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GRATUITOUS USE OF THE WORD "NAZI" IN THE TITLE OF A DOCUMENTARY
REVIEW: "HUNTING THE NAZI GOLD TRAIN" BBC2
A previously unknown photograph of the legendary Nazi Gold Train parked at Kilometer 65, Walbrzych, released to coincide with the BBC documentary by Dan Snow
[Image: thePipeLine]
by Andy Brockman
Trigger Warning: If you still believe in the Nazi Gold Train this review contains spoilers
"Hunting the Nazi Gold Train" [BBC2 2 October 2016, currently available in the UK on BBC I-Player] began with a big question "If?" and the confession of a guilty secret from presenter Dan Snow,
"If it's true it's the kind of thing which happens once in a lifetime." said Snow to camera. "A secret underground Nazi Train, loaded with valuables, buried for decades, local people silenced first by the Nazi's then by the Soviets finally coming out and telling their stories. It's the kind of thing us history lovers dream about."
Unfortunately TV commissioners prefer predictability to "if" which is why certain subjects, and certain presenters, become the "go to" staple of the broadcaster's schedules. For example, when a catnip subject for documentary makers "the Nazi's" [we hate those guys, but apparently can't get enough telly about them], can be combined with another off the shelf winner for the hard of thinking commissioning editor, a treasure hunt, you have a network controller's dream of a schedule filler. But, just in case the whole thing is a complete let down, or a massive hoax, the project needs to be tied either to a low budget, disposable presenter [someone from Horrible Histories will do], or a name presenter who can make the project bankable in a prime time slot on a major channel. At the moment the BBC's "go to" presenter for high end history and archaeology involving war and big boys toys is Dan Snow, and so it was our history man Dan who got to fly to Poland to investigate the rumours of a Nazi Gold Train, hidden in the secret Nazi tunnels systems of Project Riese [Giant] under the Owl Mountains of Lower Silesia. The result of this nine month assignment was shown on BBC 2 on Sunday night. Unfortunately all it really proved is that there is only one thing more easily parted than a fool from their money, and that is a TV production company from its money when there is the prospect, however remote, of buried treasure.
The thirty seven year old Snow, who to be fair has a First in modern history from Balliol College Oxford and is currently President of the Council for British Archaeology, is a member of one of those accidental TV dynasties which the media nurtured in the post war period; think also of Dimblebys major and minor; and he has been presenting documentaries since he was in his early twenties. His first major TV outing was "Battlefield Britain" with former Newsnight presenter father Peter Snow; a series which was notable for being one of the first "high concept" series of historical documentary, using now ubiquitous CGI imagery to bring to life key battles in British history. As his career has progressed Snow's solo style has matured into a cross between journalist and action hero, with Snow as interlocutor between the audience on subjects ranging from the use of earth observation satellites in archaeology, to the history of New York. On this kind of assignment Snow eschews the quirky striped jumpers, fleeces, and facial hair of a certain other strand of TV archaeology, in favour of the rock and roll archae' style pioneered by Michael Wood in the 1980's. In Snow's case his latest contribution to British Archaeology Fashion Week consisted of a collarless leather bomber jacket, hoodie, and jeans. But here all the style in the world could not cover up the extent to which the programme was trying to have the Gold Train story both ways. That is, objectively, all the [non] evidence suggests at best a delightful delusion, and at worst a deliberate hoax, but then again, maybe, just maybe, if…?
One reason for this hedging of dodgy bets is that the media lives in a "Post Truth", but also post "Burma Spitfires" era. As Snow has acknowledged, the shadow of the Burma Spitfires myth, hangs low and lowering over any such promise of buried World War Two treasure. For those of you who have , mercifully, forgotten, in January 2013, in spite of our clear warnings that we were investigating a legend, and not going to dig up aircraft, journalists and film crews were dispatched to Myanmar in the expectation of squadrons of crated Spitfires emerging from the ground at Yangon International Airport. Unfortunately the only thing the media discovered was that the amateur hero who had promised the buried treasure, Lincolnshire farmer David Cundall, had either misunderstood or vastly over interpreted, his supposed evidence for the alleged burial of Spitfires in Burma at the end of World War Two. The result was a win for the Yangon hotel industry, but a mere half column on an inside page for Fleet Street, and item eight on the TV news. The item which gets bumped if a new video of a skateboarding cat turns up on You Tube.
