THE NEGATIVE IMPACT OF SLEEPING IN YOUR CONTACT LENSES
Sleeping in your contact lenses can have several negative impacts on your eye health, including:
Decreased oxygen supply: Contact lenses can reduce the amount of oxygen that reaches your eyes, and when you sleep in them, this effect is compounded. This can lead to a condition called corneal neovascularization, where new blood vessels grow into the cornea, causing discomfort, blurred vision, and even vision loss.
Increased risk of infection: Contact lenses can trap bacteria, viruses, and other particles against the surface of the eye, increasing the risk of infection. When contact lenses are left in for extended periods, the risk of infection and other complications increases. One such complication is microbial keratitis, an infection of the cornea that can cause significant damage to your vision.
Dry eyes: Wearing contact lenses for extended periods can cause your eyes to become dry, leading to discomfort, irritation, and redness.
Discomfort: Sleeping in contact lenses can cause discomfort and irritation, making it difficult to wear lenses in the future.
It’s important to follow the recommended wearing schedule for your contact lenses and to remove them before going to bed. If you accidentally sleep in your contact lenses or experience any discomfort or vision changes, it’s important to seek medical attention from an eye care professional. They can diagnose any issues and provide the appropriate treatment to prevent long-term damage to your eyes.
If you’re experiencing any discomfort or vision changes related to your contact lenses, it’s important to schedule an appointment with your eye doctor as soon as possible. They can assess your eye health and recommend the best course of treatment.
Fullerton Eye Institute sounds like a great option for individuals seeking eye care in Fullerton, northern Orange County, California. With a mission to provide excellent customer service, they may be able to provide personalized care and the latest technologies to help patients focus and improve their vision.
The inhabitant of the depths of the Arctic Ocean: the Greenland shark.
It has a heavy appearance, completely blind, it lives in the deep icy waters of the Arctic. It is not often seen as it rarely rises to the surface, unlike the sharks we are used to. Its habitat is the world of darkness and silence, guiding itself with the Earth's magnetic field to swim. At full maturity they can measure up to 6 m. The Greenland shark is the longest-lived species on record on the planet. The oldest specimens have been up to 400 years old, according to the work of biologist Julius Nielsen from the University of Copenhagen and the Greenland Institute of Natural Resources.
Well, according to this study, to determine the age of these marine animals they had to look at their eyes, do radiocarbon tests, since the soft tissue of the eye contains proteins that are not renewed, and also study and determine the number of layers of their eyes, something similar to what is done with dendrochronology (dating by the study of tree rings), reaching the conclusion that some of them were up to 392 years old (Science magazine). The cause of this remains a mystery.
“These silent giants spend hundreds of years under the ocean, slowly wandering the depths in waters near or below freezing and rarely seen by the human eye” (Meaghan Swintek, biologist Cal State Fullerton University)
Solomon Brown: First African American Employee at the Smithsonian Institution
Solomon G. Brown (c.1829–1906) was the first African American employee at the Smithsonian Institution, serving for fifty-four years from 1852 to 1906. During his time at the Smithsonian, he held many titles and performed many duties in service to the Institution. He served under the first three Smithsonian Secretaries, Joseph Henry, Spencer Fullerton Baird, and Samuel P. Langley. He formed a deep personal friendship with Baird which is evident in the letters featured on this page. He also served his community in Anacostia, a part of Washington, DC, and was a prominent advocate of African American progress.
"I have engaged in almost Every Branch of work that is usual and unusual about S.I.," Solomon G. Brown.
These words, written to Secretary Baird on August 12, 1862, encapsulate his long and eclectic career at the Smithsonian Institution. In 1902, he wrote a poem commemorating his fifty years at the Smithsonian —spanning the Institution's formative years. Brown, born a free man when slavery was legal in Washington, DC, joined the staff of the Smithsonian shortly after it was founded in 1846.
Born around 1829, Brown was one of six children. With the unfortunate death of his father in 1833, Brown's chance of attending school and receiving a formal education was over. However, Brown began working for Lambert Tree, assistant postmaster with the DC post office. It was in this capacity that Brown first met Joseph Henry, the Smithsonian's first Secretary. Tree detailed Brown to work with Henry, Samuel B. Morse, and Alfred Vail, while they developed the first magnetic telegraph that ran from DC to Baltimore, Maryland.
In 1852, Brown was hired as a general laborer by the Smithsonian under Henry. Initially, he built exhibit cases, cleaned and moved furniture for the Institution, and shortly became the supervisor of a small group of Smithsonian workers. While working, Brown developed a close relationship with then Assistant Secretary Baird, a naturalist and later second Secretary of the Institution. The two worked together until Baird's death in 1887. Baird trusted Brown implicitly and when out of town, relied on Brown to be his "eyes and ears" of the Institution. Brown and Baird frequently corresponded about the operations of the Smithsonian, city events, and their personal lives, sharing a wry sense of humor about life. From these letters we learn that Brown entertained visitors, handled the mail, made travel arrangements, performed clerical duties, and paid the household staff for the Baird family in addition to his other numerous Smithsonian duties.
Brown also wrote to Baird during the Civil War, reporting on the events occurring around DC and the effects felt by the Smithsonian Institution. He described the dangers to Baird's property and delays in communication from Washington. In 1864, Brown wrote of the Confederate march on the city and his own exemption from the military draft. These letters provide the unique views of a free, African American man on the progress of the Civil War as it raged around him.
Although he lacked a formal education, Brown was considered a Renaissance man. While working for Baird, he educated himself in the field of natural history. He illustrated maps and specimens for many of Baird's lectures, as well as his own talks on topics such as "The Social Habits of Insects," and delivered them to church organizations and civic groups. Not only did he excel as a naturalist, but he was an illustrator, lecturer, philosopher, and poet. Brown also read his poetry, which focused on religion and the social issues of the day, to local audiences and civic organizations. After Baird's death in 1887, Brown served as a clerk for the Smithsonian International Exchange Service, distributing scholarly publications around the world.
Brown's activities also reached beyond the walls of the Smithsonian. Within his own Anacostia (Hillsdale) community, Brown was viewed as a leader. Brown and his wife Lucinda hosted picnics for their local community, one of which was attended by Frederick Douglass. He was elected to the DC House of Delegates, served as superintendent of the Pioneer Sabbath School and the North Washington Mission Sunday school, and was a trustee of the 15th Street Presbyterian Church. He was committed to bettering education and gaining opportunities for African American citizens.
A man of limitless energy, Solomon G. Brown continued to work at the Smithsonian, write and draw, as well as serve his community until his retirement on February 14, 1906. Not long afterward, Brown died at his home on June 24, 1906. Over a century has passed, yet Brown's devotion to the foundation of the Smithsonian is still remembered today. In 2004, several trees were planted around the National Museum of Natural History in his honor.
