking petrol.Â
Once they were clear of the vehicle, Jake laid Zoe out of sight and began to lightly touch her face. âWake up, Zoâ. We need to leave!â There was a minimal groaning response; but she was still conscious-- with her eyes half open. âThatâs good enough for me.â With difficulty, he scooped his partner into his chest, stood up shakily, and tried to walk in a straight direction.Â
âFREEZE!â He stopped, closing his eyes. His arms were trembling in exhaustion, and his heart begun to palpitate. âTurn aroundâslowly.â He listened, clutching Zoe tightly.
âCome on, mate,â Jake tried, making earnest eye contact. âYou donât want to do this.â His eyes scanned the gun pointed at the two of them worriedly.Â
âI donât think that youâre in the position to tell me what to do.â The same voice, body turning in the shadows, triggered his radio. âSir, theyâre still alive.â A static grumble was all that could be deciphered in Jakeâs ringing ears. âYes, boss.â
The gun began to aim. âDonât move.â
The safety clicked. âIt would be in your best interest to close your eyes.â
Jake waited, watching the trigger, steeling his already hardened glare.Â
Nothing happened.
Until, in a split second, the gun moved from Jakeâs chest to Zoeâs.Â
âNO!â
BANG!
Bodies were sent flying down the hill Jake had painfully trekked up. They rested at the bottom of the hill; lying still-- breathing stiller. âTheyâre finished now, boss,â the voice quipped.Â
There was a sound of car doors slamming and a car engine starting, and it began to drive away.
It was still for a momentâŚ
Until Jake grimaced. One of his arms were trapped under Zoeâs body This time, she was out cold. Jake wiped the grime off of his forehead, before being engulfed in a stabbing pain. He let out a broken cry. Zoe was unharmed; a concussion was assumed, at worst.
But Jake was shot. And he was bleeding out. He choked on his words; the pain kept swallowing them.Â
What he needed was an ambulance--and fast.
He only had one arm to move his body, and it caused him the most pain he had ever felt.Â
âArgh,â he groaned. âZ-Zoâ.â
He had to find something-- anything-- to call for help. He searched his pockets, but he knew that he wasn't prepared for situations like this.
⌠But maybe Zoe was.Â
âZoe,â Jake attempted to shake her awake. âPlease, wake up!âÂ
There was minimal movement.Â
âHelp me out here, love...â He pressed against his side with his hand, whilst his other worked on slipping out from under Zoeâs body. Eventually, he managed to retrieve his trapped limb.Â
There was no blood on Zoeâs clothing, and Jake reassured himself that she was unharmed-- relatively.Â
He placed both his hands on his side, focusing on stopping the bleeding as much as possible. A wave of nausea overcame him; the heat from the flaming vehicle caused his stomach to churn almost endlessly as he glanced down. Blood was seeping through his fingers, and Jakeâs vision was becoming increasingly blurred; he allowed himself to close his eyes, wanting nothing more than to pass out. He felt his mind begin to cloud over, but there was a certain buzzing in his ears. It was faint, but it was thereâŚ
The last thing he heard was his name being called by a half familiar voice.
He only hoped that it wasnât too lateâŚ
------
Beep after beep after beep⌠his ears would explode any moment now. He tried to inhale through his nose, and quickly had the urge to itch as something constantly prodded inside his nostrils.Â
Task 1 -- open your eyes.
 His eyelids felt content to stay obstructing his vision, yet his instincts said otherwise, and they obstinately broke apart.
It was dark. That was his first observation.Â
Being in what he assumed was the hospital, the stereotype inclined him to believe that bright white lights would be the first thing he would see. That certainly wasnât the case. The moon cast through the half open blinds, the entire building held an air of kenopsia.
Jake, still feeling drowsy, decided to wait until the sun rises to make any moves; all he knew was that he was safe, and he could allow himself to let go.Â
----------
He closed his eyes for a second, and the sun was up, being met with a familiar face.
âHey,â Zoe smiled, tension relaxing her shoulders.Â
âHi,â Jake replied, a smug grin playing on his lips. âAre you okay?â
âAm I okay? Iâm not the one in a hospital bed.â
âJust making sure.â
âI wouldnât be here if it werenât for you.â
Jake chuckled. âYou know me; Iâm full of surprises.â
There was a calm silence that clouded over the room. âThey said you were lucky, you know. Youâve been out for three days.â Zoe looked over at the IV drip that was taped to his arm.Â
âThe best three days of your life, I bet?â he chuckled.Â
âNo, no; Jake, they were the worst days I think Iâve ever had. Donât pull a stunt like that ever again -- for both our sakes.â
He couldnât help but smile. A few rapid knocks on the door interrupted the moment, and Nick came through the door. âAlright?â
âAlright.â
âNot bad.â
He sighed. âYou probably have some questions.â
âSo many questionsâŚâ
âYou donât even knowâŚâ
He raised his hand, silencing both voices. âOnce youâre both ready, I will answer them. But for now, youâll rest and recover. I apologise for⌠all of this.â He turned to leave, but stopped as if he forgot something. Without a word, he pulled out a coin, flipping it in Zoeâs direction, who caught it automatically. He nodded intently, and left. She shared a look with Jake, turning the now recognisable token in her hand. It wasnât any form of currency, but instead had a certain insignia minted in the centre; a rather obscure looking âAâ. If it was an âAâ at allâŚ
âWhat do you think it means?â Zoe asked.
Jake shifted, slightly groaning. âI donât know. But whatever it is, will change everything.â
#assassin's creed#oc#original character#zoe grant#jake riley#ta da#meet my AC babies#feel free to ask about them#ask and you shall recieve#enjoy!#I'll cringe at this tomorrow but I'm too tired to edit it a third time#deal with it for 12 hours pls#thx#i'll fix it
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Science Wizard
In college I have to take three physics classes, followed by a long list of âphysics but more specificâ classes, so I wrote a GLOG wizard school to cope with this reality. It covers chemistry, thermodynamics, and several branches of physics. Itâs very utility- and control-based until you get to the emblem spells, but a creative player who doesnât mind a bit of math could do a lot with it.
(Ok, so youâre not exactly this but it was too cool not to include. From WOTCâs Guildmasterâs Guide to Ravnica.)
Perk: If you spend a round observing something, you can recall it perfectly. You can hold [template]+2 known spells in your brain instead of [template]+1.
Drawback: Canât cast spells if you are diseased, poisoned, noticeably dirty, or have loose/dangly hair or jewelry. Safety first!
Lab safety guidelines make for a fun drawback, similar to the Elf Wizard. I wanna see wizards running around with hairnets and jugs of hand sanitizer.
Cantrips
Learn the temperature, mass, or volume of any discrete object you can see.
Hold small objects in your hand to oxidize them.
Generate strong but non-damaging static shocks from your hands.
Not especially powerful, but you can plan shenanigans, destroy evidence, and prank people.
Mishaps
MD only return to your pool on a 1-2 for 24 hours.
Take 1d6 damage.
Random mutation for 1d6 rounds, then Save. Permanent if you fail.
Blind and deaf for 1d6 rounds as sound and electromagnetic waves avoid you.
Glow brightly for 24 hours, illuminating as a torch but doubling the encounter rate.
Thrown 50â in a random direction.
Mishaps are pretty tame, and #5 could be quite useful.
Dooms
For 24 hours, every time you attack or cast a spell at range, Save or be pulled towards the target. Collisions deal fall damage.
All the particles in your body turn into waves for a day. As waves, you cannot interact with physical objects except by hitting them, which causes them to glow briefly. Electricity, magnets, and magical darkness deal 1d6 damage.
You leak out of existence, leaving a you-shaped mass of antimatter in your place.
This doom can be avoided by solving a theoretical problem that has never been solved before, or by discovering a new element or type of particle.
Dooms are pretty bad though. This is what happens when you mess with the fundamental laws of the universe. Youâd better hope you donât hit your last doom anywhere near civilization. You can avoid your fate by learning secrets about the universe that no one else knows.
Spell List
(Spells #1, #3, #4, and #5 stolen from Skerples)
1. Draw Heat R: [dice]x100â T: 2 creatures or objects D: concentration You must have at least two working eyes to cast this spell. You stare at one target with one eye, and another target with another to transfer heat between them. For example, you could transfer a torchâs heat to a creature for damage, or the icy cold of a glacier to a campfire to extinguish it. You cannot amplify the heat.
2. Centripetal Force R: 50â T: [dice]x10â radius area D: [sum] rounds Loose objects in the area are pulled towards the center, and creatures in the area must spend their full movement moving in a circle around the center or be pulled in as well.
Good for battlefield control, or getting treasure from hard-to-reach places.
3. Feather Fall R: 10â T: [dice] creatures or objects D: instant If you would take fall damage, you can cast this spell as a reaction to negate it. You float gently to the ground (possibly alarmingly late).
4. Alter Local Gravity R: 50â T: [sum]x5â squares D: [sum] rounds You must cast this spell in an enclosed area with a solid roof. The target area has its gravity altered to either a direction or a lower strength that you specify for the duration. The effect takes place gradually, allowing creatures a Dex check to hang on to something. In lower gravity, you can jump higher and farther, but virtually any action requires a Dex check. If you invest 3 or more [dice] the duration becomes permanent.
5. Desiccate R: 50â T: creature or object D: instant Hydrated target takes 1d6+[dice] damage. Can also be used to turn meat into jerky or concentrate water-based liquids (wine, most acids), up to 2 gallons per [dice].
6. Equilibrium R: 50â T: creature or object D: [sum] rounds You generate enough reaction force to hold a target of up to [dice]x100 lb in static equilibrium. If the target is a creature, they get a Save to resist, and an additional Save each turn at a -[dice] penalty to break free.
Hold Person with utility applications.
7. Ionize R: touch T: up to [dice] gallons of liquid D: concentration You absorb all ions in the liquid and can store them safely as long as you maintain concentration. You can end the spell at any time by releasing the ions into another liquid. If your concentration is broken, the ions escape into the nearest liquid.
Like Desiccate, but youâre removing the solute, not the solvent. Can be used to purify water, make acid, or really fuck up someoneâs bloodstream if you can touch it.
8. Impulse R: touch T: creature or object D: instant Target weighing at least 1/[dice] lb is thrown or shoved with a fixed amount of impulse, traveling [sum]x100â/the targetâs weight. If you invest 3 or more [dice], the target will continue traveling the same distance every round until stopped by a solid object. Collisions deal [sum] damage.
Shove people across the room, or even better, throw small rocks so fast they break the sound barrier.
9. Phase Shift R: 50â T: [dice] objects or [dice]x5â cube volume D: [sum] rounds Target changes state by one phase, though its temperature does not change. Targets must be of similar substance and undergo the same phase change. If you invest 4 or more [dice], targets can change state by two phases.
Liquify treasure. Liquify the air. Turn the environment into traps.
10. Haste R: touch T: creature D: [sum] rounds Target has double movement speed and can take an additional action on each of its turns. Target cannot act for a round when the spell ends.
11. Chain Reaction R: 50â T: creature D: instant Target bursts into flames, taking [sum] damage, Save for half. The flames activate any potions or magic items the target is carrying. At the start of each round, the flames transfer to the nearest creature within [dice]x10â that has not yet been targeted, dealing another [sum] damage, or die out if this is not possible. Your allies are not immune.
Based on Wandering Flame from this list, but more chaotic and potentially infinite.
12. Half-Life R: 50â, T: creature, D: varies, see below You destabilize the targetâs particles, setting it a half-life of at least 15-[sum] hours (minimum 1 round). Powerful creatures get a Save to negate. Every half-life, the target decays to half its size and loses half its HD, dying when it drops below [dice]/2 HD. Other creatures must Save vs. mutation for every half-life spent near the target.
A curse-like spell with scientific flavor. Plus radioactivity, thatâs always fun.
Edit: Added commentary and design notes in italics.
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EVERY FOUNDER SHOULD KNOW ABOUT CAREERS
Some kinds of innovations happen a company at a time will obviously happen faster if the rate of technological change seems to be regarded as the rule rather than the topic, it's a sign they've lost the real battle, for users. And more specifically, is it possible to reverse some of the fragmentation we've seen? The average founder is eager to do it anywhere. In math you don't choose abstractions because they're easy for humans to understand; you choose whichever make the proof shorter. Basically, Apple bumped IBM and then Microsoft stole its wallet. And so they can try him outâand then a month later as employee #1. Math, for example; they're already pariahs. Few legal documents are created from scratch. And yet also in a way encouraging. The ideal thing might be if you built a precisely defined derivative version of your product for the customer, and since they don't have a problem doing acquisitions, the others should have even less problem. I knew it would be suggested that executive salaries are at a maximum. If you run every day, because at the beginnings of people's careers they can easily switch not merely employers but industries.
The most dramatic I learned immediately, in the spam corpus, the probability is.1 If your current trajectory won't quite get you to profitability but you can get a product launched on a few tens of thousands of dollars of seed money from us or your uncle, and approach them with a 70-page agreement. You could try to cold-call angel groups near you, but angels, like VCs, will pay more attention to deals recommended by someone they respect.2 C, Lisp, and Smalltalk were created for their own designers to use.3 The median visitor will arrive with their finger poised on the Back button. Because philosophy's flaws turned away the sort of place that has conspicuous monuments.4 Some VCs now require that in any sale, they get doubly whacked for it: playing house. If several VCs are interested in it for its own sake, it must have felt like for him. Like a lot of startups worry what if Google builds something like us? There may be nothing founders are so prone to delude themselves about as how interested investors will be in giving them additional funding.5 As a little piece of debris, the rational thing for you to look at the world than producing something beautiful. Do we have free will?
One reason we tend to think of them. You have to be just a pair of 22 year old guys.6 It happened to one industry after another. For example, a seed firm should be able to make the case to everyone for doing it. 8 option pool 200 16.7 But if you parse it all, your filter might degenerate into a political argument. It wasn't just as consumers that the big companies were synonymous with efficiency. But even accounting for that, the force of being measured by performance would propagate all the way back to high school, flushing out all the arbitrary stuff people are measured by now. This is a problem for small startups, because they don't have any of that if you have genuine intellectual curiosity, that's what you're doing, you're now on a path labelled get rich or bust. It might seem that if startups get cheap to start web startups that orders of magnitudes more will be started.8 But designed is not really the word; discovered is more like it.9
If the spammers are careful about the headers and use a fresh url, there is no limit to the number of points on the curve decreases. I am, I'll come running. After two years, the un-rapacious that you only extract half as much from users as you could.10 Founders and investors have different attitudes to risk. Competitors punch you in the details later. The real reason we started Y Combinator is teach hackers about the inevitability of schleps.11 And eventually I'd forget that Hilbert had confirmed it too. Maybe that was truer in the past, founders rarely kept control of Zynga's too. Words seem to work, just as we can become smarter, just as we can become smarter, just as pop songs are designed to sound ok on crappy car radios; if you say anything mistaken, fix it immediately; ask friends which sentence you'll regret most; go back and debug Aristotle's motivating argument.
He has noticed that theoretical knowledge is often acquired for its own sake, out of about 7740 legitimate emails, a rate of. I'd made enough to solve the problem once and for all. They're hard to filter based just on the content because the headers are innocent and they're careful about the words they use. It is also palpably short. The asterisk could be any character you don't allow as a constituent.12 The first time it raised money, it was a college town out in the countryside. I've had an experience that convinced me otherwise: I spent several years living in New York.13 If they'd waited to release everything at once, they wouldn't have discovered this problem till it was more efficient to. Unfortunately, it's impractical if not illegal to adjust the valuation of the company in restricted stock, vesting over four years. This varies from field to field in the arts, things are very different.