Perhaps as a result of the Burma debacle, and similar over promised, underdelivered programmes such as Odyssey Marine Exploration's "Billion Dollar Wreck Hunt"which promised three treasure wrecks and just about managed one, or Barry Clifford's preposterous "Pirate Treasure of the Knights Templar," which produced neither pirates, nor Knights Templar and certainly no treasure, this production was an altogether more low key affair. Instead of a dedicated film crew, with exclusive media rights sold to National Geographic, or another US based broadcaster with deep pockets and ambitions for an eight part series or feature length, "global event", epic, the BBC got the gig; demands on the licence fee being what they are they won't have paid much; and sent History Man Dan to Poland with a small film unit, a skeptical James Bond [Roger Moore period] lift of the eyebrow, and some Go-Pro cameras to make exploring the tunnels, of the supposedly mysterious Nazi Project Riese [Giant] look more edgy and exciting. And there lies the main problem with the subsequent film. It did not have the confidence to admit from the get go that the whole thing was almost certainly nonsense, and ask not "if", but "why"?
For a start the core of the mystery is not really that much of a mystery. So unknown are the Project Riese tunnels that, as Trip Advisor shows, you can set off on your own quest for the Nazi Gold Train and tour them yourself. Indeed, you can even take the boat tour of the flooded tunnels inside Mount Wlodarz [Wolfsberg] . That is why there was electric lighting and a pre-installed rope for Dan Snow to pull himself and the crew along with.
Similarly the two levels of Nazi built tunnels below the spectacular Książ Castle are also well known, and the first level is also even open to the public, while the second is used to house scientific instruments.
And that is the key point. For all that it was dressed up as a new investigation, "Hunting the Nazi Gold Train"was an exercise in cutting and pasting the known history of a fascinating, if little known, story of Nazi industrial gigantism, and the Third Reich's use of slave labour, into a standard documentary format, while trying, sometimes rather too hard, to maintain the pretence that "it is just possible" Nazi gold is still out there and might just turn up during the running time of the programme. Which, of course, everyone now knew it did not.
Effectively the production was the English language Wikipaedia entry about Project Riese, with added Gold Train to get the programme commissioned. As a result it was here that for all their presenters enthusiasm, the Pulse Films co-production missed making a series of obvious points.
First, while apparently begun in the Autumn of 1943, the Riese project was never even close to being finished when it was overrun by the Soviet Army in the Spring of 1945. The McAlpines of the Third Reich, Organisation Todt, did not even manage to line out with concrete the vast bulk of the tunnels, excavated at such an appalling human cost by the Concentration Camp workers from KZ Gross-Rosen and its various sub-camps, some 5000 of whom are estimated to have died, or been murdered, in the process.
If the Tunnels aren't finished and fitted out you can't hide a "gold train" in them, even if it is carrying gold, secret weapons, or even Herman Goering's writing desk with its secret stash of Fin de Siecle Parisian pornography [I made that last one up, but then a lot of this story is made up- allegedly].
The second obvious point missed was that anything remotely useful left in the Riese tunnels, and much which wasn't, will have been removed as war reparations by the Soviets in the months and years following the conquest of Lower Silesia and its absorption into Poland; while it is also the case that the Soviet intelligence officers of SMERSH had a knack of getting to the bottom of Nazi mysteries where they existed, even if they did not always tell anyone about their solutions except Stalin.