I didn't make my mind on three talks as I'm trying to attend them all. So I had a look at all the talkers' work whether on Instagram or their website and tried to read a little bit about who they are.
Stuart Simpson is a London based portrait and fine art documentary photographer, now a staff photographer for Penguin Random House UK (photo above). After browsing his website, I was very interested in knowing more about his background and inspirations as I found some of his portraits beautiful, sometimes simple but always evocative and pleasing to the eye, sometimes more creative with beautiful tones and effects.
Frances Scott is a photographer from Orkney who graduated from Glasgow School of Art. Her main work focuses on where she's from and the journeys she made back and forth Glasgow and the Highlands. She's been working on a project about walking around the coastlines of Orkney the past few years and had an exhibition and a book released. I'm interested to hear how she works on landscape photos that have such a personal meaning to her.
Nick Dunmur is a commercial and advertising photographer. Seeing his work online makes me want to know more about commercial work as he worked for big brands. He is also the business and legal adviser for the AOP (Association Of Photographers). I'll happily listen to his insight about the business side of things.
Malcolm Dickson is the gallery director at Street Levels Photoworks (photo above, credit Alan Dimmick). This gallery is a hub for photographers based in Glasgow and in Scotland, alongside Stills in Edinburgh. Having seen the Oscar Marzaroli exhibition during a lull this summer, and having attended the remote exhibition by Simon Murphy in my neighbourhood of Govanhill, I'm excited to hear about the activities and roles of this institution.
Lesley MacGregor is a fine art photographer of architecture and landscape. I really like her landscape photos particularly, minimalist and very aesthetic. She photographed incredible modern architecture also, focusing on geometry and structure. She doesn't try to depict reality as it is but goes beyond what you see with her singular vision to trigger emotions in the viewer.
Elaine Livingstone is a photographer based in Glasgow. She worked in many different areas and documents the stories of people living in her city. She worked for different media including Sunday Herald and Herald magazine. She is also the co-founder of the New Photographers Guild, a mentoring programme for new photographers.
Nicky Bird is an artist and academic based in Glasgow. Photographer, reader in Contemporary Photographic Practice, PhD Coordinator at Glasgow School of Art, coordinator in different groups of artists, Nicky's work is very expansive. She worked for many commissions, residencies and projects, published essays. Her latest work will be shown at the next exhibition in Street Level Photoworks. I am very excited to hear her talk about her career and work to come.
Julia Fullerton-Batten is a worldwide acclaimed and exhibited German fine-art photographer based in London. She worked on many different projects, from the transition between teenage years and adulthood, to social issues, or more recently about the sex industry. I love her use of light and colours and how she stages her models in very creative environments. Her imagery is very strong and it will be very instructive to hear someone of such international repute talk about their work.
My name is Julia Noel, and I am a junior at Ruth Asawa School of the Arts. I am a member of the San Francisco Opera Scouts and I am honored to be sharing the title of Co-President of the National Opera Teens Advisory Committee this year. I am fortunate to have had the chance to become fluent in French, Russian as well as English. I began singing at the age of six and I became interested in Opera several years later. It is such an Honor to be a part of this council and being able to represent the San Francisco Opera Scouts.
My name is Addison Littlefield and I am a senior at Messalonskee High School. I am a member of the Opera Maine Teens and am very pleased to be joining the Opera Teens Advisory Committee this year through Opera America. I have been taking voice lessons for six years, but first became interested in opera my sophomore year of high school when I joined an opera workshop through the Portland Conservatory of Music on a whim. I was fortunate enough to participate in Opera Maine’s production of Die Zauberflöte this past summer, and have ultimately decided to pursue vocal performance in the year to come. I am honored to be working alongside other teens who share the same passion towards opera as myself.
I’m Arya Balian, and I am a sophomore at the National Cathedral School in Washington DC. I’ve always loved opera—from attending operas since I was 5 to performing professionally since I was 7. I was cast in 9 operas with the Washington National Opera (WNO) at the Kennedy Center, including the principal role of Third Spirit in “Magic Flute.” I’m so excited to continue to pursue my love of opera with the Opera Teens. This year, I’m President of my local council, Capital Opera Teens, and am super excited to work with Julia and our dedicated group of committee members as Co-President of the Opera Teens National Advisory Committee. I hope to share this amazing art form with everyone by making it more accessible so that I can help integrate opera into the art lives of my Gen Z peers.
My name is Sophia Ortley-Guthrie and I am a homeschooled junior in highschool. I fell in love with opera when I was six-years old after an abrupt field-trip to see Madame Butterfly at The Dallas Opera. This past fall, I decided to start the DFW/Texoma Opera Teens council after noticing the lack of classical arts in my rural community. I have been taking voice lessons for the past five years, however, I have focused on choral activities. I am a member of The Children's Chorus of Greater Dallas, ACDA SWAGDA, TCDA, and the Texas All-State Choir. I plan on pursuing vocal performance and communications, with hopes to later receive my doctorate in laryngeal studies. I am thrilled to be a part of this committee with others dedicated to the arts.
My name is Kacie Galarce and I am a senior at New World School of the Arts. I am the president of Miami’s Opera Teens and Blog Editor for the National Opera Teens Advisory Committee. Being a part of these amazing groups have really opened my eyes to view opera in different perspectives. It has connected me with many teens who share the same interest in opera than I could have imagined. Opera Teens has given me an opportunity to connect opera with a younger audience in pursuit to diminish the stereotype that opera is for the rich and elderly. I have been classically training for 3 ½ years. I have performed at the Washington National Cathedral, won first place 1at the Schmidt Vocal Competition, and participated in many Vocal summer programs, including the Schmidt Vocal Institute. I am excited to be a part of this committee and can't wait to see what this year has to offer.
Hi! My name is Miraya Choudhury and I’m currently a junior at Granada High School in Livermore, CA and secretary of the committee. I am a member of the San Francisco Opera Scouts and this is my second year of both Opera Scouts and the National Advisory Committee. I’ve been singing since I was 7 years old and began classically singing at 11. I fell in love with opera and coloratura arias during this time, participating in SF Bay Area NATS Competitions, Contra Costa Classical Festivals and local events such as the Solo and Ensemble Festival. Through my council and the committee, I’ve been exposed to many different operas which I wouldn’t have been able to experience otherwise. This past year has been such a wonderful experience and I’m lucky to have gotten to know such unique and talented people on this committee.