It is. At the other extreme are places like Idealab, which generates ideas for new startups internally and hires people to work for Henry Ford, but not to be in a startup founder is concealed from almost everyone except those who've done it. I'd made enough to solve the problem I described aboveâit won't flush out the metaphysical singularity.14 It felt as if there was some kind of work that wasn't very common in Confucius's day. Chasing down all the implications. They're probably good at judging new inventions for casting steel or grinding lenses, but they can't design. He can do other things most people can't, like charter jets to fly him to foreign countries.
Notes
If I paint someone's house, though, because a unless your last round just happened, the transistor it is to let yourself feel it mid-game. Xkcd implemented a particularly clever one in its IRC channel: don't allow the same lesson, partly because you can do it is unfair when someone gets drunk instead of a stock is its future earnings, you could probably be interrupted every fifteen minutes with little loss of personality for the same work faster. Disclosure: Reddit was funded by Y Combinator to increase it, this is an interesting trap founders fall into two categories: those where the acquirer just wants the business, having spent much of The New Industrial State to trying to enter the software business, it's cool with us if the quality of investor behavior.
Com in order to make the kind of people. Wufoo was based in Tampa and they were forced to stop, the mean annual wage in the same.
VCs aren't tech guys, the partners discriminate against deals that come to you about it well enough to be a special title for actual partners.
People who value their peace, or it would have. They may not be surprised if VCs' tendency to push to being told they had to ask about what you've built is not to do some research online.
It will seem dumb in 100 years ago. Start by investing in a time machine. Learning to hack is a list of where to see the Valley use the name of a handful of companies that got bootstrapped with consulting. So 80 years sounds to him like 2400 years would to us.
Survey by Forrester Research reported in the beginning of the web and enables a new version from which I removed a pair of metaphors that made steam engines dramatically more efficient: the process dragged on for months. Hypothesis: A company will be coordinating efforts among partners. In Jessica Livingston's Founders at Work.
Aristotle looked at the time.
This was made particularly clear in our case, companies' market caps will end up.
I suspect Digg's is the other hand, launching something small and use whatever advantages that brings.
The founders want the first third of the company, and an haughty spirit before a consortium of investors started offering investment automatically to every startup we funded, summer jobs are the usual suspects in about the same, but if you are listing in order to provoke a bidding war between 3 pet supply startups for the first abstract painters were trained to paint from life, and stir.
And I've never heard of many startups from Philadelphia. The two are not very far along that trend yet. The dialog on Beavis and Butthead was composed largely of these people never come back within x amount of brains. There are two simplifying assumptions: that the main emotion I've observed; but as a technology center is the desire to do something we didn't do.
Many hope he was before, and anyone doing due diligence for an IPO, or some vague thing like that, founders will seem more interesting than later ones, it often means the startup after you buy it. But it isn't a quid pro quo. Loosely speaking. To be fair, curators are in a reorganization.
Whereas the value of a problem that they take away with dropping Java in the cover. 99, and that you end up with much greater inconveniences than that. This would add a further level of protection against abuse and accidents. But it is.
This technique wouldn't work if the current edition, which would be a good idea to make your fortune?
#automatically generated text#Markov chains#Paul Graham#Python#Patrick Mooney#companies#half#years#Y#business#Survey#kind#content#reason#tendency#option#deals#character#reorganization#Basically#order#pair#Disclosure#curiosity#legitimate#finger#version#Apple#startups
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Plain English writing tips
Having lived an illiterate life in South Korea for the past 2.5 years, I know what itâs like to go from basic reading skills to being expected to fill in a complex Korean bank form.
And thatâs one of the reasonâs why Iâm a plain English advocate. I know what itâs like to not understand a letter sent home from The Monstaâs kindy or how to correctly interpret an electricity bill.
A whopping 46% of Australians donât have the literacy and numeracy skills to successfully function in contemporary Australia. Can those people successfully interact with your website and your digital products to get the information need or complete the task they need to do? Are you bleeding customers because of it? Are your users pounding their keyboards in frustration?
The more government and other organisations use plain English to communicate with their website users, the more success Australians will have in their everyday lives.
And the more we see plain English around us in our everyday lives, the more everyone will expect it. And then the more organisations will shift towards plain English as the norm.
Plain English will become less of an unexpected delight.
What is plain English?
Plain English is content your reader understands quickly, easily, and completely.
When I talk to clients and their staff about plain English, I often get resistance. Thatâs because they think plain English is âdumbing downâ content or writing in a way that talks down to their readers. But thatâs not the purpose of plain English. Not at all.
When you explain that plain English helps their readers understand something the first time they read it, they start to get it.
And once they see their content transformed from âbureaucrat speakâ into plain English, they really get it.
Why use plain English?
Plain English is about helping your readers and website users do the thing they need to do quickly, easily and without confusion.
I work with a lot of government clients. Their website users are not visiting their website for fun. Theyâre there to find information or complete a task. Itâs something they HAVE to do, not something they WANT to do. I donât fill in my Business Activity Statement (BAS) form each quarter for fun or apply for a passport because thatâs how I get my kicks. Nope. These are things I HAVE to do.
Helping people find and understand the information they need is the best way to give them a positive experience. #plainenglish #ux Click To Tweet
Helping people find and understand the information they need is the best way to give them a positive experience. They might not remember how gorgeous your site looked but they will remember feeling frustrated and confused if they:
couldnât find what they needed
couldnât complete the task they need to do
No one wants to feel like a silly-dibby-dubby (as my 6-year-old would say).
Everyone prefers plain English. Even people with doctoral degrees would rather read plain English content over dense academic or bureaucratic text.
As well as user success, plain English content results in fewer enquiries. For a large organisation, plain English can significantly reduce the load on call centres.
Tips for writing or editing in a plain English style
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Want to know how to write in plain English?
While there are no fixed plain English writing guidelines or rules that must be followed, there are ways of ensuring your content is written in a plain English style.
But here are my tips for writing content that easier to understand the first time someone reads it.
Plain English tip #1 â Be concise
Use short sentences.
Avoid writing sentences more than 15 words long.
Comprehension is usually around 100% for short sentences of up to 8 words.
Comprehension drops to 90% for sentences from 9 to 14 words long.
Can you guess what it is for sentences longer than 40 words? It drops to 10%. Donât do that to your readers.
Break longer paragraphs up into shorter sentences. Itâs OK for a single sentence to be a paragraph. The more clear space you have around your text, the easier it is to read.
Use my Plain English Dictionary to find alternative ways to say things, simpler.
Plain English tip #2 â Be clear
Donât be ambiguous.
Make sure there is no other way to interpret your message.
When weâre too close to the content, we often canât see how others might misinterpret our message or instruction.
Ask someone else to read your content to check if your meaning is clear. Even better â user test it with your target audience and learn where people stumble.
Plain English tip #3 â Be direct
Talk directly to your reader or user.
Use words like âyouâ and âyourâ when talking to your reader.
Use words like âIâ or âweâ when talking about yourself or your organisation to your reader.
For example:
â The Department of Nuisances can help people with solutions to their problems.
âď¸ We can help you solve your problem.
Plain English tip #4 â Use the active voice
Use the active voice.
Donât hide behind the passive voice.
Bureaucrats love the passive voice because it absolves them of responsibility.
For example:
â The fee is charged by the Department of Nuisances.
âď¸ The Department of Nuisances charges the fee.
The active voice is direct and more concise. Less words = better reader experience.
Plain English tip #5 â Use lists
Use bullet lists for general points where appropriate. Bullet lists are a great way to break up a long sentence.
Bullet lists aid scanning behaviours and draw attention. If you have a key message, a bullet list is a great place to put it.
Use numbered lists for content that is part of a process or the content has a specific order.
Plain English tip #6 â Avoid jargon
Chances are your audience wonât understand your jargon, so donât use it.
Even if your readers or customers are in the same industry, donât assume theyâll understand the jargon. If youâre an accountant and your content targets other accountants, then it would be fine to use commonly recognised and understood industry jargon. But if youâre an accountant writing content for your clients, donât assume everyone knows what a CPA is or what BAS means.
Donât use marketing buzz words either. Nothing will date your copy quicker than the latest marketing jargon. See how much âsynergyâ you create while âideatingâ with your âpeepsâ.
Sometimes weâre so entrenched in our own lexicon that we donât realise that weâre using jargon. Note the ironic use of lexicon? đ¤Ş
Plain English tip #7 â Spell out acronyms
Write acronyms in full the first time you use one and then place the acronym in brackets after it. For example, write:
National Bank of Australia (NAB)
After that first time, then you can use NAB throughout your content. But if you write a new page of web content, spell it out again the first time you use it on that page. Donât assume a reader has visited the other page where the acronym is spelt out in full.
You donât need to spell out commonly accepted acronyms like ATM or SCUBA.
Plain English tip #8 â Write for your audience
Know exactly who youâre writing for. Itâs all about context.
I often write content for very broad audiences. My current audience for a local government page about paying rates will have backgrounds that range from:
highly educated academics
people with low English literacy levels from culturally diverse backgrounds
everyone else in between
(Note that the above list was originally a very long sentence that I converted to a bullet list to make it easier to read. Walking the talk!)
Thatâs when I know plain English is the only way to go. Thatâs when Iâll don my âbrutally plainâ badge of honour and strip the content right back. Iâll focus on saying what needs to be said in the least amount of words so it can be understood when first read.
But Iâve also recently edited content for a niche group of tertiary-educated information managers and while I applied the principles of plain English writing listed in the tips above, I âallowedâ some jargon to flow through. I knew that my readers would understand it in context.
Plain English tip #9 â Use digits
Use digits instead of writing out numbers, even for 1â9.
Many print-based style guides will encourage you to spell out âoneâ through to ânineâ and then use digital from 10 onwards. But this is now old school thinking, especially in the online world.
Digits are easy to recognise.
It also avoids your readers confusing two with the words to or too.
Applying plain English
Are you up for the challenge of applying a plain English approach to your next writing project?
Plain English writing tips was originally published on Sandra Muller
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Top 10 Yuri Manga Without A School Setting
edit: removed the âkeep readingâ line, because it cuts off the post when people reblog it, at least when on mobile
Thereâs a certain formula for producing bad yuri manga- default highschool setting (+1 if itâs all-girls and all-girls somehow equals all-gay), a unhealthy relationship dynamic, unrealistic-but-stock characters (the shy protagonist and the perfect student council president), strict gender roles of butch x femme, males are never present, you get the idea. Thereâs lots of great yuri out there that takes place in highschool, but Iâll admit that the saturation of bad stuff has tainted my view of the setting.Â
That said, regardless of your views on yuriâs default setting, hereâs the Top 10 Yuri Manga with a fresh change of scenery!
10. Gouhou Yuri Fuufu Hon
On some days, we just donât have it in us for serious, literary stuff. I want this list to include cute and relaxing sugary stuff too, and Gouhou Yuuri Fuufu Hon fits right in.Â
I might have a soft spot for moe art, but Hachishiro makes the sickest covers, Iâm not even kidding.Â
Set in a sort-of-fantasy world where same-sex marriage is accepted and animals ears are a thing, Haru is a shy, younger girl who is married off to Sensei, a novelist oblivious to Haruâs uncertainties on how to be Senseiâs wife. Yes the dynamic is a little stock. You might realize the part on arranged marriage is kinda problematic, but this is a not-serious moe manga that doesnât go there. Itâs nothing mindblowing, and itâs not got much of a plot, but itâs a fluffy and enjoyable slice-of-life piece on marriage and domestic stuff.
The art is cute af, and works very well to convey changes in their emotions.
9. Sweet Guilty Love Bites
Sweet Guilty Love Bites is about four cabaret hostesses who work at Club Rose. Itâs separated into âSweet Guiltyâ and âGuilty Loveâ.  In âSweet Guiltyâ, Kirie returns from a bad night of hostessing, to discover Myata, a young woman sleeping in the streets near her house. In âGuilty Loveâ, Niina, a hostess and a single mother, has a one-night stand with Mayu, only to discover the next day that Mayu is the preschool teacher of her daughter.Â
Despite the seriousness of what I just summarized, this is a light and fluffy manga with funny moments, and everything ends happily for our dear characters.Though sometimes, the manga struggles to shift from this lighthearted tone when addressing serious life issues that its characters face.Â
The art is nothing stunning, but itâs decent and carries the plot just fine.Â
8. Rock it, GiRL!!
Rock it, GiRL!! is about a street guitarist and vocalist, Kaname, who is approached by a talent agency to be part of a band. But Kaname is not an ambitous person and thinks little of her talents. Nevertheless, she decides to give a band a shot. She discovers, however, that a) the talent agency love her as a guitarist, but thinks lowly of her vocal ability, and b) the girl who will sing the songs in her place, is an arrogant tsundere, much in contrast to Kanameâs mopey, sappy self. Animosity develops between them, but they must rise above this personal drama as the show must go on.Â
I have to say, the characters arenât exactly sympathetic, but theyâve got real issues, they are offbeat, and are basically a fresh breath of air, away from the standard âsweet, nice, moe girls in a girl bandâ cliche. Plus the plot is wild, given the seemingly predictable premise.Â
The art itself is simple, but in a weirdly cute and silly way.Â
7. Murcielago
I would like to defend Murcielagoâs presence on this list by saying that yes it is trash, HOWEVER, it is the kind of trash that nobody expects from the yuri genre.
Specifically, Murcielago is guilty-pleasure gore trash. Itâs what weâve seen played out again and again with a certain Western genre, but always with a male character depicted: violent movies centered on a loose-cannon anti-villain protagonist, who is tasked with being a criminal detective but who really does kill more people than the police are comfortable with. In the backdrop, some sort of vast conspiracy is brewing, where all the crimes that the detective solves, are actually linked together, and this whole conspiracy is somehow, quite self-aggrandizingly, all about this detective protagonist (we just donât know how yet).Â
Yes, that was weirdly specific, but we all know thatâs an entire genre.Â
In that sense, Murcielago is predictable, but itâs also very fun action-packed reading. Plus the gender and lesbian of its protagonist, is something quite unexpected, considering the âcute nice fluffinessâ that characterizes most manga lesbians, and the male protags who dominate violent action comics for both manga and Western comics.Â
You know sheâs gonna be able to solve the crime, you know the Villain of the Week is gonna die, but thereâs still a perverse excitement in finding out how she does it, and what ridiculous over-the-top crime features in the latest issue.Â
Read beneath that surface, and Murcielago can be a little deeper than that. Our dear psycho-lesbian detective does spare people, and she justifies it by outwardly saying she spares âcute girlsâ, but that shallow explanation doesnât hold water. Sheâs perfectly ok with mutilating and killing incompetent and immoral âcute girlsâ, which she has made no comment about. Sheâs specifically sparing a) completely moral âcute girlsâ, and hiring  b) dangerously competent, morally shadier âcute girlsâ as her proteges. In fact, when she meets a bomb prodigy, she has no qualms morally corrupting her from a) to b), because she really needs a demolitions expert. Sheâs secretly building a ruthless army, and we donât yet know why. Â
6. Lonely Wolf, Lonely Sheep
Lonely Wolf, Lonely Sheep involves the coincidential meeting of two girls who are coincidentially both named Imari, when their names are called in the hospital waiting room. Even more coincidentially, they are both there for left hand injuries. They declare their meeting one of Fate and the stars.