Remember that the likely fate of the famous Amber Room; stolen from the Tsars Summer Palace and burned as collateral damage during the taking of Königsberg [Kalinningrad] on or around 9/10 April 1945; was established within months of the end of the war, much to the embarrassment of the Red Army which was probably responsible, albeit unwittingly. While the secret recovery and disposal of Hitler's remains by Soviet Intelligence is now well documented. Of course Stalins refusal to admit, for political reasons, what his operators had found out in Berlin fueled seventy years of industrial grade mythology maintaining that Hitler survived the Gottendamerung in the Reich Chancellery in May 1945, and escaped to live out the rest of his life plotting the Fourth Reich in a resort town in southern Argentina [see Harry Cooper and Gerrard Williams passim].
Grounded, and undergrounded, as it was in the Owl Mountains, the programme did a more than reasonable job in describing the canvas in the physical landscape upon which the Nazi Gold Train farce was played out. It even hinted at the obvious warning signs which were present from the start of the story. Amateur researchers Andreas Richter and Piotr Koper, using technology , Ground Penetrating Radar [GPR], which enables them to see what they wanted to see, and the fact they claimed a finders fee and hired a lawyer, before they brought in people who did know what they were looking at, are just two which the programme documented. However, the script made no attempt to address the other half of the explanation. Why such stories gain so much international traction, especially in the media, when there is so little evidence to support them, and that which does exist is usually so threadbare as to be downright suspect.
Neither did it address the issue that, if the story turned out to be true then it would be one of the most important discoveries in Conflict Archaeology ever and just lamming into it with a JCB, truffle hunting the goodies might not be the best methodology to adopt. Fortunately for the archaeology of Walbrzych the authorities seemed to be on top of that matter, issuing just enough permissions to allow our heroes to prove that they had sold the world a pup, without letting them do any real damage, except to some periglacial deposits which they had taken to be a tunnel on the GPR print out.
It is also just possible of course, that one day a TV documentary maker will step back from the hype and make a film about how and why these conspiracy theories are the farce that launches a thousand hours of TV factual. There were even hints of such a film here, and there certainly are in Dan Snows accompanying article in the Telegraph, but in the end the overriding impression is that the audience was being presented with an English Language primer relating to material which has been in the public domain in Poland for years, with the lesson sugared, in a decidedly half hearted way, by the prospect that a Nazi Gold Train might actually be still out in them there mountains.
The sugar was ladled on by the teeth rotting spoonful with the shameless story of buried Nazi treasure, told on grainy black and white TV by an alleged, and conveniently anonymous, Cold War vintage Polish spook, complete with a disguise of fedora, scarf and sunglasses. A further few minutes were filled by a similarly uncorroborated yarn told by an alleged German veteran who claimed to have been a military vet in the area in 1945. The vet vet, claimed to have been involved with a secret pack train which was tasked with carrying gold into the Owl Mountains, but tragically for posterity, although fortunately for the local tourism offer, he was unable to see the mission through, or reveal the location of the stash, because just as the mission approached its climax a fall put him in hospital and he only heard about it afterwards.
Of course, there is nothing wrong with making such a programme. Indeed, it can be regarded as a public service because the ignorance of most English speakers of the reality of World War Two on the Eastern Front is generally woeful [see ClearStory Productions "World War Two Battlefield Recovery" for a knowledge and context free case study in precisely that level of ignorance being immortalised on HD video]. However, for all that a series of Polish experts were interviewed in the programme, missing was the explicit acknowledgement that the Poles knew all this already. Indeed, there is an excellent website which summarises the known history and mythology of Project Riese, in Polish, German and English which came about as the result of an international collaboration facilitated by the Polish Krzyzowa Foundation for Mutual Understanding in Europe and beginning its work as long ago as 2006.
It is also true that archaeologists understand that anything built underground attracts an air of risk and mystery, principally because in folklore underground is the interface between the world of man, and the Gods, Hell, or as Snow says here as he is lowered into another tunnel, the "dark heart" of Nazism. However, as the authors of the Polish project point out, there is a perfectly good explanation as to why the area attracted so many myths after World War Two.