My name is Clemence Yi, and I am currently a junior at Troy High School in Fullerton, California. I am a co-chair of the 90012 Ambassador program sponsored by LA Opera. I have been interested in opera since my parents bought me The Magic Flute when I was five. While I am not a singer, I have participated in LA Opera’s Opera Camp program for seven years. I have been a member and ambassador of 90012 for six years, and I feel honored to be able to serve my community in this manner. I am a proud representative of LA Opera on this council.
My name is Maurissa Dawson, and I am a senior at Los Angeles Center for Enriched Studies. I am the lead chair of the 90012 Ambassador program created and facilitated by the Los Angeles Opera. I have been in love with opera since the young age of seven, when my mother brought me to a performance of Madama Butterfly. Since then, I have sung with LA Opera as a part of their Opera Camp and Community Opera’s as a principal performer, and have made it my mission to make opera more accessible to lower income and disadvantaged communities. Being a leader of my council, and being a part of the committee has been a wonderful experience, and I can’t wait to see what the future brings for all of us and our communities in the world of opera.
"Don’t be afraid. If you pursue what you love, you’ll be fine. Practice good time management."
"Go beyond the minimum tasks."
Designer Ruby Cai takes “The Moon and Sixpence Collection” to L.A.’s streets for a colorful and joyful presentation of a clothing line inspired by William Somerset
Ruby's The Moon and Sixpence Collection combines playful images and colors to create unique streetwear clothing
Maugham’s novel, “The Moon and Sixpence.” It is loosely based on the life of French artist Paul Gauguin. The protagonist leaves his secure stockbroker job to pursue his passion for painting.
“All over the place was sixpence, but he looked up at the moon,” says Ruby of her favorite quote from the novel.
She wants to chase her moon—to be a fashion designer.
Before attending the Fashion Institute of Design & Merchandising (FIDM), Ruby had no experience in fashion. She didn’t know how to sew or draw, nor had a clue about patterns. The extent of her knowledge of fashion came from her passion for hip-hop dancing.
The whimsical clothing line, inspired by robots combines images and fabrics to represent the intersection between the dream world and reality.
Ruby had just finished her B.A. degree in accounting at Cal State Fullerton. Her parents pressured her to apply to graduate school.
When she visited FIDM’s Orange County campus and entered their bright pink lobby, she saw a monitor replaying the previous DEBUT Collection designers’ show. Instantly, Ruby knew she wanted to learn about fashion design, so she could design hip-hop streetwear.
She initially wanted to use her accounting background and choose a product development program.
Ruby's "reach the moon" design represents the two types of people depicted in her collection. People who look at the ground and people who look up at the moon.
Her adviser, however, encouraged her to choose what she loved. That’s how Ruby started her fashion design journey. Her strong work ethic and enthusiasm secured her a place into FIDM’s Fashion Design Advanced Study.
“The collection is idealistic,” Ruby says. “I have a dream. We all have a dream. It may not be easy to keep and maintain. But as my brand name, ‘Ruby or Not Ruby,’ that is an attitude. Keep your passion and just do it.”
This design comes from Ruby's Supima Collection representing the strict childhood that made her feel like a robot.
Ruby was also a finalist in the 14th Annual SUPIMA Design Competition. Her designs symbolize her freeing herself from a strict childhood and the release of her creative side— “Get out from the limited space and fly free into the world of the true self.”
1. The Moon and Sixpence Collection: Ruby or Not Ruby’s playful brown creatures represent “the true self inside of everyone,” and the credit card represents the reality. Ruby pairs the pink Neoprene oversized jacket with a yellow jersey T-shirt and twill chocolate brown shorts. Slippers complete the streetwear look.
···
2. Robots provide the inspiration for this entire look with giant buttons made from self fabric in velveteen with fibers inside, which represent eyes. The pink hole represents the mouth, which is also made of self fabric (velveteen) and cut on the bias.
···
3. The Moon and Sixpence Collection: The two buttons on the Neoprene brown and pink jacket represent the two people in “The Moon and Sixpence,” people who look at the ground and people who look at the moon. The “reach the moon,” oversized gloves say dream big and grab it. The designer chooses stitches on the jacket and on the fleece yellow shorts, as part of the design to show more of the textile on the garment.
···
4. Supima Collection: This denim jacket and shorts delight in salmon pink and tiger orange, with 360-degree pleated back and peg drape shorts. Ruby says they represent her strict childhood. She felt like a robot growing up. The two buttons represent her eyes looking out and searching for what she wants for herself.
···
5. "Someone Asked Me To Do A Gown. FINE!" The brown and pink top and skirt represent Ruby's challenge to conventional norms.
"Someone Asked Me To Do A Gown. FINE!" The brown and pink top and skirt represent Ruby's challenge to conventional norms.
Follow Ruby at @ rubyornotruby626 and model Jane Nguyen at @ jaaneee4
Ruby’s tips to future fashion design students
Don’t be afraid. If you pursue what you love, you’ll be fine. Practice good time management.
Go beyond the minimum tasks.
Designer Ruby Cai takes “The Moon and Sixpence Collection” to L.A.’s streets for a colorful and joyful presentation of a clothing line inspired by William Somerset
Maugham’s novel, “The Moon and Sixpence.” It is loosely based on the life of French artist
Paul Gauguin. The protagonist leaves his secure stockbroker job to pursue his passion for painting.
“All over the place was sixpence, but he looked up at the moon,” says Ruby of her favorite quote from the novel.
She wants to chase her moon—to be a fashion designer.
Before attending the Fashion Institute of Design & Merchandising (FIDM), Ruby had no experience in fashion. She didn’t know how to sew or draw, nor had a clue about patterns. The extent of her knowledge of fashion came from her passion for hip-hop dancing.
Ruby had just finished her B.A. degree in accounting at Cal State Fullerton. Her parents pressured her to apply to graduate school.
When she visited FIDM’s Orange County campus and entered their bright pink lobby, she saw a monitor replaying the previous DEBUT Collection designers’ show. Instantly, Ruby knew she wanted to learn about fashion design, so she could design hip-hop streetwear.
She initially wanted to use her accounting background and choose a product development program.
Her adviser, however, encouraged her to choose what she loved. That’s how Ruby started her fashion design journey. Her strong work ethic and enthusiasm secured her a place into FIDM’s Fashion Design Advanced Study.
“The collection is idealistic,” Ruby says. “I have a dream. We all have a dream. It may not be easy to keep and maintain. But as my brand name, ‘Ruby or Not Ruby,’ that is an attitude. Keep your passion and just do it.”
Ruby was also a finalist in the 14th Annual SUPIMA Design Competition. Her designs symbolize her freeing herself from a strict childhood and the release of her creative side— “Get out from the limited space and fly free into the world of the true self.”