The dynamic is a little stock- we have the tall tomboyish landscaper âBig Imariâ, contrasted with the petite girly artist âLittle Imariâ. But this short comic serves up more than just a plotless dose of sugary cute, the arc does turn serious. âLittle Imariââs injuries hide a dark secret, and the past is coming to claim her.Â
5. Octave
Miyashita Yukino is a burnt-out pop idol- the industry is not what she thought it was, and she has no idea where to go with life from thereon. The people of her hometown do not welcome her, and believe she must have had to be a slut to get ahead as an idol. What really cuts deep in this manga, is the portrayal and young age of Yukino- the reality of the pop industry and the sacrifices she had make for her dream, such as dropping out of school, has aged her beyond her years.Â
She then tries to make a living as a talent manager in Tokyo, but her life still seems devoid of purpose, she is drifting and still yearns for fame. During a regular trip to the nearby laundromat, she meets Setsuko, who is the sister of the laundromatâs owner. She finds some comfort in Setsukoâs company, but her problems do not disappear, and in fact the landromat is facing financial difficulties.
My main problems with Octave is that the characterization can be unsympathetic. Yukino is jaded, and certainly mature in some ways, but she is also emotionally childish- she can be exceedingly mopey, sometimes blames her problems on others, seeks external validation to an unhealthy extent, and generally creates unnecessary drama and conflict with Setsuko, who is emotionally flawed as well. Donât get me wrong, characters should have flaws, but too much of it, and it rubs me up the wrong way and I kinda want to slap them. The plot also starts to slow rather than speed up as the manga progresses, which is just not to my taste.Â
However, I would simply chalk those flaws up to the inconsistent quality of Octave, where the quality is high, the manga is amazing, the emotions, the issues and ennui from the characters and the atmosphere, can be quite intensely felt.
4. Gunjo
If you asked me what the manga embodiment of misery is, I might just point you to Gunjo. Gunjo tears your heart out, and then puts it back in for a split second, just so it can tear it out again.Â
âIt begins in the moments after a horrible crime has been committed. A woman has asked someone to kill her husband for her. She has asked someone she knows she can use â another woman, a lesbian, who has been in love with her since high school. The woman who requested the death is abusive, derisive. The woman who committed the crime is passive, almost apathetic. She flinches in the face of the otherâs harsh words, but doesnât fight back.â -(Okazu)
They then go on the run, but how far can they go before theyâre caught? Does it make a difference that the cunning, abusive woman who has plotted the murder of her husband, was she herself horrifically abused by this man? Can something resembling love ever develop between two people so violent and broken?
Gunjo is amazing in its fan disservice. The murder succeeds because the killer seduces the man, and kills him while naked. But even in this scene, the violence and her disgust completely detracts from any sexual appeal of her nudity. Even in a kiss between the two main characters, their pain permeates.
My problem with Gunjo however, is specifically that the darkness never lets up. Perhaps it is my own sensitivity, but I found it very hard to complete it.
3. Pulse
Itâs a full-color! I love full colors. Anyway, moving on,Â
Pulse tells the story of Mei, a renowned heart surgeon who is also a cold-hearted playgirl. Lynn is a college student who needs a heart transplant, but she refuses to get one (the risks are high). When they meet, Mei feels a strange kind of pull towards Lynn, almost like sheâs truly attracted for once in her life. As they grow closer, Lynn strikes a deal- if she can make Mei fall in love with her, she will get the surgery, but Mei has to be the one to do the surgery. Lynn trusts her.
The premise can create all sorts of problems, but that is surprisingly averted. Mei doesnât pressure Lynn into sex, nor does she fake romantic attraction. Lynn doesnât sacrifice for Mei. Basically, Mei is no asshole, sheâs just uninterested in people, and Lynn is no pushover. Also, the art is mighty fine.Â
2. Philosophia
Philosophia is about a college romance wherein the two anti-social, apathetic main characters, Ai and Tomo, bond over smokes and coffee. But these little things are not enough to exorcise their inner demons. As Ai starts to feel for Tomo, she becomes torn up over these emotions- her existing familial relationships are far from ideal, and that has fostered her inability to really understand love. Tomo is strange and disinterested, and it doesnât seem likely that she will return Aiâs feelings. Furthermore, Tomo wants to leave the country, and the means by which she gets the money she needs, is best kept a secret.Â
Philosophia has both realistic yet unique characters (they do not fall too far into âalways mopeyâ or âalways sweet and excitableâ, a common problem even in this list), and also incorporates a series of sobering twists and turns.
1. Collectors
Nito Shinobu and Kanzaki Takako both love shopping. Shinobu collects books and Takako collects clothes. But as they move together, letâs just say there are spaaaaaace constraints.Â
Collector is nothing grand or wild- this is the Happily Ever After, but Collector is important specifically for showing how life goes on, that it is comedic and fun and relatable.Â
Yuri tends to face the opposite problem to Western LGBT material of the past. Older Western material is melodramatic and tragic, the gay identity of the couple is frequently mentioned and becomes a source of tragedy as they face persecution, which ultimately results in their suicide or murder. In yuri, the world is often isolated down to the couple- they have feelings for each other, but other characters rarely exist and if they do, these characters do not acknowledge the romance. âLesbianâ is never said, and talks of marriage are only meant as comedy.Â
There has been a lot of praise for Yuri On Ice (which actually involves a male homosexual couple despite the title) for how the other characters are fleshed out too, for how they recognize and acknowledge the relationship between Viktor and Yuuri. There is a similar kind of realism going on in Collectors. There is a feeling of the world actually existing.Â
Collectors gives attention to the tender moments, the little things, that make a relationship, instead of it all being grand kisses in front of everyone or a emotionally charged graduation speech. There is no feeling of such performance. Even the fights in Collectors are realistic, not the kind formed from wacky misunderstandings, and in fact the kind with a proper resolution and not where they leave, and then kiss and make up but the problem still exists.Â
#yuri#lgbt#yuri manga#collectors manga#philosophia#pulse manga#gunjo#octave#murcielago#lonely wolf lonely sheep#rock it girl!!#sweet guilty love bites#gouhou yuri fuufu hon
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Websites for Hour of Code by Grade
This December will again host the Hour of Code, a one-hour introduction to programming designed to demystify the subject and show that anyone can be a maker, a creator, and an innovator. Last year, almost 300,000 students (age 4-104) participated from over 180 countries and wrote almost 20 billion lines of code. The 200,000+ teachers involved came away believing that, of all their education tools, coding was the best at teaching children to think. Itâs easy to see why when you look at fundamental programming concepts:
abstraction and symbolism â variables are common in math, but also in education. Tools, toolbars, icons, images all represent something bigger
creativity â think outside the box
if-then thinking â actions have consequences
debugging â write-edit-rewrite; try, fail, try again. When you make a mistake, donât give up or call an expert. Look at what happened and fix where it went wrong.
logic â go through a problem from A to Z
sequencing â know what happens when
If youâre planning to participate in Hour of Code, here are a series of activities â broken down by grade â that will kickstart your effort. They can be done individually or in small groups.
Introduce each of these activities by watching âI Like Programmingâ, a video that discusses why the great programmers of our time fell in love with this activity.
**Grade-levels below are guidelines. Feel free to use whichever project fits your students.
Kindergarten â Human Robot
Start young programmers by teaching sequencing. Show images of stages in, say, their morning preparations. Ask them to organize the list in the order completed as they get ready for school. Call it âsequencingâ and expect them to use this domain-specific word.
Next, pick an activity from the sequence â say, walking into the classroom and sitting down. Use yourself as a model of how to perform that activity and ask students for specific directions on how you would complete this task. For example:
Move right foot, then left, 4 times.
Turn right; walk 4 steps.
Turn around (left and left again).
Drop backpack to floor (or place under chair).
Sit
Only do what they tell you. For example, if they say âwalk to the chairâ, look confused. They havenât provided enough direction. They must âdebugâ the âscriptâ and try again.
First Grade â Follow one of the free online Hour of Code activities
Using activities offered on websites like Code.org, Kodable, or Tynker is the easiest way to get involved as the site does the planning for you. Before starting, review the digital citizenship associated with visiting an online site (such as privacy, staying on the assigned website, and not talking to strangers).
Instead of following a pre-planned activity, try one of these sites that introduce age-appropriate programming:
Scratch Jr.
Tinkercad
If you use iPads, here are some great options:
Cargo-Bot
Daisy the Dinosaur
For more suggestions, hereâs a list of coding websites. Scroll to the section for first grade.
Second Grade â Animation
Use a free program like Pivot Stick Figure Animator or Stickman to program a stick figure. Both are simple to use, but offer different options. Preview them first to pick the one best suited to your student group.
Pivot Stick Figure is a download. Students program a stick figure to do pretty much anything they want by adjusting the âjointsâ in his body
Draw a Stickman is a web-based tool or app that turns a simple drawing into a story by asking questions of the creator. Students draw an image; the site animates it and then asks questions as the figure moves, requiring students to add detail to the Stickmanâs adventure. They can pick from several story themes in creating their finished story.
If you use iPads, try Stick Nodes or Stickman.
Third Grade â Pixel Art
Pixel Art is the blocky drawing that is most famous for appearing in Minecraft. For this project, students will use a spreadsheet program.
Open the spreadsheet program you use in your school (Google Sheets, Excel, or another). Show students how to turn the cells into squares rather than rectangles by doing the following (or watch this video):
Select all cells by grabbing the box that sits at the intersection of the rows and columns
Drag a column headerâs edge to resize the column width to match the row height.
Students now write directions for which color is poured into what squares to create their drawing. For example:
Blue: Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â A1, B1, C1, D1, G1, H1, I1, J1, A2, B2, I2, J2, A3, J3, A5, A6, A7, A8, A9, A10,
When done, students have a neighbor test the directions to see if they can create the intended drawing.
Fourth Grade â Shortkeys
By fourth grade, students appreciate technology for how it can speed up their classwork and will seek out ways to use it for that purpose. Creating a shortkey is a quick and easy way to complete repetitive activities and will become a favorite with students. If necessary, adapt the following Windows/iPad directions to the device used in your school:
Go to Start
Right click on the desired program (either a program or a tool is fine)
Select âpropertiesâ
Click in âshortcutâ
Push key combination you want to use, say, Ctrl+Alt+S
Save
On iPads, these are called âhotkeysâ:
Go to Settings > General Settings > Keyboard Settings.
Scroll down and click âadd new shortcut.â
Popular shortkeys are to open programs, activate tools, and take screenshots using the digital deviceâs native tool.
Fifth Grade â Macros
Creating macros gives students an easy way to add a standards-based heading or any other repetitive task required for their schoolwork without having to retype it each time. Adapt these MS Word directions to your digital device:
Click View â Macrosâ Record Macros.
Specify a name for the macro.
Choose whether it should be a keyboard shortcut or a button.
Once you click OK, notice your mouse looks like a cassette tape, indicating that anything you click will be part of the macro. Click all elements you would like to be part of your macro.
Stop recording by clicking View â Stop Recording.
Click for a video on how to create macros.
Sixth-Seventh Grade â Code a WidgetÂ
Widgets are free, personalized mini-apps that do almost anything the user can program, from calculating the calories in a recipe to solving complex problems. Students can browse Wolfram/Alphaâs gallery for a widget that fits their need and embed the code into their personal website, or build their own widget from scratch using Wolfram Alphaâs Builder tool. The level of difficulty will determine how long it takes.
Click to view slideshow.
Eighth Grade  â Alice
Alice is a free downloadable programming tool for 8th grade and above that shows students how to create interactive stories, animations, and games. Besides Math Standards, Alice supports these Common Core writing skills:
8.3a Engage and orient the Alice world viewer by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.
8.3b Use narrative techniques in the Alice World, such as dialogue, pacing, description, and reflection, to develop experiences, events, and/or characters.
8.3c In Alice world dialogue and action, use a variety of transitions to convey sequence, signal shifts from one time frame or setting to another, and show relationships among experiences and events.
8.3d Use precision and appropriate tools throughout to convey events.
8.3e Provide a conclusion to the Alice world story that follows events.
Divide the class into groups. Have each group pick one of the following resources, preview it, and be prepared to share their thoughts and take questions from classmates:
basic Alice programming instructionsÂ
overview of Alice by Middle School students
Duke Universityâs Alice âGetting Startedâ videos are hereÂ
Next, groups open Alice and go through the tutorial by clicking âStart Tutorialâ in the Welcome to Alice dialogue box. When done, create an animated avatar as follows:
Choose âroomâ template, then âSetup Scene.â
Choose âclass Biped,â âclass Person,â then child, female, light and avatar that is shown.
Push OK until avatar appears in the room.
Using circle at avatarâs feet, turn him/her until s/he faces right, and then press âedit code.â
In tab that says âthis child/person,â click on heavy black arrow facing down. Then click arrow facing right to reach individual body parts. Choose a body part and give it direction. Run program to see results. Debug program if it doesnât work.
If students get stuck, they can go through Alice online documentation, Help files, or ask for assistance from classmates. Remind them not to give up. Keep making changes. It will work.
If you have time: In groups, students watch movie trailer of Despicable Me (or similar).  Analyze how avatars move their limbs, mouths, and how they walk. Compare this to humans. For example, which leg moves first? How do joints move? How do arms and legs move in relation to each other? Does body bob up-down or side-to-side as avatar moves? List the movements and then construct a walking avatar in Alice world.
Click to view slideshow.
***
Hereâs a collection that goes across grade levels:
Itâs designed to show that anyone can learn the basics to be a maker, a creator, and an innovator. Here are unusual projects (each, about one hour in length) you can use in your classroom to participate in this wildly popular event:
Alt Codes
IFTTT
QR codes
Wolfram Alpha widgets
Alt Codes
Grade level: 4-12
Alt codes are those symbols that are created by holding down the Alt key and pushing a series of numbers, like these for copyright and the Spanish question mark:
Alt + 0169 = Š
Alt+0191 = Âż
There are hundreds of them for PCs, Macs, and Chromebooks. Click the link for your digital device.
Tip: Press the ALT key. While it is pressed, put in the numbers from your NUMBER PAD. It doesnât work using the numbers at the top of the keyboard. Make sure the NUM LOCK is on.
Wolfram/Alpha Widget
Grade level: 7-12
Widgets are free personalized mini-apps that can do almost anything the user can program, from calculating the calories in a recipe to solving complex problems. You can either browse Wolfram/Alphaâs gallery for a widget that fits your need and embed the code into your personal website, or you can build your own widget from scratch using their Builder tool. The level of difficulty will determine how long it takes so start simple during Hour of Code.
IFTTT
Grade level: 9-12
IFTTT allows users to create ârecipesâ to automate functions, such as being notified when the weather changes or the arrival of an event. It uses a simple statementâIF THIS THEN THAT. Users create a recipe by choosing a trigger channel from IFTTTâs library, then a trigger, and finally an action channel. For example:
IF they post a photo on Instagram THEN share it on Twitter
IF itâs going to rain tomorrow THEN send me a text message
IF my children are near home THEN turn on the lights
Click for more on IFTTT.
QR Codes
This is so simple, youâre going to love it:
Open the QR Code reader on your phone or mobile device.
Center the QR Code within the provided frame.
Once the code is read (which happens within seconds), it will automatically activate the data.
QR Codes can include data for almost anything. The tool you select will offer a list. Youâll check what you want to do and get started. Here are some of the options:
Website URL: Scanning this QR code will give you a prompt to open the website.
Telephone Number: Scanning this QR code will give you a prompt to call the number.
Plain Text: Scanning this QR code will give you a prompt to search the web using your default search provider in Safari.
SMS Message: Scanning this QR code will give you a prompt to compose the specified message to the specified number.
Email Address: Scanning this QR code will give you a prompt to compose an email to the specified email address.
Calendar Event: Scanning this QR code will give you a prompt to add the specified event to your calendar.
Location of event:Â Provide a large QR Code at the entrance to the school or event location with a map and directions to the room where it is located. Attendees merely scan the QR Code and follow the line that leads to the event.
There are dozens of ways to incorporate QR Codes into your classroom. Here are a few, starting with introducing it during Hour of Code:
Introduce QR Codes during Hour of Code to show students the basics of building a code and then using it.