After the pell mell evacuation of Wroclau/Breslau to escape the encircling forces of Marshal Ivan Koniev's 1st Ukrainian Front in January 1945 and the subsequent collapse of Nazi Germany in early May, Lower Silesia underwent a cultural upheaval, whereby,
"the former German inhabitants of the region disappeared, while new Polish settlers moved in who had not been in Lower Silesia during the war and were thus unable to give any first-hand information on the subject. Hence, all the necessary groundwork for the creation of myths had been done, and this general tendency was strengthened by the fact that the area in question remained sealed off by the military even for a long time after the war."
In other words, the legend of Project Riese, and its delightful sidebar, Tomasz the Golden Panzer Engine, was born to fill a cultural vacuum, and grew up because local people needed to explain secret squirrel antics of the Soviet and Warsaw Pact military in the area, after the War had ended. The simple human desire to make an instant fortune and the more recent economic driver of supplying bed, board, and souvenirs to tourists, did the rest.
The script of Dan Snow's programme really should have explored this aspect of the story properly. After all, he knew all about it because he alludes to this in his accompanying article. Instead we got the legend of Renne-le-Chateau reheated with Nazi's instead of Knights Templar and Hitler and his stolen treasure instead of the burial of Christ, but the programme was not smart enough, or confident enough, to say so.
But on the bright side, at least, unlike Gary Lineker after Leicester won the Premiership, the programme did not start with a bet, so we were spared Mr Snow presenting the programme in his, no doubt fetching, designer boxer shorts. Perhaps he will do that if the Nazi Gold Train ever turns up?
Andy Brockman was lead archaeologist on the Burma Spitfire's Project and edited the official report into the story behind the Burma Spitfires myth.
MMO ANNOUNCES FURTHER CONSULTATION FOR CONTROVERSIAL GOODWIN SANDS DREDGE PROJECT
UCL FAILS TO DEFEND STAFF FROM CHEAP MAIL SHOT AT "TRIGGER WARNINGS"


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Una bomba antipista es un sistema de ataque a tierra que incluye bombas o bombetas diseñadas para inutilizar la superficie de las pistas de un aeropuerto o aeródromo con intención de que no puedan ser utilizadas para operaciones de vuelo.

Uno de los primeros sistemas antipista fue la bomba penetradora francesa Matra Durandal, de 450 lb con impulsor cohete y cabeza explosiva de 330 lb. Otro, ya retirado de servicio, fue el JP233, un sistema de lanzamiento de submuniciones con el que el avión podía realizar una pasada sobre la pista objetivo y liberar una mezcla de submunciones penetradoras y antipersonal para destruir la pista y además impedir los trabajos de reparación.

Bombas

redpajama_set_name: RedPajamaWikipedia


The period immediately following the birth is a time of bonding for mother and child. Having a postpartum doula provides an extra pair of hands so mom and her partner can settle into their new role as parents.
• Facilitate the connection between the newborn and older siblings.


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San Francisco homicide: Man killed in Bayview
By Bay City News |
PUBLISHED: July 24, 2020 at 5:03 a.m. | UPDATED: July 27, 2020 at 10:38 a.m.
A 58-year-old man died in a suspected homicide in San Francisco's Bayview District early Thursday, police said.
Bay Area homicides 2020: Map and details
The homicide was reported at 2:49 a.m. in the 2100 block of Jennings Avenue.
The city's medical examiner's office later identified the man as Paul Ortega. San Francisco police did not release any other detail about how he died. No arrest has been made.
The death was on the same block where Michael Hampton, 33, was fatally shot on Feb. 21.
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Northern California prison guard pleads guilty to lies in inmate's death
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Road rage confrontation sparked investigation that ended career of California fire official, reports says

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Fun quilt to make with strip sets. The Lap size uses one jelly roll of fabrics or 39 strips. This is easy to make and give the illusion of being complicated. You can use the Stripology ruler by GE Designs for creative grids to help with cutting this quilt but is not needed.