Example of cutlines
I will share link from the magazine so you can see which pictures went in for each story
1. The Moon and Sixpence Collection: Ruby or Not Ruby’s playful brown creatures represent “the true self inside of everyone,” and the credit card represents the reality. Ruby pairs the pink Neoprene oversized jacket with a yellow jersey T-shirt and twill chocolate brown shorts. Slippers complete the streetwear look.
2. Robots provide the inspiration for this entire look with giant buttons made from self fabric in velveteen with fibers inside, which represent eyes. The pink hole represents the mouth, which is also made of self fabric (velveteen) and cut on the bias.
3. The Moon and Sixpence Collection: The two buttons on the Neoprene brown and pink jacket represent the two people in “The Moon and Sixpence,” people who look at the ground and people who look at the moon. The “reach the moon,” oversized gloves say dream big and grab it. The designer chooses stitches on the jacket and on the fleece yellow shorts, as part of the design to show more of the textile on the garment.
4. Supima Collection: This denim jacket and shorts delight in salmon pink and tiger orange, with 360-degree pleated back and peg drape shorts. Ruby says they represent her strict childhood. She felt like a robot growing up. The two buttons represent her eyes looking out and searching for what she wants for herself.
Follow Ruby at @ rubyornotruby626 and model Jane Nguyen at @ jaaneee4
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What Does Being a Canadian Aboriginal Mean to You?: The Importance of Indigenous Self-Identification in Canada
An Essay by: Alyssa Logie, Western University, (BA in MIT)
According to Andrew Woolford, the first step of controlling a group of people is to “define the population to be controlled” (Woolford 84). Therefore, it is highly problematic that the Canadian government gets to determine who is Aboriginal and who is not. In Canada, a person is only seen as legally native if they adhere to parameters laid out and decided upon by the Canadian government through the Indian Act. This paper will explore the impacts of not allowing people to self-identify as Aboriginal in Canada, as well as how the UNGC’s definition of genocide “fails to capture Canadian Aboriginal notions of being”, allowing the traumatic events of colonialism and residential schools to go unrecognized as a genocide in the eyes of both the government and the Canadian public (82).
The non-Aboriginal signification of who is considered Aboriginal in Canada was largely solidified by the 1876 Indian Act—a statute that is still followed today. The Indian Act is a “Canadian Act of Parliament” that organizes relations between the Canadian state and the 614 First Nation bands in Canada (Fullerton-Owl 1). The Indian Act has been altered many times due to great controversy and discontent by both native and non-native Canadians; the legislation has undergone over twenty-two “major changes” since its creation in 1867. However, the main purposes of the initial act remain intact: to “define how reserves and bands can operate” and to “define who is, and who is not recognized as an ‘Indian’ through ‘status’ or ‘registration’” (1). A Canadian woman identified as Aboriginal according to the Indian Act stated that “the government’s definition of who I am is different than who I say I am” (Council of Ontario Universities 38). Many Aboriginals share this feeling that the Indian Act does not define what it really means to identify as Aboriginal from an Aboriginal perspective. The Indian Act violently suppresses Aboriginal notions of identity, and “does not give pattern, reason or logic to the rhythm of First Nations ‘dialogue.’ Yet, it speaks directly to, it speaks directly for, and speaks directly against First Nations cultural integrity, political autonomy and human dignity” (Fullerton-Owl 1).
Ontario “Indian Status ID Card”.
New amendments to the Indian Act continually reduce the number of Canadians who can be officially regarded as “status Indian”. The fine-tuning of the legislation is particularly violent towards native women and their children, as more and more women who self-identify as native are no longer considered “status” in the eyes of the Canadian government. Canadian lawyer, Pam Palmater stated that “every time they just tinker with [the Indian Act] a little tiny bit, they create new forms of discrimination and leave out people and they have to tinker with it again to try and fix that” (Narine 7). For example, before amendment C-31, “status women who married non-status men, lost their status. Men, on the other hand, who married non-status women, not only retained their status, their non-status wives and their children could gain status” (7). Amendment C-31 attempted to deal with this obvious gender discrimination within the Indian Act; however, it caused further discrimination against some children by granting status to those “whose status grandparent was a man, but not to those whose status grandparent was a woman” (George and Fiske 10). The unclear definitions and gender-biased conditions surrounding the requirements for status leave many Canadians who self-identify as native disillusioned and disconnected from their communities. During an interview for this paper, Kaytee Dalton from the Mississaugas of the New Credit First Nations band said that “It’s frustrating to see so many native folks feeling displaced from communities and resources simply because the government gets to decide who is ‘status’ and who isn’t” (Dalton).
Kaytee Dalton, Mississaugas of the New Credit First Nations.
“Blood quantum” is another official mechanism of controlling and limiting the number of Canadians who can be considered status Indian; however, the practice is not widely known or understood by the Canadian public. Blood quantum was “created by colonial governments and eventually adopted by large bands like Six Nations” (Dalton). The practice disallows people from living within their own communities or to be recognized if “their DNA isn’t ‘native-enough’” (Dalton). Sokolow provides a useful definition for the practice:
The term "blood quantum" is used to refer to the fraction of Indian blood present in an individual applying for membership in a federally recognized Indian tribe. To count toward membership in a federally recognized Indian tribe, Indian blood must be that of a recognized tribe. A person can have blood from more than one Indian tribe, but most tribal constitutions and existing federal law allows a person to claim membership in only one Indian tribe (Sokolow 12).
Dalton worries about how blood quantum may negatively impact the survival of indigenous bands across Canada, including her own:
If my band used blood quantum, nobody in my family would be status and our community would consist of maybe a hundred people—it’s been a tool of eradication, assimilation and erasure both here and in the States for so long. It ostracises people from their own community and culture. For small communities like New Credit, we would be virtually non-existent if we had adopted blood quantum practices. I believe the reason we didn’t was because New Credit converted to Christianity a few years before the residential system was put into place—we were already ‘assimilated’ (Dalton).
Even if blood quantum was eliminated within Aboriginal bands, The Indian Act would still alienate large members of the Canadian population from associating with their native communities and culture—so, “blood quantum or not, the status system is also a tool of erasure” (Dalton). As time goes on, fewer and fewer Canadians will be officially recognized as status Indian—to the point where some native bands may cease to exist altogether.
Woolford considers such statutes as “Eurocentric tools for reframing native lifeworlds” rather than “resources for native justice” (Woolford 89). It is crucial that European notions of group identity are not forced upon native populations who form entirely different notions for themselves. Aboriginal notions of identity differ quite significantly from Eurocentric notions of identity. For example, territory and culture are essential components of Aboriginal identity, and “First Nations’ dialogue, past, present and future, is grounded in the inherent right and inherent responsibility to protect and preserve our land, language, stories, traditions, customs and laws with cultural integrity and dignity”—all of which are overlooked and neglected by the Indian Act (Fullerton-Owl 1).