Record voice instructions for a project; save it as an MP3 and turn it into a QR code.
Have new students follow a QR Code scavenger hunt to find all the important places in the school (with their parents if you do it for Back to School Night). That makes all of that information available on their phones for later use.
Add QR codes to homework sheets that link to help. For example, if the student forgets how to solve a math problem, the QR code will take them to help.
Embed concert programs, directions for station activities, and parent contact information as QR Codes instead of printing
For high school students: Â Create their resume with a QR Code. They can easily share it with everyone, include it on a business card, or send it in an email. The recipient will automatically have it on their mobile deviceâno worries about losing it.
For a school art display: Include all data on the student artist in a QR Code. It is small and doesnât distract from the glorious artwork being presented.
Record students reading a short story and embed it into a QR Code. Post these on a gallery in your classroom where students can stop and visit anytime for a quick story read by their classmates.
Have students draw a picture of themselves with a QR code over their belly. On the QR Code, theyâll type about themselves with at least one fascinating fact most classmates wouldnât know. Let students scan these with their iPads or another digital device to find out more about their new classmates.
***
What are you doing for Hour of Code? Share your projects in the comments.
More on Hour of Code:
Lesson plan bundle for Hour of Code
Hour of Code: Scratch Jr.
Hour of CodeâWhy Not
Jacqui Murray has been teaching K-18 technology for 30 years. She is the editor/author of over a hundred tech ed resources including a K-12 technology curriculum, K-8 keyboard curriculum, K-8 Digital Citizenship curriculum. She is an adjunct professor in tech ed, Master Teacher, webmaster for four blogs, an Amazon Vine Voice, CSTA presentation reviewer, freelance journalist on tech ed topics, contributor to NEA Today and author of the tech thrillers, To Hunt a Sub and Twenty-four Days. You can find her resources at Structured Learning.
Websites for Hour of Code by Grade published first on https://medium.com/@DLBusinessNow
0 notes
Text
Websites for Hour of Code by Grade
This December will again host the Hour of Code, a one-hour introduction to programming designed to demystify the subject and show that anyone can be a maker, a creator, and an innovator. Last year, almost 300,000 students (age 4-104) participated from over 180 countries and wrote almost 20 billion lines of code. The 200,000+ teachers involved came away believing that, of all their education tools, coding was the best at teaching children to think. Itâs easy to see why when you look at fundamental programming concepts:
abstraction and symbolism â variables are common in math, but also in education. Tools, toolbars, icons, images all represent something bigger
creativity â think outside the box
if-then thinking â actions have consequences
debugging â write-edit-rewrite; try, fail, try again. When you make a mistake, donât give up or call an expert. Look at what happened and fix where it went wrong.
logic â go through a problem from A to Z
sequencing â know what happens when
If youâre planning to participate in Hour of Code, here are a series of activities â broken down by grade â that will kickstart your effort. They can be done individually or in small groups.
Introduce each of these activities by watching âI Like Programmingâ, a video that discusses why the great programmers of our time fell in love with this activity.
**Grade-levels below are guidelines. Feel free to use whichever project fits your students.
Kindergarten â Human Robot
Start young programmers by teaching sequencing. Show images of stages in, say, their morning preparations. Ask them to organize the list in the order completed as they get ready for school. Call it âsequencingâ and expect them to use this domain-specific word.
Next, pick an activity from the sequence â say, walking into the classroom and sitting down. Use yourself as a model of how to perform that activity and ask students for specific directions on how you would complete this task. For example:
Move right foot, then left, 4 times.
Turn right; walk 4 steps.
Turn around (left and left again).
Drop backpack to floor (or place under chair).
Sit
Only do what they tell you. For example, if they say âwalk to the chairâ, look confused. They havenât provided enough direction. They must âdebugâ the âscriptâ and try again.
First Grade â Follow one of the free online Hour of Code activities
Using activities offered on websites like Code.org, Kodable, or Tynker is the easiest way to get involved as the site does the planning for you. Before starting, review the digital citizenship associated with visiting an online site (such as privacy, staying on the assigned website, and not talking to strangers).
Instead of following a pre-planned activity, try one of these sites that introduce age-appropriate programming:
Scratch Jr.
Tinkercad
If you use iPads, here are some great options:
Cargo-Bot
Daisy the Dinosaur
For more suggestions, hereâs a list of coding websites. Scroll to the section for first grade.
Second Grade â Animation
Use a free program like Pivot Stick Figure Animator or Stickman to program a stick figure. Both are simple to use, but offer different options. Preview them first to pick the one best suited to your student group.
Pivot Stick Figure is a download. Students program a stick figure to do pretty much anything they want by adjusting the âjointsâ in his body
Draw a Stickman is a web-based tool or app that turns a simple drawing into a story by asking questions of the creator. Students draw an image; the site animates it and then asks questions as the figure moves, requiring students to add detail to the Stickmanâs adventure. They can pick from several story themes in creating their finished story.
If you use iPads, try Stick Nodes or Stickman.
Third Grade â Pixel Art
Pixel Art is the blocky drawing that is most famous for appearing in Minecraft. For this project, students will use a spreadsheet program.
Open the spreadsheet program you use in your school (Google Sheets, Excel, or another). Show students how to turn the cells into squares rather than rectangles by doing the following (or watch this video):
Select all cells by grabbing the box that sits at the intersection of the rows and columns
Drag a column headerâs edge to resize the column width to match the row height.
Students now write directions for which color is poured into what squares to create their drawing. For example:
Blue: Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â A1, B1, C1, D1, G1, H1, I1, J1, A2, B2, I2, J2, A3, J3, A5, A6, A7, A8, A9, A10,
When done, students have a neighbor test the directions to see if they can create the intended drawing.
Fourth Grade â Shortkeys
By fourth grade, students appreciate technology for how it can speed up their classwork and will seek out ways to use it for that purpose. Creating a shortkey is a quick and easy way to complete repetitive activities and will become a favorite with students. If necessary, adapt the following Windows/iPad directions to the device used in your school:
Go to Start
Right click on the desired program (either a program or a tool is fine)
Select âpropertiesâ
Click in âshortcutâ
Push key combination you want to use, say, Ctrl+Alt+S
Save
On iPads, these are called âhotkeysâ:
Go to Settings > General Settings > Keyboard Settings.
Scroll down and click âadd new shortcut.â
Popular shortkeys are to open programs, activate tools, and take screenshots using the digital deviceâs native tool.
Fifth Grade â Macros
Creating macros gives students an easy way to add a standards-based heading or any other repetitive task required for their schoolwork without having to retype it each time. Adapt these MS Word directions to your digital device:
Click View â Macrosâ Record Macros.
Specify a name for the macro.
Choose whether it should be a keyboard shortcut or a button.
Once you click OK, notice your mouse looks like a cassette tape, indicating that anything you click will be part of the macro. Click all elements you would like to be part of your macro.
Stop recording by clicking View â Stop Recording.
Click for a video on how to create macros.
Sixth-Seventh Grade â Code a WidgetÂ
Widgets are free, personalized mini-apps that do almost anything the user can program, from calculating the calories in a recipe to solving complex problems. Students can browse Wolfram/Alphaâs gallery for a widget that fits their need and embed the code into their personal website, or build their own widget from scratch using Wolfram Alphaâs Builder tool. The level of difficulty will determine how long it takes.
Click to view slideshow.
Eighth Grade  â Alice
Alice is a free downloadable programming tool for 8th grade and above that shows students how to create interactive stories, animations, and games. Besides Math Standards, Alice supports these Common Core writing skills:
8.3a Engage and orient the Alice world viewer by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.
8.3b Use narrative techniques in the Alice World, such as dialogue, pacing, description, and reflection, to develop experiences, events, and/or characters.
8.3c In Alice world dialogue and action, use a variety of transitions to convey sequence, signal shifts from one time frame or setting to another, and show relationships among experiences and events.
8.3d Use precision and appropriate tools throughout to convey events.
8.3e Provide a conclusion to the Alice world story that follows events.
Divide the class into groups. Have each group pick one of the following resources, preview it, and be prepared to share their thoughts and take questions from classmates:
basic Alice programming instructionsÂ
overview of Alice by Middle School students
Duke Universityâs Alice âGetting Startedâ videos are hereÂ
Next, groups open Alice and go through the tutorial by clicking âStart Tutorialâ in the Welcome to Alice dialogue box. When done, create an animated avatar as follows:
Choose âroomâ template, then âSetup Scene.â
Choose âclass Biped,â âclass Person,â then child, female, light and avatar that is shown.
Push OK until avatar appears in the room.
Using circle at avatarâs feet, turn him/her until s/he faces right, and then press âedit code.â
In tab that says âthis child/person,â click on heavy black arrow facing down. Then click arrow facing right to reach individual body parts. Choose a body part and give it direction. Run program to see results. Debug program if it doesnât work.
If students get stuck, they can go through Alice online documentation, Help files, or ask for assistance from classmates. Remind them not to give up. Keep making changes. It will work.
If you have time: In groups, students watch movie trailer of Despicable Me (or similar).  Analyze how avatars move their limbs, mouths, and how they walk. Compare this to humans. For example, which leg moves first? How do joints move? How do arms and legs move in relation to each other? Does body bob up-down or side-to-side as avatar moves? List the movements and then construct a walking avatar in Alice world.
Click to view slideshow.
***
Hereâs a collection that goes across grade levels:
Itâs designed to show that anyone can learn the basics to be a maker, a creator, and an innovator. Here are unusual projects (each, about one hour in length) you can use in your classroom to participate in this wildly popular event:
Alt Codes
IFTTT
QR codes
Wolfram Alpha widgets
Alt Codes
Grade level: 4-12
Alt codes are those symbols that are created by holding down the Alt key and pushing a series of numbers, like these for copyright and the Spanish question mark:
Alt + 0169 = Š
Alt+0191 = Âż
There are hundreds of them for PCs, Macs, and Chromebooks. Click the link for your digital device.
Tip: Press the ALT key. While it is pressed, put in the numbers from your NUMBER PAD. It doesnât work using the numbers at the top of the keyboard. Make sure the NUM LOCK is on.
Wolfram/Alpha Widget
Grade level: 7-12
Widgets are free personalized mini-apps that can do almost anything the user can program, from calculating the calories in a recipe to solving complex problems. You can either browse Wolfram/Alphaâs gallery for a widget that fits your need and embed the code into your personal website, or you can build your own widget from scratch using their Builder tool. The level of difficulty will determine how long it takes so start simple during Hour of Code.
IFTTT
Grade level: 9-12
IFTTT allows users to create ârecipesâ to automate functions, such as being notified when the weather changes or the arrival of an event. It uses a simple statementâIF THIS THEN THAT. Users create a recipe by choosing a trigger channel from IFTTTâs library, then a trigger, and finally an action channel. For example:
IF they post a photo on Instagram THEN share it on Twitter
IF itâs going to rain tomorrow THEN send me a text message
IF my children are near home THEN turn on the lights
Click for more on IFTTT.
QR Codes
This is so simple, youâre going to love it:
Open the QR Code reader on your phone or mobile device.
Center the QR Code within the provided frame.
Once the code is read (which happens within seconds), it will automatically activate the data.
QR Codes can include data for almost anything. The tool you select will offer a list. Youâll check what you want to do and get started. Here are some of the options:
Website URL: Scanning this QR code will give you a prompt to open the website.
Telephone Number: Scanning this QR code will give you a prompt to call the number.
Plain Text: Scanning this QR code will give you a prompt to search the web using your default search provider in Safari.
SMS Message: Scanning this QR code will give you a prompt to compose the specified message to the specified number.
Email Address: Scanning this QR code will give you a prompt to compose an email to the specified email address.
Calendar Event: Scanning this QR code will give you a prompt to add the specified event to your calendar.
Location of event:Â Provide a large QR Code at the entrance to the school or event location with a map and directions to the room where it is located. Attendees merely scan the QR Code and follow the line that leads to the event.
There are dozens of ways to incorporate QR Codes into your classroom. Here are a few, starting with introducing it during Hour of Code:
Introduce QR Codes during Hour of Code to show students the basics of building a code and then using it.
Record voice instructions for a project; save it as an MP3 and turn it into a QR code.
Have new students follow a QR Code scavenger hunt to find all the important places in the school (with their parents if you do it for Back to School Night). That makes all of that information available on their phones for later use.
Add QR codes to homework sheets that link to help. For example, if the student forgets how to solve a math problem, the QR code will take them to help.
Embed concert programs, directions for station activities, and parent contact information as QR Codes instead of printing
For high school students: Â Create their resume with a QR Code. They can easily share it with everyone, include it on a business card, or send it in an email. The recipient will automatically have it on their mobile deviceâno worries about losing it.
For a school art display: Include all data on the student artist in a QR Code. It is small and doesnât distract from the glorious artwork being presented.
Record students reading a short story and embed it into a QR Code. Post these on a gallery in your classroom where students can stop and visit anytime for a quick story read by their classmates.
Have students draw a picture of themselves with a QR code over their belly. On the QR Code, theyâll type about themselves with at least one fascinating fact most classmates wouldnât know. Let students scan these with their iPads or another digital device to find out more about their new classmates.
***
What are you doing for Hour of Code? Share your projects in the comments.
More on Hour of Code:
Lesson plan bundle for Hour of Code
Hour of Code: Scratch Jr.
Hour of CodeâWhy Not
Jacqui Murray has been teaching K-18 technology for 30 years. She is the editor/author of over a hundred tech ed resources including a K-12 technology curriculum, K-8 keyboard curriculum, K-8 Digital Citizenship curriculum. She is an adjunct professor in tech ed, Master Teacher, webmaster for four blogs, an Amazon Vine Voice, CSTA presentation reviewer, freelance journalist on tech ed topics, contributor to NEA Today and author of the tech thrillers, To Hunt a Sub and Twenty-four Days. You can find her resources at Structured Learning.
Websites for Hour of Code by Grade published first on https://medium.com/@DigitalDLCourse
0 notes
Text
Websites for Hour of Code by Grade
This December will again host the Hour of Code, a one-hour introduction to programming designed to demystify the subject and show that anyone can be a maker, a creator, and an innovator. Last year, almost 300,000 students (age 4-104) participated from over 180 countries and wrote almost 20 billion lines of code. The 200,000+ teachers involved came away believing that, of all their education tools, coding was the best at teaching children to think. Itâs easy to see why when you look at fundamental programming concepts:
abstraction and symbolism â variables are common in math, but also in education. Tools, toolbars, icons, images all represent something bigger
creativity â think outside the box
if-then thinking â actions have consequences
debugging â write-edit-rewrite; try, fail, try again. When you make a mistake, donât give up or call an expert. Look at what happened and fix where it went wrong.
logic â go through a problem from A to Z
sequencing â know what happens when
If youâre planning to participate in Hour of Code, here are a series of activities â broken down by grade â that will kickstart your effort. They can be done individually or in small groups.
Essential Question
How do I program a series of activities â and why?
Big Idea
I can break activities down into their most basic steps
Teacher Preparation
About 75 minutes â fifteen minutes prep and sixty for the coding activity that is part of Hour of Code.
Introduce each of these activities by watching âI Like Programmingâ, a video that discusses why the great programmers of our time fell in love with this activity.
**Grade-levels below are guidelines. Feel free to use whichever project fits your students.
Kindergarten â Human Robot
Start young programmers by teaching sequencing. Show images of stages in, say, their morning preparations. Ask them to organize the list in the order completed as they get ready for school. Call it âsequencingâ and expect them to use this domain-specific word.
Next, pick an activity from the sequence â say, walking into the classroom and sitting down. Use yourself as a model of how to perform that activity and ask students for specific directions on how you would complete this task. For example:
Move right foot, then left, 4 times.