Quilt Size: Three sizes Crib 31" x 46", Lap 46" x 61", Full 76" x 91"


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Every Tuesday, Wednesday and Thursday we hold a tea and coffee morning 10-12am.
Every Friday we hold a lunch club from 12-3pm. This is a 2 course meal for £3.00. All over 50's are welcome.
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HyPoint's "turbo fuel cells" promise huge range and power for eVTOLs
By Loz Blain
HyPoint's "turbo fuel cells" p...
Bartini's eVTOL design, with eight tilting, coaxial ducted rotors, promises 550-km (342-mi) ranges and 300-km/h (186-mph) speeds thanks to HyPoint's turbo air-cooled hydrogen fuel cell powertrains
Bartini
HyPoint started out working on hydrogen-powered drones in 2018
HyPoint
HyPoint's hydrogen powertrains are compact, lightweight and very powerful
HyPoint's HTPEM fuel cell
HyPoint's turbo air-cooled fuel cells are only at the laboratory stage right now
The eVTOL market is threatening to begin commercial flights around 2025, but it's becoming very doubtful that lithium battery technology will have the required energy density by that stage. Hydrogen offers a compelling alternative
View gallery - 6 images
A California company says its new "turbo air-cooled" fuel cell design can deliver three times the power and four times the lifespan of a regular fuel cell, opening the door for high-speed, long-range, hydrogen-powered electric VTOL aircraft.
Weight is everything in aviation, and it's even more important when you're talking about energy-intensive vertical takeoff and landing like the coming eVTOL air taxi contenders are promising. Nearly every company on that list is building its prototypes using lithium batteries, but the simple fact is, lithium batteries have terrible energy density.
Commercial air taxis will need to fly all day, not spend long hours hooked up to charging stations, so every company that's planning around lithium is praying for a magical new chemistry to emerge from a test lab that doubles or triples the capacity of the best batteries available today.
That may well happen, but hydrogen is beginning to look like an excellent alternative. It's a pain in the butt when it comes to ground transport, but in electric aviation it might find a perfect use case. It offers much higher energy density, promising excellent flight endurance, and it lets you fill up with fuel in minutes, just like topping up your car's gas tank.
Indeed, some businesses are starting to bet on it. US East Coast eVTOL startup Skai is racing to be early to market with a six-rotor, five-seat aircraft it says will be capable of four hours or 400 miles (644 km) in the air before you'll need to top up the hydrogen tanks.
But an American startup says one piece of the puzzle is still missing for the perfect eVTOL powertrain: a lightweight, high-power fuel cell design.
A fuel cell primer
Basic diagram showing the key components of a proton exchange membrane fuel cell
To very quickly recap how a fuel cell works in the most basic terms, hydrogen is fed in to the anode side, where a platinum catalyst splits it from H2 into positively charged hydrogen ions, or protons, and negatively charged electrons. A proton exchange membrane allows only the protons through to the cathode side, creating an electrical potential that pulls the electrons through to the other side along an external path. This external path is where you place your electrical load.
When the electrons arrive on the other side, they meet the protons in the presence of oxygen and a second electrochemical reaction occurs to create water. Pure water flows out of the fuel cell and is the only "exhaust" from the process per se.
Hypoint's "turbo air-cooled" fuel cell design
Which brings us to HyPoint, a California-headquartered startup run by three Sergeis and an Alex, the latter of which caught up with us for a video call from his home, where he's waiting out the COVID lockdown.
Starting out in 2018, HyPoint set out to create low-temperature proton exchange membrane (LTPEM) fuel cell systems for industrial-grade drone systems. But since moving to Silicon Valley and being accepted into the Alchemist Accelerator program, the company began looking at a bigger target.