The inability for Canadian Aboriginals to self-identify not only impacts the daily lives of natives today, it also obscures events of the past. Aboriginal notions of identity are not included in the United Nations Global Compact’s definition of genocide. As such, perhaps the UNGC’s definition is not adequate to be applied to native groups, as it does not properly encapsulate how native groups define themselves. With the establishment of the Canadian Truth and Reconciliation Commission, the term ‘genocide’ “has come to occupy a prominent position within Canadian mainstream public dialogue”; however, it is usually used in conjunction with the pre-fix “cultural” (391). The trauma and devastation to native communities caused by settler-colonialism and the residential school system is often referred to as “cultural genocide” and not just genocide (Wildcat 391). However, it is important to remember that Aboriginal notions of identity include cultural elements such as land, language, stories, traditions, customs and laws. If these elements were destructed during colonialism and as a result of residential schools, would this not be seen as a genocide in the eyes of Canadian Aboriginals? Members of indigenous communities across Canada still face trauma associated with the aftermath of years of abuse and hardships stemming from Canada’s dark colonial past. As stated by Matthew Wildcat, “If an Indigenous person who continues to have constant experiences of trauma claims that what happened to Indigenous peoples in the Americas is genocide, what is accomplished by denying their claim?” (393). Wildfoot reminds Canadians that it is crucial to remain “sympathetic to the perspective that Indigenous peoples feel [their] communities are under attack”, and that “if processes of group destruction directed against Indigenous peoples continue in the present, is this not a worthy definition of genocide?” (393). When trying to define events of the past as genocide, perspectives of the victim should be placed at the forefront—not definitions created by Eurocentric institutions and governments who had a hand in settler-colonialism in the first place.
The distinction between cultural-genocide and genocide when dealing with indigenous communities is also problematic because under both definitions the end result remained the same: “the destruction of Indigenous collectivities” (Wildfoot 394). Also, “the imposition on a people of the procedures and techniques that are generally glossed as ‘cultural genocide’ is certainly going to have a direct impact on that people’s capacity to stay alive”, as the “acts of violence, coercion, hegemony and duress needed to ensure settler ascendency are inherently destructive to Indigenous collectivities” (394). Claudia Card describes how the “social death” caused by colonialism distinguishes the “true evil of genocides from other mass atrocities” (397). This is because social death destroys the “social vitality of a community that gives life meaning” (397). If life has no meaning, is it really even a life truly lived? Card’s notion of social death is a reminder of the importance of turning to subjective understandings of genocide—the lived experience and understandings of genocide from the perspectives of natives themselves should be the foundational definitions of genocide. As stated by Wildfoot:
We may uncover new and important ways of researching genocide if we start with Indigenous peoples’ self-understandings of how the Canadian state and society seek to enact the destruction of our communities. If we begin discussions from the self-understandings of Indigenous peoples, the tenor of the discussion has to shift from an exercise in how we assess the severity of violence, to one in which we discuss (and confront) why Indigenous peoples have insisted emphatically and forcefully over time that we are victims of genocide. (406).
There have been some efforts made in Canada in order to ‘allow’ Aboriginals to self-identify. Many universities have made strides to enable prospective and current students to self-identify as Aboriginal through the Aboriginal Self-Identification Project. This project is being implemented in schools across Canada in order to boost inclusion and diversity and to respect the autonomy of Aboriginal students, as well as to respect indigenous knowledge, language and cultures (Council of Ontario Universities 40). While the project still has a long way to go, it is certainty progressive to see government-funded institutions such as universities making steps to enable Canadian Aboriginals to self-identify. David Fullerton-Owl urges Canadians to take on a more ethical approach to identity, in which “the dialogic rhythms are sent and received in a respectful way, which appreciates different worldviews for coexisting equal nations. No one nation is speaking for the other” (Fullerton-Owl 1). The Indian Act and the definition of genocide under the UNGC certainty do not allow for this sort of “dialogic rhythm”—they inhibit Aboriginals from defining their own lives and death. From a cultural perspective, “self-identification includes self-knowledge, self-affirmation, and self-empowerment of ethnically and culturally different individuals and groups”, all of which are necessary elements for the ability of communities to succeed and continue to flourish over time (Young 51).
Kaytee Dalton sums up the primary goal of the Indian Act and other Eurocentric statutes quite eloquently: “Not allowing people to self-identify just furthers the government’s original agenda of forcing us out of our communities and detaching us from our culture, ultimately assimilating us into ‘Canadian Culture’—whatever that means” (Dalton). The only way to amend such Eurocentric failures of the UNGC and other government statutes is to actually “engage with Canadian Aboriginal experience and understandings of group identity”, as well as Aboriginal definitions of “destruction” and “intent” (Woolford 93). Who are non-indigenous people to decide who is native or not, and what constitutes a genocide of their peoples or not? Indigenous perspectives should be the primary source for defining their own identity, as well as their destruction.
Works Cited
Council of Ontario Universities. Aboriginal Self-Identification Project Final Report, Council of Ontario Universities, 2013. Print.
Dalton, Kaytee. Personal interview. 16 Mar. 2017.
Fullerton-Owl, David. Titanic Canada: The Indian Act, 1876. vol. 24, Aboriginal Multi-Media Society of Alberta (AMMSA), 2007. Print.
George, Evelyn, and Jo-Anne Fiske. Seeking Alternatives to Bill C-31: From Cultural Trauma to Cultural Revitalization through Customary Law. Status of Women Canada, 2006. Print.
Narine, Shari. Canada Continues to Fail Indigenous Women Under the Indian Act. vol. 34, Aboriginal Multi-Media Society of Alberta (AMMSA), 2016. Print.
Sokolow, G. A. Native Americans and the Law: A Dictionary. Abc-Clio Incorporated, 2000. Print.
Wall, Goldlin H. Native American Students: Blood Quantum, Identity, and Educational Success, ProQuest Dissertations Publishing, 2015. Web.
Wildcat, Matthew. "Fearing Social and Cultural Death: Genocide and Elimination in Settler Colonial Canada—an Indigenous Perspective." Journal of Genocide Research 17.4 (2015): 391-409. Web.
Woolford, Andrew. "Ontological Destruction: Genocide and Canadian Aboriginal Peoples." Genocide Studies and Prevention, vol. 4 no. 1, 2009, pp. 81-97. Print.