Turn right; walk 4 steps.
Turn around (left and left again).
Drop backpack to floor (or place under chair).
Sit
Only do what they tell you. For example, if they say âwalk to the chairâ, look confused. They havenât provided enough direction. They must âdebugâ the âscriptâ and try again.
First Grade â Follow one of the free online Hour of Code activities
Using activities offered on websites like Code.org, Kodable, or Tynker is the easiest way to get involved as the site does the planning for you. Before starting, review the digital citizenship associated with visiting an online site (such as privacy, staying on the assigned website, and not talking to strangers).
Instead of following a pre-planned activity, try one of these sites that introduce age-appropriate programming:
Minecraft (especially if you have the education edition)
Scratch Jr.
Tinkercad
If you use iPads, here are some great options:
Cargo-Bot
Daisy the Dinosaur
For more suggestions, hereâs a list of coding websites. Scroll to the section for first grade.
Second Grade â Animation
Use a free program like Pivot Stick Figure Animator or Stickman to program a stick figure. Both are simple to use, but offer different options. Preview them first to pick the one best suited to your student group.
Pivot Stick Figure is a download. Students program a stick figure to do pretty much anything they want by adjusting the âjointsâ in his body
Draw a Stickman is a web-based tool or app that turns a simple drawing into a story by asking questions of the creator. Students draw an image; the site animates it and then asks questions as the figure moves, requiring students to add detail to the Stickmanâs adventure. They can pick from several story themes in creating their finished story.
If you use iPads, try Stick Nodes, Stickman, or Scribble Movie.
Third Grade â Pixel Art
Pixel Art is the blocky drawing that is most famous for appearing in Minecraft. For this project, students will use a spreadsheet program.
Open the spreadsheet program you use in your school (Google Sheets, Excel, or another). Show students how to turn the cells into squares rather than rectangles by doing the following (or watch this video):
Select all cells by grabbing the box that sits at the intersection of the rows and columns
Drag a column headerâs edge to resize the column width to match the row height.
Students now write directions for which color is poured into what squares to create their drawing. For example:
Blue: Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â A1, B1, C1, D1, G1, H1, I1, J1, A2, B2, I2, J2, A3, J3, A5, A6, A7, A8, A9, A10,
When done, students have a neighbor test the directions to see if they can create the intended drawing.
Fourth Grade â Shortkeys
By fourth grade, students appreciate technology for how it can speed up their classwork and will seek out ways to use it for that purpose. Creating a shortkey is a quick and easy way to complete repetitive activities and will become a favorite with students. If necessary, adapt the following Windows/iPad directions to the device used in your school:
Go to Start
Right click on the desired program (either a program or a tool is fine)
Select âpropertiesâ
Click in âshortcutâ
Push key combination you want to use, say, Ctrl+Alt+S
Save
On iPads, these are called âhotkeysâ:
Go to Settings > General Settings > Keyboard Settings.
Scroll down and click âadd new shortcut.â
Popular shortkeys are to open programs, activate tools, and take screenshots using the digital deviceâs native tool.
Fifth Grade â Macros
Creating macros gives students an easy way to add a standards-based heading or any other repetitive task required for their schoolwork without having to retype it each time. Adapt these MS Word directions to your digital device:
Click View â Macrosâ Record Macros.
Specify a name for the macro.
Choose whether it should be a keyboard shortcut or a button.
Once you click OK, notice your mouse looks like a cassette tape, indicating that anything you click will be part of the macro. Click all elements you would like to be part of your macro.
Stop recording by clicking View â Stop Recording.
Click for a video on how to create macros.
Sixth Grade â Build an App
If necessary, explain to students what an âappâ is and why they want to build one. For this project, follow the videos and directions included in MITâs App Inventor and create one (or all) beginning level apps such as:
TalkToMe Text-to-speech app
Extended TalkToMeâshake the phone!
BallBounce Game app
Digital Doodle drawing app
Here are three alternative popular app-creation sites:
Game SaladÂ
Apps GeyserÂ
TinyTap App
Donât expect students to complete this project during the Hour of Code. Expect only that they get started.
Seventh Grade â Code a WidgetÂ
Widgets are free, personalized mini-apps that do almost anything the user can program, from calculating the calories in a recipe to solving complex problems. Students can browse Wolfram/Alphaâs gallery for a widget that fits their need and embed the code into their personal website, or build their own widget from scratch using Wolfram Alphaâs Builder tool. The level of difficulty will determine how long it takes.
Click to view slideshow.
Eighth Grade  â Alice
Alice is a free downloadable programming tool for 8th grade and above that shows students how to create interactive stories, animations, and games. Besides Math Standards, Alice supports these Common Core writing skills:
8.3a Engage and orient the Alice world viewer by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.
8.3b Use narrative techniques in the Alice World, such as dialogue, pacing, description, and reflection, to develop experiences, events, and/or characters.
8.3c In Alice world dialogue and action, use a variety of transitions to convey sequence, signal shifts from one time frame or setting to another, and show relationships among experiences and events.
8.3d Use precision and appropriate tools throughout to convey events.
8.3e Provide a conclusion to the Alice world story that follows events.
Divide the class into groups. Have each group pick one of the following resources, preview it, and be prepared to share their thoughts and take questions from classmates:
basic Alice programming instructionsÂ
overview of Alice by Middle School students
Duke Universityâs Alice âGetting Startedâ videos are hereÂ
Next, groups open Alice and go through the tutorial by clicking âStart Tutorialâ in the Welcome to Alice dialogue box. When done, create an animated avatar as follows:
Choose âroomâ template, then âSetup Scene.â
Choose âclass Biped,â âclass Person,â then child, female, light and avatar that is shown.
Push OK until avatar appears in the room.
Using circle at avatarâs feet, turn him/her until s/he faces right, and then press âedit code.â
In tab that says âthis child/person,â click on heavy black arrow facing down. Then click arrow facing right to reach individual body parts. Choose a body part and give it direction. Run program to see results. Debug program if it doesnât work.
If students get stuck, they can go through Alice online documentation, Help files, or ask for assistance from classmates. Remind them not to give up. Keep making changes. It will work.
If you have time: In groups, students watch movie trailer of Despicable Me (or similar).  Analyze how avatars move their limbs, mouths, and how they walk. Compare this to humans. For example, which leg moves first? How do joints move? How do arms and legs move in relation to each other? Does body bob up-down or side-to-side as avatar moves? List the movements and then construct a walking avatar in Alice world.
Click to view slideshow.
***
What are you doing for Hour of Code? Share your projects in the comments.
âpublished first on TeachHUB
More on Hour of Code:
Lesson plan bundle for Hour of Code
Hour of Code: Scratch Jr.
Hour of CodeâWhy Not
Jacqui Murray has been teaching K-8 technology for 15 years. She is the editor/author of over a hundred tech ed resources including a K-8 technology curriculum, K-8 keyboard curriculum, K-8 Digital Citizenship curriculum. She is an adjunct professor in tech ed, CSG Master Teacher, webmaster for four blogs, an Amazon Vine Voice book reviewer, CAEP reviewer, CSTA presentation reviewer, freelance journalist on tech ed topics, and a weekly contributor to TeachHUB. You can find her resources at Structured Learning.
Websites for Hour of Code by Grade published first on http://ift.tt/2iEL915
0 notes
Text
Websites for Hour of Code by Grade
This December will again host the Hour of Code, a one-hour introduction to programming designed to demystify the subject and show that anyone can be a maker, a creator, and an innovator. Last year, almost 300,000 students (age 4-104) participated from over 180 countries and wrote almost 20 billion lines of code. The 200,000+ teachers involved came away believing that, of all their education tools, coding was the best at teaching children to think. Itâs easy to see why when you look at fundamental programming concepts:
abstraction and symbolism â variables are common in math, but also in education. Tools, toolbars, icons, images all represent something bigger
creativity â think outside the box
if-then thinking â actions have consequences
debugging â write-edit-rewrite; try, fail, try again. When you make a mistake, donât give up or call an expert. Look at what happened and fix where it went wrong.
logic â go through a problem from A to Z
sequencing â know what happens when
If youâre planning to participate in Hour of Code, here are a series of activities â broken down by grade â that will kickstart your effort. They can be done individually or in small groups.
Essential Question
How do I program a series of activities â and why?
Big Idea
I can break activities down into their most basic steps
Teacher Preparation
About 75 minutes â fifteen minutes prep and sixty for the coding activity that is part of Hour of Code.
Introduce each of these activities by watching âI Like Programmingâ, a video that discusses why the great programmers of our time fell in love with this activity.
**Grade-levels below are guidelines. Feel free to use whichever project fits your students.
Kindergarten â Human Robot
Start young programmers by teaching sequencing. Show images of stages in, say, their morning preparations. Ask them to organize the list in the order completed as they get ready for school. Call it âsequencingâ and expect them to use this domain-specific word.
Next, pick an activity from the sequence â say, walking into the classroom and sitting down. Use yourself as a model of how to perform that activity and ask students for specific directions on how you would complete this task. For example:
Move right foot, then left, 4 times.
Turn right; walk 4 steps.
Turn around (left and left again).
Drop backpack to floor (or place under chair).
Sit
Only do what they tell you. For example, if they say âwalk to the chairâ, look confused. They havenât provided enough direction. They must âdebugâ the âscriptâ and try again.
First Grade â Follow one of the free online Hour of Code activities
Using activities offered on websites like Code.org, Kodable, or Tynker is the easiest way to get involved as the site does the planning for you. Before starting, review the digital citizenship associated with visiting an online site (such as privacy, staying on the assigned website, and not talking to strangers).
Instead of following a pre-planned activity, try one of these sites that introduce age-appropriate programming:
Minecraft (especially if you have the education edition)
Scratch Jr.
Tinkercad
If you use iPads, here are some great options:
Cargo-Bot
Daisy the Dinosaur
For more suggestions, hereâs a list of coding websites. Scroll to the section for first grade.
Second Grade â Animation
Use a free program like Pivot Stick Figure Animator or Stickman to program a stick figure. Both are simple to use, but offer different options. Preview them first to pick the one best suited to your student group.
Pivot Stick Figure is a download. Students program a stick figure to do pretty much anything they want by adjusting the âjointsâ in his body
Draw a Stickman is a web-based tool or app that turns a simple drawing into a story by asking questions of the creator. Students draw an image; the site animates it and then asks questions as the figure moves, requiring students to add detail to the Stickmanâs adventure. They can pick from several story themes in creating their finished story.
If you use iPads, try Stick Nodes, Stickman, or Scribble Movie.
Third Grade â Pixel Art
Pixel Art is the blocky drawing that is most famous for appearing in Minecraft. For this project, students will use a spreadsheet program.
Open the spreadsheet program you use in your school (Google Sheets, Excel, or another). Show students how to turn the cells into squares rather than rectangles by doing the following (or watch this video):
Select all cells by grabbing the box that sits at the intersection of the rows and columns
Drag a column headerâs edge to resize the column width to match the row height.
Students now write directions for which color is poured into what squares to create their drawing. For example:
Blue: Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â A1, B1, C1, D1, G1, H1, I1, J1, A2, B2, I2, J2, A3, J3, A5, A6, A7, A8, A9, A10,
When done, students have a neighbor test the directions to see if they can create the intended drawing.
Fourth Grade â Shortkeys
By fourth grade, students appreciate technology for how it can speed up their classwork and will seek out ways to use it for that purpose. Creating a shortkey is a quick and easy way to complete repetitive activities and will become a favorite with students. If necessary, adapt the following Windows/iPad directions to the device used in your school:
Go to Start
Right click on the desired program (either a program or a tool is fine)
Select âpropertiesâ
Click in âshortcutâ
Push key combination you want to use, say, Ctrl+Alt+S
Save
On iPads, these are called âhotkeysâ:
Go to Settings > General Settings > Keyboard Settings.
Scroll down and click âadd new shortcut.â
Popular shortkeys are to open programs, activate tools, and take screenshots using the digital deviceâs native tool.
Fifth Grade â Macros
Creating macros gives students an easy way to add a standards-based heading or any other repetitive task required for their schoolwork without having to retype it each time. Adapt these MS Word directions to your digital device:
Click View â Macrosâ Record Macros.
Specify a name for the macro.
Choose whether it should be a keyboard shortcut or a button.
Once you click OK, notice your mouse looks like a cassette tape, indicating that anything you click will be part of the macro. Click all elements you would like to be part of your macro.
Stop recording by clicking View â Stop Recording.
Click for a video on how to create macros.
Sixth Grade â Build an App
If necessary, explain to students what an âappâ is and why they want to build one. For this project, follow the videos and directions included in MITâs App Inventor and create one (or all) beginning level apps such as:
TalkToMe Text-to-speech app
Extended TalkToMeâshake the phone!
BallBounce Game app
Digital Doodle drawing app
Here are three alternative popular app-creation sites:
Game SaladÂ
Apps GeyserÂ
TinyTap App
Donât expect students to complete this project during the Hour of Code. Expect only that they get started.
Seventh Grade â Code a WidgetÂ
Widgets are free, personalized mini-apps that do almost anything the user can program, from calculating the calories in a recipe to solving complex problems. Students can browse Wolfram/Alphaâs gallery for a widget that fits their need and embed the code into their personal website, or build their own widget from scratch using Wolfram Alphaâs Builder tool. The level of difficulty will determine how long it takes.
Click to view slideshow.
Eighth Grade  â Alice
Alice is a free downloadable programming tool for 8th grade and above that shows students how to create interactive stories, animations, and games. Besides Math Standards, Alice supports these Common Core writing skills:
8.3a Engage and orient the Alice world viewer by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.
8.3b Use narrative techniques in the Alice World, such as dialogue, pacing, description, and reflection, to develop experiences, events, and/or characters.
8.3c In Alice world dialogue and action, use a variety of transitions to convey sequence, signal shifts from one time frame or setting to another, and show relationships among experiences and events.
8.3d Use precision and appropriate tools throughout to convey events.
8.3e Provide a conclusion to the Alice world story that follows events.
Divide the class into groups. Have each group pick one of the following resources, preview it, and be prepared to share their thoughts and take questions from classmates:
basic Alice programming instructionsÂ
overview of Alice by Middle School students
Duke Universityâs Alice âGetting Startedâ videos are hereÂ
Next, groups open Alice and go through the tutorial by clicking âStart Tutorialâ in the Welcome to Alice dialogue box. When done, create an animated avatar as follows:
Choose âroomâ template, then âSetup Scene.â
Choose âclass Biped,â âclass Person,â then child, female, light and avatar that is shown.
Push OK until avatar appears in the room.
Using circle at avatarâs feet, turn him/her until s/he faces right, and then press âedit code.â
In tab that says âthis child/person,â click on heavy black arrow facing down. Then click arrow facing right to reach individual body parts. Choose a body part and give it direction. Run program to see results. Debug program if it doesnât work.
If students get stuck, they can go through Alice online documentation, Help files, or ask for assistance from classmates. Remind them not to give up. Keep making changes. It will work.
If you have time: In groups, students watch movie trailer of Despicable Me (or similar).  Analyze how avatars move their limbs, mouths, and how they walk. Compare this to humans. For example, which leg moves first? How do joints move? How do arms and legs move in relation to each other? Does body bob up-down or side-to-side as avatar moves? List the movements and then construct a walking avatar in Alice world.
Click to view slideshow.
***
What are you doing for Hour of Code? Share your projects in the comments.
âpublished first on TeachHUB
More on Hour of Code:
Lesson plan bundle for Hour of Code
Hour of Code: Scratch Jr.