"When we arrived in the United States we saw a huge potential market in urban air mobility," says CEO Alex Ivanenko, PhD. "The main drivers of this market are mobility, compactness and energy density. Now, the main powertrains are built on lithium batteries, which have a fundamental technical barrier. Existing lithium batteries have a low energy density, while existing fuel cells have low specific power. The air transport market requires both high specific power and high energy density. There's no power source that can satisfy both requirements at the same time. Not lithium, not fuel cells."
Forecasting that suitable lithium battery technology might be as much as 15 years away, the HyPoint team began focusing its efforts on a fuel cell design specifically targeted at eVTOLs. To keep things lightweight, it would have to be an air-cooled design; liquid-cooled fuel cells, says Ivanenko, work well in the automotive world, but the associated coolant tanks and pumps add parasitic mass that literally isn't going to fly in the aviation world.
But today's available air-cooled fuel cells, he says, have limited power capacity and lifespan, and they only work in temperatures between -5 and 30 °C (23 and 86 °F). So the HyPoint team set out to develop something faster and hardier, and came up with what they call the "turbo air-cooled fuel cell."
"We boost the power of the fuel cell stack by placing it inside an air duct, where pressurized, humidified and thermally stabilized air is circulated by fans," says Ivanenko. "The compression of air is maintained about 3 bars inside by a compression system, and the air with reduced oxygen content is charged through a control valve, and replaced with fresh compressed air with normal oxygen content."
Turbo air-cooled fuel cell advantages
The extra oxygen on the cathode side of the fuel cell stack, in conjunction with a new High Temperature Proton Exchange Membrane (HTPEM) technology HyPoint has developed, allows you to force three times as much hydrogen through the fuel cell as a traditional design, tripling its specific power output without adding any parasitic cooling mass that might weigh a VTOL aircraft down.
With the entire system taken into account, the HyPoint system delivers 2,000 watts of power per kilogram (2.2 lb) of mass. The best of the liquid-cooled fuel cells deliver between 150-800 W/kg, and other air-cooled fuel cells sit at about 800 W/kg.
Higher specific power than lithium, higher energy density than other fuel cell systems
The energy density of the full system comes in at around 960 Wh/kg, where lithium batteries typically sit at about a third of that figure and other air- and liquid-cooled fuel cell systems come in a little over half – all according to HyPoint's own figures.
The system has some other huge benefits as well, says Ivanenko; it accepts "dirty" hydrogen that's only 99 percent pure, which is a fraction of the cost of the 99.999 percent purified hydrogen you need for an LPTEM system. "That's a huge decrease in a significant operational parameter for a commercial eVTOL operation," he adds.
It works at more or less any real-world temperature, from -50 to +50 °C (-58 to 122 °F) and beyond. And while it's still in the lab at this stage, the team projects these fuel cells will last some 20,000 hours without maintenance, where LTPEM systems typically last around 5,000 hours – another very significant factor for a commercial operator.
HyPoint has been in contact with a number of major players in the emerging eVTOL market in the US, Europe and Australia, says Ivanenko, but NDAs restrict him from mentioning them by name just yet, with the exception of ZeroAvia and Bartini.
"We're seeing big interest from many companies," he says. "We believe we've found a solution for them. Many of them are asking for us to validate our technology with a prototype, because we've only validated it in the lab so far. We agree with that. So our development plan for this year is to build a 15- to 20-kW prototype, to validate the technology. Then a full scale, say 150-200-kW system in 2022."
Moving from a lithium-powered prototype to a hydrogen powertrain, he says, shouldn't require a total redesign of most eVTOL airframes, so the opportunity to achieve long-range flights with fast refueling is open to more or less any of the contenders if they're willing to move some things around inside the aircraft design.
What about safety? Will hydrogen eVTOLs be an explosion risk?
Mindful of our ever-alert commenters, some of whom vocally believe hydrogen has no place in aviation, we put the question of safety to Ivanenko, who immediately rolls his eyes, grins and mimes shooting himself in the head.
"That's a common question from consumers," he says. "And that's OK, because I think most consumer technology will be too difficult to switch over to hydrogen technology anyway. That's one of the reasons why we're focused on B2B with large companies that care about efficiency.