Young, Bernard. "The Importance of Self-Identification in Art, Culture, and Ethnicity." Art Education, vol. 66, no. 4, 2013. Print.
Why Should You Choose Primanti Montessori Academy for Your Kid’s Pre-Primary and Primary Studies?
Thinking about selecting an Educational institution for an equivalent means because you have found a brand new job or you have shifted in Fullerton, Whittier, California with your kid. In either scenario, you'd expect to take a position countless time and energy in creating the proper call than calling Montessori Preschool Fullerton, CA will be your best option. You'd raise around, proceed interviews, and ask for the recommendation of others. The same goes for an educational institution.
Because such a lot is riding on your alternative — in the end, you wish your kid to pay her days in a pleasant and nurturing atmosphere — you'll have to try your analysis in Pre-Schools, which means searching for natural parenting magazines, the web, and spoken recommendations. Kindle referrals from alternative families; most of the people will not suggest an area unless they are happy with it. If your kid attends daycare, the caregivers could have suggestions for you. At any stage, it's tasking to various colleges. And mainly if we tend to are searching for a brand new faculty for our kid, there are with great care several choices and an abundance of public colleges to pick from.
Now, however, do you apprehend which might be the ‘right' one? A faculty that includes a holistic approach to learning and would enhance all the essential 21st-century skills of its learners would be the foremost most popular.
Here, in Fullerton, Whittier, California our school Montessori Preschool Whittier, CA we provide a variety of exercises and activities are incorporated by involved in our school like yoga, morning prayers and hymns, meditation, storytelling, singing, dancing, guest lectures, and workshops, further play time and plenty of a lot of.
Because such a lot is riding on your selection — in the end, you wish your kid to pay her days in pleasant and nurturing surroundings — you'll have to do your analysis, which means searching for natural parenting magazines, the net, and spoken recommendations. Ask for referrals from different families; the majority will not suggest an area unless they are pleased with it.
Below are the reasons why you should choose Montessori school in Fullerton, Whittier, California:
1. How teachers act with students:
Teachers in Fullerton, Whittier, California at our school Montessori Preschool Fullerton should get right down to the students' eye-level once talking. It's additionally necessary to check real conversations going down between the workers and also the kids. This shows a genuine interest in what the kids need to say, further as a legitimate interest within the youngsters themselves.
This can be seen in such a lot of ways that once you’re traveling an educational institution. You should see smiles and listen to laughter within the lecture rooms. The worker’s members should be very being attentive to the scholars. There should be many interactions between lecturers and students, further as between students and their peers. Hugs, high fives, and inspiring words square first measure indicators too.
2. Keep a tab on the Kids Emotional Behavior.
In today's world, emotional quotient is as crucial as IQ. in a very smart pre-school the impetus is on each of them. Playday should even be directed towards creating the kid receptive towards his/her soft skills–skills with the assistance of mediums like cluster play, co-operation, calmness, and kindness.
3. Avoiding Pre-Primary faculty that promotes All work and no play!
Play or Rest Time is equally vital in any smart preschool in Fullerton, Whittier, California!” Playgroup or Pre-school kids are between the age of one to two years. If not given the right rest, play or rejuvenation time they cry endlessly.
4. Don’t forget that Cleanliness matters!
Cleanliness is next to piety. This can be what kids are forever educated in class. Best Pre-schools demonstrate that and place it to act similarly. Kids need to learn some elegant and clean surroundings within the specific Pre-Primary school that you choose amongst the other Pre-primary faculties in Montessori Preschool Fullerton so that their health doesn't suffer consequences. Kids are additionally vulnerable to ailments, and so there's a dire would like for a very hygienically and well-kept pre-school. This can also make sure that they are doing not contract any diseases. Since this time is already well accepted, let's merely shut it with the precious proverb that health is wealth!
5. Safety should not be neglected.
An element that goes while not speech communication is Safety once it involves Pre-School kids. This is often a further tip as a reminder for all parents to stay a prepared list in place to talk to. Here at Montessori Preschool Fullerton Safety among the school premises is essential. Also, the way during which kids are spread from the pre-school premises forms a critical purpose in thought whereas selecting a preschool.
Various faculties totally analyses and list out the measures they adopt for safety with parents throughout the admission conferences. However, it'd even be wise do your reference check as a parent before choosing the best facility school in Fullerton, Whittier, California. The most effective issue is to speak to oldsters whose children are already finding out within the school and perceive whether or not the school keeps its security measures in place or not. If you get positive responses, move with the school!
6. We prefer Parent Involvement is essential.
Remember that a preschool exposure must be a lot of regarding soft skills, emotional understanding and personality development of the kid. It shouldn't be only concerning teachers for the kid. This is often the rationale why you want to check whether or not the preschool that you just are considering for your kid allows your voice and private views similarly. Also, Openness and interaction amidst parents and even the school's extremely crucial at the aborning stage of the child's development.
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As Colleges Move Classes Online, Families Rebel Against the Cost
Due to COVID-19, many colleges and universities are switching from a Face-to-Face teaching methodology to strictly or primarily online to protect the safety of students and staff. In terms of costs, universities have been divided in their response, with some offering discounts but most resisting, arguing that remote learning and other virus measures are making their operations more, not less, costly at a time when higher education is already struggling. At Rutgers University, more than 30,000 people have signed a petition started in July calling for an elimination of fees and a 20 percent tuition cut. If you were a Rutgers administrator would you (1) charge full tuition for online courses due to additional incurred costs administering online, or (2) agree to a 20% tuition cut for the online format? Why? What are the ethics underlying your decision?
After Southern California’s soaring coronavirus caseload forced Chapman University this month to abruptly abandon plans to reopen its campus and shift to an autumn of all-remote instruction, the school promised that students would still get a “robust Chapman experience.”
“What about a robust refund?” retorted Christopher Moore, a spring graduate, on Facebook.
A parent chimed in. “We are paying a lot of money for tuition, and our students are not getting what we paid for,” wrote Shannon Carducci, whose youngest child, Ally, is a sophomore at Chapman, in Orange County, where the cost of attendance averages $65,000 a year. Back when they believed Ally would be attending classes in person, her parents leased her a $1,200-a-month apartment. Now, Ms. Carducci said, she plans to ask for a tuition discount.
A rebellion against the high cost of a bachelor’s degree, already brewing around the nation before the coronavirus, has gathered fresh momentum as campuses have strained to operate in the pandemic. Incensed at paying face-to-face prices for education that is increasingly online, students and their parents are demanding tuition rebates, increased financial aid, reduced fees and leaves of absences to compensate for what they feel will be a diminished college experience.