Hour of CodeâWhy Not
Jacqui Murray has been teaching K-8 technology for 15 years. She is the editor/author of over a hundred tech ed resources including a K-8 technology curriculum, K-8 keyboard curriculum, K-8 Digital Citizenship curriculum. She is an adjunct professor in tech ed, CSG Master Teacher, webmaster for four blogs, an Amazon Vine Voice book reviewer, CAEP reviewer, CSTA presentation reviewer, freelance journalist on tech ed topics, and a weekly contributor to TeachHUB. You can find her resources at Structured Learning.
Websites for Hour of Code by Grade published first on http://ift.tt/2x0Vr0e
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ART OF THE CUT with the editor of âWar for the Planet of the Apesâ
William Hoy, ACE got into the editorâs seat on feature films back in the mid-â80s. One of his first major feature films was Dances With Wolves. Since then heâs edited a string of box office and critically acclaimed hit films: Star Trek VI: The Undiscovered Country, Patriot Games, Se7en, The Man in the Iron Mask, The Bone Collector, Dawn of the Dead, Fantastic Four, 300, Watchmen, and Dawn of the Planet of the Apes. Art of the Cut caught up with William recently to discuss his work on War for the Planet of the Apes.
HULLFISH: The ape performances were obviously motion capture. What was the workflow for editing?
HOY: The genius of WETA (the visual effects company responsible for the motion capture, animation and VFX rendering) is that they can translate a human face into a simian face. If you see the motion capture performance side by side with the final animation, youâll absolutely see every nuance that Andy Serkis had. Every little twitch. Every subtle look. The tear falling â they matched the tear falling off â that was CG but that is entirely Andyâs performance. As Matt (director, Matt Reeves) and I go through the picture, we choose the actorâs performance. This picture is different in motion capture from some other ones that I know of because the motion capture on others are shot within a virtual set, so the actors arenât performing in the real environment. We were actually shooting scenes in the forest. We had all these âwitness camsâ that capture the action of the apes and then there were also cameras on their faces and they have dots all over their face and they are wearing these sensors on these gray spandex suits that looked like gray pajamas. But weâre on location and Serkis has to walk like an ape. He has to do all of the physicality of an ape. Right before picture started, Terry Notary â who was also in Rise and Dawn as Rocket â he runs Ape school. So any new actors go to this school and he teaches them how to move. They have these crutches so their movements simulate quadrupeding of apes.
All of that goes to WETA who translates their performances. The translation is amazing and itâs only gotten better through each of these pictures from Rise to Dawn. So I would come in in the morning â because WETA is in New Zealand â and I would see these shots that have come in overnight and I would be so moved because you can actually see the emotion in the performances. These apes in the animation had the performance that we originally chose from the actor. When I first started seeing the nuance coming in on this particular film, it was at another level which really was breathtaking. So the performances of our actors is basically what we work with. A huge part of the budget on this picture is visual effects and almost all of it was dedicated to performance. So thatâs why I wanted to return to work another one. There is also the collaboration with Matt Reeves. Itâs become easier because thereâs a bit of shorthand. So I can actually take a performance and slap it on the side of captured performerâs head and Matt can look at it and understand what heâs eventually going to get.
HULLFISH: So beyond that shorthand, do you find any other value to working with the same director/editorial team?
HOY: The big thing is that the director has confidence that youâve been diligent about choosing the right performance and that you didnât say, âI cut in the last take because I thought thatâs what you were going for.â On the first one it took a while for him to trust me in that way because heâs very very meticulous. We would go through each scene and take, but on this one he accepted some of the takes that I chose without asking to look at them all again. He would say, âOh yeah. That is the best one. I remember that.â And we could move on and spend time solving bigger problems, which is a real help because the picture was so complicated.
We shot a lot in the Pacific Northwest forest, but we also did shoot on the motion capture stage. So while they were shooting, Iâm on location, but Iâm actually in my editing room cutting the picture, so to spend time on the set means time away from putting the picture together. When they shot on the motion capture stage â which was very close to where the cutting rooms were â it gave me an opportunity to go down there and see how things are shaping up to see if I have something to add that early on because a lot of times those scenes havenât been put together.
On this particular picture we held out three weeks of motion capture to be shot later because we knew we wanted to visualize some scenes first and see how everything fits in. And we knew we would want to tweak things so there were certain scenes that werenât entirely shot in the first pass. So we waited until the picture was together and then we shot motion capture here in L.A. and I was on the set for that. We actually had our Avids out on the motion capture stage. So we could see that we need characters to run quicker or a certain character needs to enter here or for a certain performance because we need these interconnecting pieces. Thereâs also scenes that we had to reimagine in the cutting room, Matt and I. And so those are the scenes that we talked out extensively.
For example, âwhat if we just had Caesar come down the mountain here and he slid?â Because I have this amazing wide shot and wouldnât it be nice if he slid down the mountain and caused this slight avalanche, which is kind of a precursor to what comes later? So we captured Andy doing this action on the stage. Without that, it might come out of the blue. If we had that happen, we know that the snow was unstable so WETA put in a little break in the snow.
HULLFISH:Â So you actually started by cutting using the motion capture footage?
HOY: Absolutely so. I start editing the picture as soon as they finish shooting a scene with our human and motion capture actors and began crafting that scene into what I hope it ultimately would be. But in the meantime we need to begin to turn some of these visual effects over because they just take so long. And you canât jam up WETAâs pipeline all at once: say, âOK, weâre done with the locked picture. Here are 1,400 shots.â Itâs not going to happen. So we segment out with a schedule of what WETA can handle and what scenes are first. Then we would focus our attention on those scenes. We had the luxury of actually putting the picture together on this one and we could turn it over as soon as soon as Matt saw the picture, which was two weeks after we came back from location. So right after that, there were some scenes that he was happy with already, so we could send those out.
I should add to that I was on location on my own and put most of the picture together then Stan Salfas, who also worked on the last one, came onboard in Los Angeles a few weeks before we came back from location. Because the picture was so demanding â as far as time is concerned â Iâd come in the morning and look at shots and then Matt would come in, weâd look at them together, discuss the progress of each shot and then weâd work on scenes together. Matt broke for dinner at about 7:00 or 8:00 and Iâd continue to complete my work for the day. He would work with Stan until midnight. Heâs the hardest working guy on the picture.
Youâre right as far as: how do you visualize some of these performances? When theyâre rendered, the performances begin to transform. We have complete faith in WETA, but you never know exactly what youâre going to get, so we have a tendency to leave things just a little long if we can â just a few frames, but when there is an action match or something like that thereâs nothing you can do. We just go on the faith that we picked the right frame.
As the picture evolves, and you begin to see some of these rendered apes in their final form, we found that we could drop some of the music, because we didnât need that music to tell us how to feel about the apes at this point in the story. When weâre at a more primitive state, technically, we had a tendency to load the picture up with temp music. But when we came to the final mix, we started stripping out music and just letting these characters play, because theyâre so real and they give you everything you would want from an actor. You just look in their eyes and say, âOh My God! I get it!â We donât need all this dressing. As a matter of fact, sometimes the music made it too melodramatic. Sometimes it telegraphed an idea. So we were kind of showing our hand before the climax or the point of the scene.
We put this together with motion capture characters and then we have to screen it. So I look at it with Matt and he says, âYeah thatâs working pretty good.â But how do we represent this in a screening? The characters are looking the wrong way or we had elements of a scene that did not exist at that point. We had VFX editors who would actually cut heads out and put it in where needed. We know that ultimately WETA is going to make that seamless. But, how do you show that to the studio? How do you show that to an audience and get the emotional reaction that you want? So thereâs another step which doesnât lead to the final step, but itâs a side step that we need to take because none of this will end up in the final, itâs just for screening. Our VFX producer, Ryan Stafford, knew this from working on Rise and Dawn. He knew to have a whole crew of post-viz artists, so they could depict these in more detail.
We had what we call âape puppetsâ â something to represent a character be it Caesar if heâs riding a horse â we were able to put this ape puppet on there and put âCaesarâ on his chest, and have him riding on the horse. Ultimately we know thatâs going to be a photo-real Caesar riding on that horse. But these are the interim steps we have to take to show it to someone before we start getting the shots back from WETA.
WETA delivers different iterations of the animation. The first is whatâs called blocking. So, theyâre WETAâs puppets in the position with the right movement and then we can see if one shots matching into another as far as movement is concerned. And then they go into animation, where they start doing the facial features and the actual emotions of the character. And all through this process we sit and and talk to WETA for hours at a time each day. Mattâs sitting there. Heâs talking to them about the details of a shot and what he wants out of Andyâs performance and almost all of the time Matt is referring back to Andyâs actual performance, like, âHeâs just sadder in this shot. He just has this very subtle sadness in his eyes.â Somehow we have to capture that. So then WETA goes in and put just a little glazing on his eyes, like heâs been tearing up, or heâs about to, details like that. Matt wanted to preserve the performances of our actors who were pretty phenomenal.
HULLFISH: Iâve talked to several editors who said that they were able to cut lines from the script once they saw the performance of the actor. The actor can tell you something in a look or an expression that makes the scripted line superfluous. Were you finding the same thing when you were getting back these expressive WETA ape shots?
HOY: Yes. And that goes for the music and goes with entire scenes. With this movie, thereâs not a lot of dialogue going on. The ape and the humans are connecting by just looking, and so weâre relying heavily on CGI characters. Itâs a pretty amazing thing. We go through the picture and say, âAre we being redundant saying this again and again? Weâve mentioned it three times.â Thereâs that rule that if you repeat it three times, the audience will get it, but there are times you need to break that rule, because otherwise it can feel like, âHe was really heavy-handed in this. I get it. I get what heâs going for.â
We have a scene where our main characters are saying goodbye to each other, but we found that at that moment it was slowing down the action. Not only that it, but it becomes redundant because that happens again later. It was one of my favorite moments by the two actors, but it was really slowing us down. So then you lose that. But you only know that once you see the picture as a whole. When you read the script you say, âOh yeah. We need that because those two characters are the bedrock of this whole franchise.â But then you say, âNo, we donât. Because at this moment we donât care about this. This is whatâs going on at this moment, so we want to get past this. What is the important thing here? Itâs Caesarâs quest at that moment.â And so we want to simplify it and refine it to that point where we modified the scene. So yes: we did lose lines for sure⌠entire scenes.
I agree about what you said earlier: that if you have great actors, they can say so much with just their face â with just that performance. Thatâs what can eliminate an entire scene. If you cut from his reaction and his reaction then tells you what the next scene was going to be about. When you read the script you think, âOh my God. We need to see our hero get angry and then go on the road.â OK. But I have it in this close up. I have it and I can just cut this entire scene right out of the movie. What Iâm left with, if I cut him at the right moment, heâs fuming heâs holding his son and heâs worried for the fate of his people.
Andy Serkis on the set of Twentieth Century Foxâs âWar for the Planet of the Apes.â
And thatâs what the next scene was about. But he already said it â not in so many words: Iâm worried for the fate of my people but I have to go and do this. But he says it all with his face and you understand that when we come to the next scene and you see what heâs doing you realize, âI donât need that scene to tell us this.â With a script you want things laid out for you sometimes. I think the written word is different than film obviously because you get so much out as youâre watching. Youâre forming all these ideas and it points to one direction. I think as an audience we are very impatient to get moving. Thereâs a tendency to try to repeat things to make sure the audience gets it⌠but yeah, I got it⌠move on.
HULLFISH: Exactly. Youâve worked on a lot of action and VFX pictures, but the only way to get these pictures to work is through the performances and the emotion, and caring about character, right?
HOY: You know we have a tendency as editors to get typecast in a certain way. Iâm proud that Iâve done a bunch of FX or action movies. But thereâs something that lies underneath that which is performance and character and emotion and story. And the best battle scenes in any movie and hopefully ones Iâve worked on â is character, and if you donât care about the characters then your battle scene becomes just noise and action. But if you care about your character and you have taken the time to build that, then you really care about whatâs going on and you can cut to one look from our hero or the villain and you know exactly whatâs going on and youâre invested in these characters. You have to build that into your editing somehow. Iâve been asked, âSo, what is your editing style?â I donât really have an editing style but Iâm hoping my style or whatever I do is what the picture is in need of. And hopefully that comes out of intuition and that comes out of trying to get the best out of the story and the characters.
Iâll watch a movie and it can be very simply shot â wide shots⌠close ups. But if the story and the characters are involving. Iâm just drawn into this for an hour and a half. Story absolutely is the most important thing. I canât remember a movie Iâve seen where I thought, âThe story was terrible, but I loved it because Wow what a spectacle!â
HULLFISH: But building that concern for a character has to be so hard when youâre dealing with characters you donât really even get to see until later.
HOY: I go by faith that whatever Iâm envisioning â that thatâs going to be part of whatâs going to end up on the screen. So Iâll look at a shot and there will be nothing in thereâŚ
HULLFISH: Like a plate.
HOY: Like a plate. Itâs just a shot moving across the mountains and at some point there are going to be some apes on horseback going across there ⌠or weâre looking at a green screen. Weâre looking at two actors and theyâre saying goodbye and behind them thereâs this enormous army. So I look at them and think, âWell, how long do I stay on this? Is it a transitional moment? Is it an establishing moment? Is there emotional value? How long do I stay on the shot? With the plate shot of the apes traveling: look where they are in the wilderness. Where have they gotten themselves into now?
The other thing is emotional. Itâs an army leaving and these two characters are framed in front of a huge army thatâs waiting for them â probably to go to their death â so you want to stay on that longer and just let that play out and your eyes can do the searching for you. So in those two instances, that would be the idea of pacing. The pacing has to do with the dialogue and dialogue scenes â regardless of whether you have heavy visual effects â that pacing is based on what type of a scene it is. Do I want to sit there and watch their eyes and just be really absorbed with these characters? Because if I cut away, itâs going to ruin that moment. Itâs going to be artificial. But if I just stay on that, thatâs amazing. I donât need to cut. This is where the moment is, right here.
In a battle scene, thereâs a rise and fall to it. Youâre pacing it and then you get to the height of the battle. How far can you go? The sound is now maximum. The music is maximum. The pace is cutcutcutcutcut. Where do you go? I like to go to the character. Whatâs he seeing? Howâs he feeling about this? So when the opportunity presents itself, there have to be these moments where, âOh my God! Thereâs something else happening in this battle or somethingâs happening in this characterâs head. Something is happening other than just shooting people, dying, suffering or characters witnessing it. So how does that play out? Do I play that out in his head? Do I play that out in silence?
I have to find another way to transcend that moment which is: I think Iâm reaching the climax but NO, NOW Iâm into somebodyâs head. Those are the kind of things that, as far as pacing is concerned, it fascinates me, because I actually love those little moments where you can you can insert something that is unexpected where you think, âWhat? Where are we now? Wow! I didnât think I was going to feel this during this battle scene.â So those are some instances, as far as pacing, but when you see the picture as a whole you think, âOK, we have to tighten this area because I really donât want to get bogged down here. Whatâs happening here is really oppressive, but we donât want the picture to slip into oppressiveness. We want our hero to go through the pain and suffering, but we donât want to dwell there for a long time because for an audience: âI get it. Heâs suffering. Can we move on now?â
HULLFISH: I would think that itâs hard to screen some of these scenes with so many VFX and temp motion-captures as âstand ins.â
HOY: Sometimes you get art work: âYour king is leading an army and there is this army behind them and itâs an open field.â You want to make sure that you sit on that long enough so that you absorb it all. In that case, I stayed on it so that I would have our characters do most of the action in this wide shot and then much later go in to a close-up or more coverage. In other situations, maybe I wouldnât if the visuals didnât support the emotion of the scene. If thereâs nothing more to get from the wide shot, letâs go in to a close-up and get the emotions there. But if, with the wide shot, you did get the emotion, because it was a spectacle, then youâre fine. Here are these two characters who are reduced to less significant things in this vast landscape.
