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THE BLUET

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2192-20
Without guidance from their teacher, students will not embark on a journey of personal development that recognizes the value of cooperation. Left to their own devices, they will instinctively become increasingly competitive with each other. They will compare scores, reports, and feedback within the classroom environment ― just as they do in the sporting arena. We don't need to teach our students about winners and losers. The playground and the media do that for them. However, we do need to teach them that there is more to life than winning and about the skills they need for successful cooperation. A group working together successfully requires individuals with a multitude of social skills, as well as a high level of interpersonal awareness. While some students inherently bring a natural understanding of these skills with them, they are always in the minority. To bring cooperation between peers into your classroom, you need to teach these skills consciously and carefully, and nurture them continuously throughout the school years.

2192-21
The creative team exhibits paradoxical characteristics. It shows tendencies of thought and action that we'd assume to be mutually exclusive or contradictory. For example, to do its best work, a team needs deep knowledge of subjects relevant to the problem it's trying to solve, and a mastery of the processes involved. But at the same time, the team needs fresh perspectives that are unencumbered by the prevailing wisdom or established ways of doing things. Often called a "beginner's mind," this is the newcomers' perspective: people who are curious, even playful, and willing to ask anything - no matter how naive the question may seem - because they don't know what they don't know. Thus, bringing together contradictory characteristics can accelerate the process of new ideas.

2192-22
Too many officials in troubled cities wrongly imagine that they can lead their city back to its former glories with some massive construction project ― a new stadium or light rail system, a convention center, or a housing project. With very few exceptions, no public policy can slow the tidal forces of urban change. We mustn't ignore the needs of the poor people who live in the Rust Belt, but public policy should help poor people, not poor places. Shiny new real estate may dress up a declining city, but it doesn't solve its underlying problems. The hallmark of declining cities is that they have too much housing and infrastructure relative to the strength of their economies. With all that supply of structure and so little demand, it makes no sense to use public money to build more supply. The folly of building-centric urban renewal reminds us that cities aren't structures; cities are people.

2192-23
Many marine species including oysters, marsh grasses, and fish were deliberately introduced for food or for erosion control, with little knowledge of the impacts they could have. Fish and shellfish have been intentionally introduced all over the world for aquaculture, providing food and jobs, but they can escape and become a threat to native species, ecosystem function, or livelihoods. Atlantic salmon are reared in ocean net-pens in Washington State and British Columbia. Many escape each year, and they have been recovered in both saltwater and freshwater in Washington State, British Columbia, and Alaska. Recreational fishing can also spread invasive species. Bait worms from Maine are popular throughout the country. They are commonly packed in seaweed which contains many other organisms. If the seaweed is discarded, it or the organisms on it can colonize new areas. Fishing boots, recreational boats, and trailers can pick up organisms at one location and move them elsewhere.

2192-24
Before the fancy high-rises, financial headquarters, tourist centers, and souvenir peddlers made their way to Battery Park City, the area behind the World Trade Center was a giant, gross landfill. In 1982, artist Agnes Denes decided to return that landfill back to its roots, although temporarily. Denes was commissioned by the Public Art Fund to create one of the most significant and fantastical pieces of public work Manhattan has ever seen. Her concept was not a traditional sculpture, but a living installation that changed the way the public looked at art. In the name of art, Denes put a beautiful golden wheat field right in the shadow of the gleaming Twin Towers. For Wheatfield - A Confrontation, Denes and volunteers removed trash from four acres of land, then planted amber waves of grain atop the area. After months of farming and irrigation, the wheat field was thriving and ready. The artist and her volunteers harvested thousands of pounds of wheat to give to food banks in the city, nourishing both the minds and bodies of New Yorkers.

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