At Rutgers University, more than 30,000 people have signed a petition started in July calling for an elimination of fees and a 20 percent tuition cut. More than 40,000 have signed a plea for the University of North Carolina system to refund housing charges to students in the event of another Covid-19-related campus shutdown. The California State University system’s early decision to go online-only this fall has incited calls for price cuts at campuses from Fullerton to San Jose.
At Ithaca College — student population, 5,500 — the financial services team reports more than 2,000 queries in the past month about financial aid and tuition adjustments. Some 340 Harvard freshmen — roughly a fifth of the first-year class — deferred admission rather than possibly spending part of the year online, and a parents’ lobbying group, formed on Facebook last month, has asked the administration to reduce tuition and relax rules for leaves of absence.
Universities have been divided in their response, with some offering discounts but most resisting, arguing that remote learning and other virus measures are making their operations more, not less, costly at a time when higher education is already struggling.
“These are unprecedented times, and more and more families are needing more and more financial assistance to enroll in college,” said Terry W. Hartle, a senior vice president for the American Council on Education, a higher education trade group. “But colleges also need to survive.”
The roster of colleges that have rescinded plans to reopen their classrooms has been growing by the day. In the past two weeks, the University of Maryland, the University of Pennsylvania, the University of Southern California, the University of Virginia, Princeton and a host of other colleges announced plans to hold all or most of their classes online, citing concerns about the coronavirus. According to the Chronicle of Higher Education, less than a quarter of the nation’s 5,000 colleges are committed to providing instruction primarily or completely in person.
At Illinois State University, an 11th-hour shift infuriated Joseph Herff, a 22-year-old business major. He had locked into an off-campus lease and taken out $10,000 more in student loan debt by the time the school announced that its fall would be mostly online — the result of public health guidance and a shortage of coronavirus tests, according to the university’s president, Larry Dietz.
“I don’t have an issue with moving classes to online. I do have an issue though that classes are charged the same price,” Mr. Herff tweeted on an account that, until this month, he said in an interview, he had largely reserved for sports talk. “Why is this fair?”
Many colleges were facing financial dark clouds even before the coronavirus arrived. Population declines in some parts of the country have dampened enrollment, and soaring tuition has led many families to question the price of a college diploma. Moody’s Investors Service, which in March downgraded the higher education sector to negative from stable, wrote that even before the pandemic, roughly 30 percent of universities “were already running operating deficits.”
Since then, emptied dorms, canceled sports, shuttered bookstores and paused study-abroad programs have dried up key revenue streams just as student needs have exploded for everything from financial aid and food stamps to home office equipment and loaner laptops.
Public health requirements for masks, barriers, cleaning and other health protections also have added new costs, as have investments in training and technology to improve remote instruction and online courses.
“Starting up an online education program is incredibly expensive,” said Dominique Baker, an assistant professor of education policy at Southern Methodist University. “You have to have training, people with expertise, licensing for a lot of different kinds of software. All those pieces cost money, and then if you want the best quality, you have to have smaller classes.”
Chapman’s president, Daniele Struppa, said the university spent $20 million on technology and public health retrofits for the fall semester, and he estimates that the switch to an online fall will cost the school $110 million in revenue. He has cut spending “brutally” from the $400 million annual budget, he said, freezing hires, slashing expenses, canceling construction of a new gym, ending the retirement match to employees and giving up 20 percent of his own $720,000 base salary.
Only students who can demonstrate financial need will get help, he is telling families. “Tuition really reflects our cost of operation, and that cost has not only not diminished but has greatly increased.”
A survey by the American Council on Education estimated that reopening this fall would add 10 percent to a college’s regular operating expenses, costing the country’s 5,000 some colleges and universities a total of $70 billion.
“For institutions,” said Mr. Hartle, who lobbies for the council, “this is a perfect storm.”
Students are feeling tempest tossed, too.
Temple sociologist Sara Goldrick-Rab, founder of the university’s Hope Center for College, Community and Justice, said the organization has been “bombarded” with pleas for help from students who can’t cover their rent and don’t know how to apply for food stamps. At least a third of students had lost jobs because of the pandemic by May, according to the center.
Such situations, Ms. Goldrick-Rab said, are particularly risky because they often prompt students to take on second or third jobs or to become distracted, which in turn imperils financial aid that can be revoked if their grades fall.
Laurie Koehler, vice president for enrollment strategy at Ithaca College, said about one in six students reported in a just-completed survey that the pandemic had significantly hurt their ability to continue their studies. At Lafayette College in Easton, Pa., the school’s president, Alison Byerly, said she expects requests for additional financial aid to grow by up to 15 percent this year.
But the shift online also has accelerated fundamental questions about the future of higher education, said the director of the Edunomics Lab at Georgetown University, Marguerite Roza.
“This is a moment that is basically forcing students and parents to say, ‘What is the value? If I can’t set foot on campus, is that the same value?’”
Will Andersen, an 18-year-old incoming freshman at the University of Wisconsin-Madison, put it this way: “Who wants to pay $25,000 a year for glorified Skype?”
“Education isn’t just information,” agreed Yolanda Brown-Spidell, a Detroit-area teacher and divorced mother of five whose lament last month about remote learning in a private Facebook group for Harvard parents burgeoned into a lobbying push to ease school policies on tuition and fall housing.
“Being able to meet up with friends, have those highly intellectual conversations, walking over to CVS and getting ice cream at 1 in the morning,” she said, ticking off the parts of education her daughter, a rising junior, has missed while working at home on her computer. “And let’s not forget just not being home with your mama, with her eyes on you.”
Some families have sued. Roy Willey, a class-action attorney in South Carolina, said his firm alone has filed at least 30 lawsuits — including against the University of California system, Columbia University and the University of Colorado — charging universities with breach of contract for switching in-person instruction to online classes, and is closely monitoring the fall semester.
Most suits are in their early stages, though several universities have moved for dismissal. “If you and I go down to the steakhouse and order a prime rib, and prepay for it and sit at our table, and a while later the server comes by and says, ‘Here’s two hamburgers, we’re out of prime rib’ — well, we may eat the hamburgers, but they’re not entitled to the money we would have paid for prime rib,” Mr. Willey said.
A handful of universities have announced substantial price cuts. Franciscan University of Steubenville, a private Catholic university in Ohio with about 3,000 students, announced in April that it will cover 100 percent of tuition costs, after financial aid and scholarships, for incoming undergraduates. Williams College in Massachusetts took 15 percent off in June when it announced it would combine online and in-person instruction this fall.
More typical is the 10 percent cut at Catholic University in Washington, which plans to start the semester online and dramatically scale back the number of students allowed back onto campus. Johns Hopkins, Princeton, Georgetown University, Spelman University and other institutions are offering similar reductions. Lafayette College is limiting its 10 percent to students who study from home for the semester. The University of Southern California has offered a $4,000-per-semester “Living at Home Scholarship.”