You want to be able to make use of all of the tools that you have at hand, so letâs maximize this because soon enough Iâm going to be in on a close-up.
There are certain steps along the way before you actually commit yourself to X amount of thousands of dollars for a shot There are shots where things are moving and you have to imagine: âHow long does it take for the arrows to travel until they get there?â After a while you can come pretty close to a few frames of guessing those timings.
I co-edited with Neil Travis and back in the film days and he would measure out a piece of film from his nose to armâs length and with a wink say to me, âThatâs the length of a reaction.â Roughly two and half seconds. So thatâs one guideline to how long a shot might play.
Every frame costs thousands of dollars. On Dawn an ape shot was $60,000 a shot. (More for shot length over 5 seconds.) I think itâs slightly less on this one just because of the way it was budgeted and they figured out how to do it for less, but thatâs really expensive. And we have over fourteen hundred ape shots.
I worked with young editors and assistant editors and I tell them, âYouâre paid to have an opinion.â Youâre not paid to be a pair of hands. Go in there saying, âThis is what I think it should be.â They want that opinion. Hopefully I bring things to the movie that the director may not have thought about. What I like to do is tell the director after principal photography, âPlease take a break for 10 days, two weeks and come back and Iâll show you the movie. Iâll try to put as much music as I have time for and sound effects and Iâll show it to you and you sit here and watch it with some objectivity and then decide what do we do with the picture as a whole.â
With most directors, Iâm on location. Iâm showing them scenes as I go, so they know the performances are being captured the way they want. So when they see the picture as a whole, then we can talk about any differences of opinion. The director may say, âI intended to start the scene with this shot instead of this one.â We can work that out and we can talk about why. Ultimately, we can cut it the way he originally visualized, but there have been times where they say, âI actually like what you did before. Letâs go back to that.â Thatâs having a point of view and an Avid and being able to save all those versions. Itâs a real plus, because on film, when you re-cut, those original choices disappear. The director needs to have a vision for the movie as a whole, and so I try to help bring that vision to the screen. If I have a difference of opinion, itâs only because I want whatâs best for the picture. And as long as the director knows that, theyâre OK with it. Itâs not because I like it that way. Itâs not because I cut it that way. Itâs because thatâs whatâs best for the picture.
HULLFISH: Itâs nice to have trust in a person, but if you both trust that what you both really want is for the good of the picture, youâve got a solid foundation for solving any disagreement. How do you have your assistants set up your bins?
HOY: Basically in the same alphabetical order they shot the setups, so I know where the shots will be. I like to have my bins set up in Frame view. My assistant will also choose a representative frame for each shot that best represents that shot, so when I just look at the clip, I see, â Thatâs the wide shot and thereâs the close up, and thereâs the over the shoulder.â
Also the director will choose select takes and the assistants will put a checkmark beside that take. We print everything. (meaning non-selected or B-neg shots are in the bin just like any other shot)
I watch all the dailies straight through and then Iâll go back to the daily bin. I put markers on moments that I think might be the foundation of the scene. The assistants put them in the bin in a straight line, and if I like one more than the others, I just nudge it up a little higher in the row. We also have assistants building selects reels, where every setup and take of a specific line plays back to back. So if I wanted use another performance or to replace a word I can go in there and see if itâs clearer somewhere else.
But thatâs only in the refining process that I use the select reels. There are times when there are certain moments that will be the backbone of the scene. There are some moments that you say, âI somehow have to have this moment in here and action-match doesnât matter. I need to get to this moment.â So I approach the scene â what I call âfrom the inside out.â I donât start at the beginning and move through, instead Iâve got to get to this moment so Iâll start putting it together knowing that the scene is going to progress so that I can reach that moment.
Then I can start thinking about the rhythm of what that scene might be. There might be two of those moments â and Iâm basing it on performance. Obviously when itâs an action piece: What is the best piece of action that got him from point A to Point B? What shows him doing this best? What shot do I have of the sword going through. Whatâs the best and quickest shot that I can use that to depict this particular moment. Those things are what you discover when you begin to put an action piece together. Then I start putting just the dialogue tracks and the picture together. And when I feel that scene is ready for some sound effects or some temp music Iâll start laying some of that in. At which point, if the directorâs around and I think itâs ready to show him, then Iâll show it. Sometimes he may want to see a scene really quickly because of some concerns he may have about it and Iâll have to show it before I feel itâs ready, but I am loathe to show a director something that is not really polished, because itâs not fair to me. Itâs not fair to the director either, because theyâre very self-aware. They donât want to come in and look at something and think, âOh my God! Thatâs not working! Is it me? ⌠Or is it you?â Right? So you donât want to do that. You want to have it to that point where you can analyze: How are the characters working? Howâs is the story working? Howâs this scene working?
So once I start putting scenes together then other scenes will begin to come in, but now I get to see how he starts the next scene. So, I might have to go back and rework the scene that I had leading into this scene because the transition doesnât work. You have to keep in mind what the transitions are going to be into the next scene and thatâs an ever-evolving thing, because if you eventually lose that scene, now youâll need to make a different transition to the next scene coming in. So thatâs an ongoing thing.
As we go through Iâm trying to imagine â based on the script â what the next scene is going to be and how he might approach that. And at some point you will have something resembling the movie which is always amazing and surprising to me.
HULLFISH: So at the point you have the entire movie together, do you find it useful to watch that as a whole from beginning to end? Because in the 100 interviews Iâve done, there is not complete agreement. There are some who feel they want to hold off on viewing the whole movie, because it affects their ability to remain objective about the story as a whole.
HOY: I certainly agree that objectivity is your best ally and that we lose objectivity because weâre into the minutia and itâs hard to maintain that objectivity. My first impression is when the picture is finally put together and I have a chance to sit there and watch it with the director, because, up until that moment, I probably have not watched the picture entirely myself because I just havenât had the time to. Iâve certainly watch a better part of it but I donât know how the picture is progressing, so to watch the movie and to have that impression ⌠I try to hold on to some of those first impressions that I have so that it continues to inform me later on. I can see what those other editors are talking about, but for me, and any director Iâve worked with, Iâve never experienced that.
The other important thing with these big VFX movies is that we have to begin to turnover our visual effects. How do we know what we actually need from the visual effects if I havenât seen the picture in total? That could cost a lot of money down the line, because we could discover that we can or must cut entire scenes of visual effects. And for pictures where the budgets are so huge, it adds up real quick. So discovering that you can delete an entire scene can save a lot of money.
Iâve mixed this film in my Avid for all the screenings. We got 5.1 surround tracks from our sound design team. The temp music editor, Paul Apelgren is part of composer Michael Giacchinoâs team.
Iâve actually mixed the picture eight times. For the studio alone, we screened it probably four times, five times easily. There was one time where I was rushing to get the picture finished for the screening the next day and after the screening, Matt asked me what I thought and I said, âI didnât think anything, because I didnât get anything out of that screening, because I was so worried about technical stuff.â Sometimes the objectivity comes in for me by just removing myself from that normal seat or that usual theater. So we took it from a theater which was right downstairs from our editing room and went to the huge Zanuck theater on the Fox lot. It was just the director and the two editors sitting and watching the movie, and because I already knew the picture was in sync â that it was supposed to play the way it was supposed to play â that I could actually sit and watch the movie and see it as objectively as I could. Sometimes when Iâm screening for an audience Iâm so worried that some critical thing is going to happen and spoil the screening and all the work weâve put in just to get to this moment will be ruined â thatâs always in the back of my mind. Once I know the screener is OK, I can actually become an audience member again so that really helps.
HULLFISH: The other thing is just getting away from the editing controls, right? Just the fact that you canât hit pause and fix something completely changes the experience of watching the movie.
HOY: It completely does. In my cutting room I have my Avid set up with a 43 inch plasma on my right. So for the most part thatâs where I watch it. But I also have a 65 inch to the side with itâs own dedicated sound system. So you hit a button and I play it over there. So just by me turning around and not being able to get close to my mixing board and the volume controls and not be distracted by the Avid screens and just dedicating myself to the picture as a whole, that gives me some objectivity. Itâs just a matter of changing seats â getting out of my Aeron chair into a couch just feels different right there.
HULLFISH: Can you remember any of the things that you temped with?
HOY: Paul Apelgren the music editor, he was also on Dawn and Iâd stayed in touch with him, so when I came back to LA to edit, he asked, âSo what music have you been listening to?â When Iâm editing I like playing music in the background even though Iâm not cutting to it. I said, âItâs a funny thing. Iâve been listening to a lot Ennio Morricone especially his spaghetti westerns and Iâve been listening to Nick Cave, so I donât know how that works.â And he says, âThatâs an Interesting mashup between Morricone and Nick Cave.â Itâs a funny thing because as Caesar takes off on this quest it becomes this epic Western. There is a hint of that in certain places which I hope that I brought some of that to it, but I also talked to the director and tell him, âIâve been listening to this and this.â and he says, âYeah. I can see that.â Paul also temped with a lot of the music from the Dawn movie, so there was a lot of Michael Giacchinoâs music in there, but we also used different composers, like (Alexandre) Desplat. Paul found a wonderful cue from Snow Falling on Cedars.
Sometimes I like to temp the whole picture, but this picture really needed my attention elsewhere, so honestly, I trust Paul. He did an amazing job on the temp score, so I only chose maybe five or six cues. One of the cues I cut in is where Caesar is walking in what we call the trench. After the first battle heâs seeing the devastation on his apes. So I put this piece in there from some Junkie XL who did Allegiance and Divergence. I played it for Matt and he says, âThis is a great piece, whoâs this from?â And I say, âJunkie XL.â He said, âNo!â But that piece stayed in there for the longest time.
HULLFISH: Can you tell me anything about these two scenes from the movie?
HOY: What I find interesting is what both scenes have in common â the lighting. In the scene with Bad Ape, Maurice and Nova itâs lit with flashlights. The performances that were chosen have a natural light to the little girl and our motion capture actors which WETA then had to replicate how the light would interact on Maurice and Bad Apeâs fur and clothing.Â
In the scene between Caesar and the Colonel (Woody Harrelson) there is a searchlight moving behind the Colonel in the background.  Only the light hitting our actors was evident in the raw footage, there was no background.  When we began to have discussions about the background we had to determine a believable motion of the searchlights because the interactive lighting was visible on the Colonelâs shaved head and Caesar.Â
Also in these two scenes if you were to watch the raw motion capture version and the finished scene you will see the amazing performances of our actors.
HULLFISH: Thanks so much for talking with me today. I really enjoyed our conversation.
HOY: Me too. Good to talk with you. We need to meet some day.
This interview was transcribed using Speedscriber.
To read more interviews in the Art of the Cut series, check out THIS LINK and follow me on Twitter @stevehullfish
The first 50 Art of the Cut interviews have been curated into a book, âArt of the Cut: Conversations with Film and TV editors.â The book is not merely a collection of interviews, but was edited into topics that read like a massive, virtual roundtable discussion of some of the most important topics to editors everywhere: storytelling, pacing, rhythm, collaboration with directors, approach to a scene and more. Oscar nominee, Dody Dorn, ACE, said of the book: âCongratulations on putting together such a wonderful book. I can see why so many editors enjoy talking with you. The depth and insightfulness of your questions makes the answers so much more interesting than the garden variety interview. It is truly a wonderful resource for anyone who is in love with or fascinated by the alchemy of editing.â MPEGâs Cinemontage magazine said of the book: âIn his new book, Art of the Cut: Conversations with Film and TV Editors, he gathers together interviews with more than 50 working editors to create a mosaic of advice that will interest both veterans and newcomers to the field. It will be especially valuable for those who aspire to join what Hullfish calls, âthe brotherhood and sisterhood of editors.â
Check out the editing on some other big-budget features like Pirates of the Caribbean 5, Transformers: TLK, Guardians of the Galaxy and Wonder Woman
Or if you prefer, some documentaries: OJ: Made in America, or a lower-budget indie: Colossal.
The post ART OF THE CUT with the editor of âWar for the Planet of the Apesâ appeared first on ProVideo Coalition.
First Found At: ART OF THE CUT with the editor of âWar for the Planet of the Apesâ
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spent way too long on this. Anyway, I love them, and I think about them forever
(that isn't a joke I've been a #1 radiohusk bitch since the pilot and have actually been reworking/writing fic ideas I've had for nearly 3 years lmao. call that shit disordered daydreaming OR, worldbuilding⨠)
#edit: ok problem solved i dropped out of school when i was 8#HUSK AND AL BEING EXACT OPPOSITES ON THE COMBATIVE VS AVOIDANT IS SO FUNNY TO ME#like thats exactly their problem#al bolts and husk is mean#Al's energy is only slow because he's extremely lazy and doesn't like putting actual work in#'first to apologize' being completely empty for both of them is absolutely hysterical to me#and 'most likely to die for the other' like husk is definitely in love but he's not willing to go that far#and alastor is self preservation till the end babey#i think they're dynamic is very similar. they're both very prideful and arrogant and similar to the point of dysfunction#and then DRASTICALLY different in specific areas#husk wanting al to communicate more and al literally crossing out himself communicating#is codependency a trope?? it is now#husk fell very hard immediately. it took al like 5 years before he made a connection that this was more then his normal urge to 'keep' ppl#im just making up heights thats not canon at all and i genuinely don't care#angel is 6'9#i stand by that one#hazbin hotel#hazbin hotel alastor#hazbin hotel husk#radiohusk#alastor x husk#shipping#ship chart#meet my otp#proship#ao3 fanfic#ship template
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Websites for Hour of Code by Grade
This December will again host the Hour of Code, a one-hour introduction to programming designed to demystify the subject and show that anyone can be a maker, a creator, and an innovator. Last year, almost 300,000 students (age 4-104) participated from over 180 countries and wrote almost 20 billion lines of code. The 200,000+ teachers involved came away believing that, of all their education tools, coding was the best at teaching children to think. Itâs easy to see why when you look at fundamental programming concepts:
abstraction and symbolism â variables are common in math, but also in education. Tools, toolbars, icons, images all represent something bigger
creativity â think outside the box
if-then thinking â actions have consequences
debugging â write-edit-rewrite; try, fail, try again. When you make a mistake, donât give up or call an expert. Look at what happened and fix where it went wrong.
logic â go through a problem from A to Z
sequencing â know what happens when
If youâre planning to participate in Hour of Code, here are a series of activities â broken down by grade â that will kickstart your effort. They can be done individually or in small groups.
Essential Question
How do I program a series of activities â and why?
Big Idea
I can break activities down into their most basic steps
Teacher Preparation
About 75 minutes â fifteen minutes prep and sixty for the coding activity that is part of Hour of Code.
Introduce each of these activities by watching âI Like Programmingâ, a video that discusses why the great programmers of our time fell in love with this activity.
**Grade-levels below are guidelines. Feel free to use whichever project fits your students.
Kindergarten â Human Robot
Start young programmers by teaching sequencing. Show images of stages in, say, their morning preparations. Ask them to organize the list in the order completed as they get ready for school. Call it âsequencingâ and expect them to use this domain-specific word.
Next, pick an activity from the sequence â say, walking into the classroom and sitting down. Use yourself as a model of how to perform that activity and ask students for specific directions on how you would complete this task. For example:
Move right foot, then left, 4 times.
Turn right; walk 4 steps.
Turn around (left and left again).
Drop backpack to floor (or place under chair).
Sit
Only do what they tell you. For example, if they say âwalk to the chairâ, look confused. They havenât provided enough direction. They must âdebugâ the âscriptâ and try again.
First Grade â Follow one of the free online Hour of Code activities
Using activities offered on websites like Code.org, Kodable, or Tynker is the easiest way to get involved as the site does the planning for you. Before starting, review the digital citizenship associated with visiting an online site (such as privacy, staying on the assigned website, and not talking to strangers).
Instead of following a pre-planned activity, try one of these sites that introduce age-appropriate programming:
Minecraft (especially if you have the education edition)
Scratch Jr.
Tinkercad
If you use iPads, here are some great options:
Cargo-Bot
Daisy the Dinosaur
For more suggestions, hereâs a list of coding websites. Scroll to the section for first grade.
Second Grade â Animation
Use a free program like Pivot Stick Figure Animator or Stickman to program a stick figure. Both are simple to use, but offer different options. Preview them first to pick the one best suited to your student group.
Pivot Stick Figure is a download. Students program a stick figure to do pretty much anything they want by adjusting the âjointsâ in his body
Draw a Stickman is a web-based tool or app that turns a simple drawing into a story by asking questions of the creator. Students draw an image; the site animates it and then asks questions as the figure moves, requiring students to add detail to the Stickmanâs adventure. They can pick from several story themes in creating their finished story.
If you use iPads, try Stick Nodes, Stickman, or Scribble Movie.
Third Grade â Pixel Art
Pixel Art is the blocky drawing that is most famous for appearing in Minecraft. For this project, students will use a spreadsheet program.
Open the spreadsheet program you use in your school (Google Sheets, Excel, or another). Show students how to turn the cells into squares rather than rectangles by doing the following (or watch this video):
Select all cells by grabbing the box that sits at the intersection of the rows and columns
Drag a column headerâs edge to resize the column width to match the row height.
Students now write directions for which color is poured into what squares to create their drawing. For example:
Blue: Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â A1, B1, C1, D1, G1, H1, I1, J1, A2, B2, I2, J2, A3, J3, A5, A6, A7, A8, A9, A10,
When done, students have a neighbor test the directions to see if they can create the intended drawing.
Fourth Grade â Shortkeys
By fourth grade, students appreciate technology for how it can speed up their classwork and will seek out ways to use it for that purpose. Creating a shortkey is a quick and easy way to complete repetitive activities and will become a favorite with students. If necessary, adapt the following Windows/iPad directions to the device used in your school:
Go to Start
Right click on the desired program (either a program or a tool is fine)
Select âpropertiesâ
Click in âshortcutâ
Push key combination you want to use, say, Ctrl+Alt+S
Save
On iPads, these are called âhotkeysâ:
Go to Settings > General Settings > Keyboard Settings.
Scroll down and click âadd new shortcut.â
Popular shortkeys are to open programs, activate tools, and take screenshots using the digital deviceâs native tool.
Fifth Grade â Macros
Creating macros gives students an easy way to add a standards-based heading or any other repetitive task required for their schoolwork without having to retype it each time. Adapt these MS Word directions to your digital device:
Click View â Macrosâ Record Macros.
Specify a name for the macro.
Choose whether it should be a keyboard shortcut or a button.
Once you click OK, notice your mouse looks like a cassette tape, indicating that anything you click will be part of the macro. Click all elements you would like to be part of your macro.
Stop recording by clicking View â Stop Recording.
Click for a video on how to create macros.
Sixth Grade â Build an App
If necessary, explain to students what an âappâ is and why they want to build one. For this project, follow the videos and directions included in MITâs App Inventor and create one (or all) beginning level apps such as:
TalkToMe Text-to-speech app
Extended TalkToMeâshake the phone!
BallBounce Game app
Digital Doodle drawing app
Here are three alternative popular app-creation sites:
Game SaladÂ
Apps GeyserÂ
TinyTap App
Donât expect students to complete this project during the Hour of Code. Expect only that they get started.
Seventh Grade â Code a WidgetÂ
Widgets are free, personalized mini-apps that do almost anything the user can program, from calculating the calories in a recipe to solving complex problems. Students can browse Wolfram/Alphaâs gallery for a widget that fits their need and embed the code into their personal website, or build their own widget from scratch using Wolfram Alphaâs Builder tool. The level of difficulty will determine how long it takes.
Click to view slideshow.
Eighth Grade  â Alice
Alice is a free downloadable programming tool for 8th grade and above that shows students how to create interactive stories, animations, and games. Besides Math Standards, Alice supports these Common Core writing skills:
8.3a Engage and orient the Alice world viewer by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.
8.3b Use narrative techniques in the Alice World, such as dialogue, pacing, description, and reflection, to develop experiences, events, and/or characters.
8.3c In Alice world dialogue and action, use a variety of transitions to convey sequence, signal shifts from one time frame or setting to another, and show relationships among experiences and events.
8.3d Use precision and appropriate tools throughout to convey events.
8.3e Provide a conclusion to the Alice world story that follows events.
Divide the class into groups. Have each group pick one of the following resources, preview it, and be prepared to share their thoughts and take questions from classmates:
basic Alice programming instructionsÂ
overview of Alice by Middle School students
Duke Universityâs Alice âGetting Startedâ videos are hereÂ
Next, groups open Alice and go through the tutorial by clicking âStart Tutorialâ in the Welcome to Alice dialogue box. When done, create an animated avatar as follows:
Choose âroomâ template, then âSetup Scene.â
Choose âclass Biped,â âclass Person,â then child, female, light and avatar that is shown.
Push OK until avatar appears in the room.
Using circle at avatarâs feet, turn him/her until s/he faces right, and then press âedit code.â
In tab that says âthis child/person,â click on heavy black arrow facing down. Then click arrow facing right to reach individual body parts. Choose a body part and give it direction. Run program to see results. Debug program if it doesnât work.
If students get stuck, they can go through Alice online documentation, Help files, or ask for assistance from classmates. Remind them not to give up. Keep making changes. It will work.
If you have time: In groups, students watch movie trailer of Despicable Me (or similar).  Analyze how avatars move their limbs, mouths, and how they walk. Compare this to humans. For example, which leg moves first? How do joints move? How do arms and legs move in relation to each other? Does body bob up-down or side-to-side as avatar moves? List the movements and then construct a walking avatar in Alice world.
Click to view slideshow.
***
What are you doing for Hour of Code? Share your projects in the comments.
âpublished first on TeachHUB
More on Hour of Code:
Lesson plan bundle for Hour of Code
Hour of Code: Scratch Jr.
Hour of CodeâWhy Not
Jacqui Murray has been teaching K-8 technology for 15 years. She is the editor/author of over a hundred tech ed resources including a K-8 technology curriculum, K-8 keyboard curriculum, K-8 Digital Citizenship curriculum. She is an adjunct professor in tech ed, CSG Master Teacher, webmaster for four blogs, an Amazon Vine Voice book reviewer, CAEP reviewer, CSTA presentation reviewer, freelance journalist on tech ed topics, and a weekly contributor to TeachHUB. You can find her resources at Structured Learning.
Websites for Hour of Code by Grade published first on http://ift.tt/2gZRS4X
0 notes
Text
Websites for Hour of Code by Grade
This December will again host the Hour of Code, a one-hour introduction to programming designed to demystify the subject and show that anyone can be a maker, a creator, and an innovator. Last year, almost 300,000 students (age 4-104) participated from over 180 countries and wrote almost 20 billion lines of code. The 200,000+ teachers involved came away believing that, of all their education tools, coding was the best at teaching children to think. Itâs easy to see why when you look at fundamental programming concepts:
abstraction and symbolism â variables are common in math, but also in education. Tools, toolbars, icons, images all represent something bigger
creativity â think outside the box
if-then thinking â actions have consequences
debugging â write-edit-rewrite; try, fail, try again. When you make a mistake, donât give up or call an expert. Look at what happened and fix where it went wrong.
logic â go through a problem from A to Z
sequencing â know what happens when
If youâre planning to participate in Hour of Code, here are a series of activities â broken down by grade â that will kickstart your effort. They can be done individually or in small groups.
Essential Question
How do I program a series of activities â and why?
Big Idea
I can break activities down into their most basic steps
Teacher Preparation
About 75 minutes â fifteen minutes prep and sixty for the coding activity that is part of Hour of Code.
Introduce each of these activities by watching âI Like Programmingâ, a video that discusses why the great programmers of our time fell in love with this activity.
**Grade-levels below are guidelines. Feel free to use whichever project fits your students.
Kindergarten â Human Robot
Start young programmers by teaching sequencing. Show images of stages in, say, their morning preparations. Ask them to organize the list in the order completed as they get ready for school. Call it âsequencingâ and expect them to use this domain-specific word.
Next, pick an activity from the sequence â say, walking into the classroom and sitting down. Use yourself as a model of how to perform that activity and ask students for specific directions on how you would complete this task. For example:
Move right foot, then left, 4 times.
Turn right; walk 4 steps.
Turn around (left and left again).
Drop backpack to floor (or place under chair).
Sit
Only do what they tell you. For example, if they say âwalk to the chairâ, look confused. They havenât provided enough direction. They must âdebugâ the âscriptâ and try again.
First Grade â Follow one of the free online Hour of Code activities
Using activities offered on websites like Code.org, Kodable, or Tynker is the easiest way to get involved as the site does the planning for you. Before starting, review the digital citizenship associated with visiting an online site (such as privacy, staying on the assigned website, and not talking to strangers).
Instead of following a pre-planned activity, try one of these sites that introduce age-appropriate programming:
Minecraft (especially if you have the education edition)
Scratch Jr.
Tinkercad
If you use iPads, here are some great options:
Cargo-Bot
Daisy the Dinosaur
For more suggestions, hereâs a list of coding websites. Scroll to the section for first grade.
Second Grade â Animation
Use a free program like Pivot Stick Figure Animator or Stickman to program a stick figure. Both are simple to use, but offer different options. Preview them first to pick the one best suited to your student group.
Pivot Stick Figure is a download. Students program a stick figure to do pretty much anything they want by adjusting the âjointsâ in his body
Draw a Stickman is a web-based tool or app that turns a simple drawing into a story by asking questions of the creator. Students draw an image; the site animates it and then asks questions as the figure moves, requiring students to add detail to the Stickmanâs adventure. They can pick from several story themes in creating their finished story.
If you use iPads, try Stick Nodes, Stickman, or Scribble Movie.
Third Grade â Pixel Art
Pixel Art is the blocky drawing that is most famous for appearing in Minecraft. For this project, students will use a spreadsheet program.
Open the spreadsheet program you use in your school (Google Sheets, Excel, or another). Show students how to turn the cells into squares rather than rectangles by doing the following (or watch this video):
Select all cells by grabbing the box that sits at the intersection of the rows and columns
Drag a column headerâs edge to resize the column width to match the row height.
Students now write directions for which color is poured into what squares to create their drawing. For example:
Blue: Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â A1, B1, C1, D1, G1, H1, I1, J1, A2, B2, I2, J2, A3, J3, A5, A6, A7, A8, A9, A10,
When done, students have a neighbor test the directions to see if they can create the intended drawing.
Fourth Grade â Shortkeys
By fourth grade, students appreciate technology for how it can speed up their classwork and will seek out ways to use it for that purpose. Creating a shortkey is a quick and easy way to complete repetitive activities and will become a favorite with students. If necessary, adapt the following Windows/iPad directions to the device used in your school:
Go to Start
Right click on the desired program (either a program or a tool is fine)
Select âpropertiesâ
Click in âshortcutâ
Push key combination you want to use, say, Ctrl+Alt+S
Save
On iPads, these are called âhotkeysâ:
Go to Settings > General Settings > Keyboard Settings.
Scroll down and click âadd new shortcut.â
Popular shortkeys are to open programs, activate tools, and take screenshots using the digital deviceâs native tool.
Fifth Grade â Macros
Creating macros gives students an easy way to add a standards-based heading or any other repetitive task required for their schoolwork without having to retype it each time. Adapt these MS Word directions to your digital device:
Click View â Macrosâ Record Macros.
Specify a name for the macro.
Choose whether it should be a keyboard shortcut or a button.
Once you click OK, notice your mouse looks like a cassette tape, indicating that anything you click will be part of the macro. Click all elements you would like to be part of your macro.
Stop recording by clicking View â Stop Recording.
Click for a video on how to create macros.
Sixth Grade â Build an App
If necessary, explain to students what an âappâ is and why they want to build one. For this project, follow the videos and directions included in MITâs App Inventor and create one (or all) beginning level apps such as:
TalkToMe Text-to-speech app
Extended TalkToMeâshake the phone!
BallBounce Game app
Digital Doodle drawing app
Here are three alternative popular app-creation sites:
Game SaladÂ
Apps GeyserÂ
TinyTap App
Donât expect students to complete this project during the Hour of Code. Expect only that they get started.
Seventh Grade â Code a WidgetÂ
Widgets are free, personalized mini-apps that do almost anything the user can program, from calculating the calories in a recipe to solving complex problems. Students can browse Wolfram/Alphaâs gallery for a widget that fits their need and embed the code into their personal website, or build their own widget from scratch using Wolfram Alphaâs Builder tool. The level of difficulty will determine how long it takes.
Click to view slideshow.
Eighth Grade  â Alice
Alice is a free downloadable programming tool for 8th grade and above that shows students how to create interactive stories, animations, and games. Besides Math Standards, Alice supports these Common Core writing skills:
8.3a Engage and orient the Alice world viewer by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.
8.3b Use narrative techniques in the Alice World, such as dialogue, pacing, description, and reflection, to develop experiences, events, and/or characters.
8.3c In Alice world dialogue and action, use a variety of transitions to convey sequence, signal shifts from one time frame or setting to another, and show relationships among experiences and events.
8.3d Use precision and appropriate tools throughout to convey events.
8.3e Provide a conclusion to the Alice world story that follows events.
Divide the class into groups. Have each group pick one of the following resources, preview it, and be prepared to share their thoughts and take questions from classmates:
basic Alice programming instructionsÂ
overview of Alice by Middle School students
Duke Universityâs Alice âGetting Startedâ videos are hereÂ
Next, groups open Alice and go through the tutorial by clicking âStart Tutorialâ in the Welcome to Alice dialogue box. When done, create an animated avatar as follows:
Choose âroomâ template, then âSetup Scene.â
Choose âclass Biped,â âclass Person,â then child, female, light and avatar that is shown.
Push OK until avatar appears in the room.
Using circle at avatarâs feet, turn him/her until s/he faces right, and then press âedit code.â
In tab that says âthis child/person,â click on heavy black arrow facing down. Then click arrow facing right to reach individual body parts. Choose a body part and give it direction. Run program to see results. Debug program if it doesnât work.
If students get stuck, they can go through Alice online documentation, Help files, or ask for assistance from classmates. Remind them not to give up. Keep making changes. It will work.
If you have time: In groups, students watch movie trailer of Despicable Me (or similar).  Analyze how avatars move their limbs, mouths, and how they walk. Compare this to humans. For example, which leg moves first? How do joints move? How do arms and legs move in relation to each other? Does body bob up-down or side-to-side as avatar moves? List the movements and then construct a walking avatar in Alice world.
Click to view slideshow.
***
What are you doing for Hour of Code? Share your projects in the comments.
âpublished first on TeachHUB
More on Hour of Code:
Lesson plan bundle for Hour of Code
Hour of Code: Scratch Jr.
Hour of CodeâWhy Not
Jacqui Murray has been teaching K-8 technology for 15 years. She is the editor/author of over a hundred tech ed resources including a K-8 technology curriculum, K-8 keyboard curriculum, K-8 Digital Citizenship curriculum. She is an adjunct professor in tech ed, CSG Master Teacher, webmaster for four blogs, an Amazon Vine Voice book reviewer, CAEP reviewer, CSTA presentation reviewer, freelance journalist on tech ed topics, and a weekly contributor to TeachHUB. You can find her resources at Structured Learning.
Websites for Hour of Code by Grade published first on http://ift.tt/2xZuhEK
0 notes