Some schools are extending freebies. Pacific Lutheran University in Tacoma, Wash., has offered to tack on a tuition-free year of instruction for currently enrolled students, noting on its website that the current situation is not “the college experience they imagined.” St. Norbert College in De Pere, Wis., is offering a free semester.
But most colleges have kept prices flat, and a few have even increased them. They can’t afford to do otherwise without mass faculty layoffs, said Robert Kelchen, a Seton Hall University associate professor of higher education, even though the isolated, monitored experience campuses are selling this fall “is going to feel like some combination of a monastery and a minimum-security prison.”
“This crisis is demonstrating that there is real value in face-to-face instruction,” agreed David Feldman, an economist at William & Mary in Virginia and author, with Robert B. Archibald, of “The Road Ahead for America’s Colleges and Universities.” That recognition, he said, will generally protect better-endowed schools and those with state support.
Even so, he said, a culling is at hand for higher education. His prediction: a consolidation of public university branch campuses and a reckoning for some small, private liberal arts colleges that are already operating on thin margins.
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Helix Bridge หรือที่นักท่องเที่ยวมักเรียกกันว่าสะพานเกลียว เป็นสะพานคนเดินที่มีความสวยงามมากที่สุดแห่งหนึ่งของสิงคโปร์ ทอดข้ามผ่านอ่าวมารีน่าเชื่อมระหว่าง Marina Bay Center ไปยัง Youth Olympic Park มีลักษณะโครงสร้างเป็นเกลียว ซึ่งได้แรงบันดาลใจจากโครงสร้างของ DNA ยามค่ำคืนจะมีการเปิดไฟที่ประดับประดาอยู่บนสะพานให้สว่างไสวสวยงาม เหมาะแก่การมาเดินเล่นชมอ่าวและถ่ายรูป
อีกหนึ่งร้านที่จะไม่พูดถึง ก็คงไม่ได้เลย สำหรับร้าน Song Fa Bak Kut Teh ใครที่โปรดปรานเมนูซุปกระดูกหมูชิ้นโต จะต้องฟินกับที่นี่แน่นอน ต่อให้คิวต่อแถวจะรอนานแค่ไหน ก็ต้องรอ ! น้ำซุปหอมเครื่องเทศสุดๆ ตัวกระดูกหมูก็เปื่อยกำลังดี แถมชิ้นใหญ่อีกด้วย รวมไปถึงทุกคนสามารถเติมน้ำซุปได้ไม่อั้น อีกด้วย
อลิซาเบธวอร์คมีอนุสรณ์ทางประวัติศาสตร์ และ รูปปั้นเชิดชูบุคคลตั้งอยู่ 3 แห่ง คือ Cenotaph (อนุสรณ์รำลึกเหตุการณ์สงครามโลกครั้งที่ 1) อีกสองแห่งตั้งเพื่อเป็นเกียรติแก่ Tam Kim Seng และ Lim Bo Seng ซึ่งอลิซาเบธวอร์คนั้นเป็นสถานที่ที่น่ามาเดินเล่นถ่ายรูปช่วงยามเย็นถึงพร บค่ำเพราะมีทัศนียภาพที่สวยงามของอ่าวมาริน่าซึ่งมีฉากหลังเป็นโรงละครเอส เพลนาทเป็นเครื่องการันตีว่ามาที่นี่ได้วิวสวยแน่นอน
ยูนิเวอร์แซล สตูดิโอ สิงคโปร์ ตั้งอยู่บนเกาะเซนโตซ่า ซึ่งเป็นแหล่งท่องเที่ยวสิงคโปร์ที่ห้ามพลาดเลยก็ว่าได้ เป็นสวนสนุกที่รวบรวมทุกความสนุกไว้ได้อย่างครบรส เพียบพร้อมไปด้วยเครื่องเล่นและแหล่งเรียนรู้มากมาย ปัจจุบันมีโซนความสนุกมากถึง 7 โซนด้วยกัน ได้แก่ Hollywood, New York, Sci-Fi City, Ancient Egypt, Lost World, Far Far Away และ Madagascar ไม่เพียงเท่านั้นยังมีร้านค้า ร้านอาหาร ที่พัก ฯลฯ ให้บริการอย่างครบครันอีกด้วย
Helix Bridge หรือที่นักท่องเที่ยวมักเรียกกันว่าสะพานเกลียว เป็นสะพานคนเดินที่มีความสวยงามมากที่สุดแห่งหนึ่งของสิงคโปร์ ทอดข้ามผ่านอ่าวมารีน่าเชื่อมระหว่าง Marina Bay Center ไปยัง Youth Olympic Park มีลักษณะโครงสร้างเป็นเกลียว ซึ่งได้แรงบันดาลใจจากโครงสร้างของ DNA ยามค่ำคืนจะมีการเปิดไฟที่ประดับประดาอยู่บนสะพานให้สว่างไสวสวยงาม เหมาะแก่การมาเดินเล่นชมอ่าวและถ่ายรูป
อีกหนึ่งร้านที่จะไม่พูดถึง ก็คงไม่ได้เลย สำหรับร้าน Song Fa Bak Kut Teh ใครที่โปรดปรานเมนูซุปกระดูกหมูชิ้นโต จะต้องฟินกับที่นี่แน่นอน ต่อให้คิวต่อแถวจะรอนานแค่ไหน ก็ต้องรอ ! น้ำซุปหอมเครื่องเทศสุดๆ ตัวกระดูกหมูก็เปื่อยกำลังดี แถมชิ้นใหญ่อีกด้วย รวมไปถึงทุกคนสามารถเติมน้ำซุปได้ไม่อั้น อีกด้วย
อลิซาเบธวอร์คมีอนุสรณ์ทางประวัติศาสตร์ และ รูปปั้นเชิดชูบุคคลตั้งอยู่ 3 แห่ง คือ Cenotaph (อนุสรณ์รำลึกเหตุการณ์สงครามโลกครั้งที่ 1) อีกสองแห่งตั้งเพื่อเป็นเกียรติแก่ Tam Kim Seng และ Lim Bo Seng ซึ่งอลิซาเบธวอร์คนั้นเป็นสถานที่ที่น่ามาเดินเล่นถ่ายรูปช่วงยามเย็นถึงพร บค่ำเพราะมีทัศนียภาพที่สวยงามของอ่าวมาริน่าซึ่งมีฉากหลังเป็นโรงละครเอส เพลนาทเป็นเครื่องการันตีว่ามาที่นี่ได้วิวสวยแน่นอน