"But yes, 'it's a hydrogen bomb! Remember the Hindenburg!' That was in 1938. Almost a hundred years ago. What people need to understand is that hydrogen, oxygen, propane and natural gas are all in the same group of dangerous flammable gases. The propane bottle you use on your BBQ has the same warning certificate, it's in the same class as hydrogen.
"There's no special hazard class for hydrogen. Moreover, hydrogen is the lightest gas in the universe, and it can't be concentrated in the field to achieve the kinds of dangerous concentrations that might cause a big boom. Of course, you should follow special safety rules, but you shouldn't be afraid of hydrogen gas. Oxygen is much more dangerous."
He goes on to point out that he drives a Toyota Mirai hydrogen-powered car. "It's been thoroughly crash-tested for safety. Any manufacturer of hydrogen powertrains understands what steps to take to get an appropriate safety certificate for a given application, and we'll be no different."
It's possible that lithium battery technology will make a quantum leap in energy density in the next five years, which is roughly when most eVTOL companies are projecting they'll be ready to start commercial air taxi flights. Maybe the batteries of 2025 will have huge capacities, light-weight, ultra-fast charging and they'll meet all the right safety criteria. But it's very possible they won't, and if that's the case, hydrogen innovators like HyPoint could well find themselves in a highly advantageous position. Certainly a company to watch.
Source: HyPoint with thanks to David Mayman
AircraftFuel CelleVTOLAir TaxisHydrogen-poweredHydrogen Aviation
Loz Blain
Loz has been one of our most versatile contributors since 2007, and has since proven himself as a photographer, videographer, presenter, producer and podcast engineer, as well as a senior features writer. Joining the team as a motorcycle specialist, he's covered just about everything for New Atlas, concentrating lately on eVTOLs, hydrogen, energy, aviation, audiovisual, weird stuff and things that go fast.
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christopher May 31, 2020 06:43 PM
A PhD, but no brains: "we saw a huge potential market in urban air mobility," says CEO Alex Ivanenko, PhD. Nobody is going to let air taxis fly over people anytime soon, if ever, and if they accidentally did anyhow, it's only going to take one crash and a pile of dead people below, before everyone else realizes how stupid that idea was and they never get permission to fly over people ever again. No taxi will ever be viable when it's not allowed to operate near customers...
Spud Murphy May 31, 2020 08:28 PM
The problem with hydrogen is that all it takes is one small leak and ker-friggin-boom, you're toast. Hydrogen becomes flammable at just 4% in air, and explosive at 18.3%. In the closed structure of an aircraft, there would have to be some serious safety measures, ie H2 sensors everywhere, and some form of emergency venting. Having seen hydrogen explosions, I'm petty sure you wouldn't get me in any aircraft (or other vehicle) using it.
vince May 31, 2020 10:00 PM
Vaporware until put into a working demonstration full size.
George Kafantaris May 31, 2020 10:15 PM
"[S]uitable lithium battery technology might be as much as 15 years away." Actually, it might not be that long. But the situation would not be better. Why? Because even if the ideal battery was here today, it would still need to be charged. This would require a grid capacity that we do not have -- and time to charge it that we also do not have. Meanwhile, a fuel cell can refuel in minutes and be ready to go -- perhaps around the clock since there is so little to wear out.
Hidden in this is a national security component. Inevitably, future wars (and peace-keeping) will be carried out by flying drones that are independent of the terrain and can move in unison in all directions -- under central control.
Like a swarm of bees, they could be deployed into an area of conflict and effect destruction (or protection) the likes we have never seen -- or have imagined.
It is wise, therefore, for every country to develop its own fuel cell technology early. This proved prudent in the case of the internal combustion engine. The countries that had the most experience with this engine were able to use it to their advantage in all sorts of things during WWII.
MarkGatti June 1, 2020 02:34 AM
finally a decent looking design , have to ask are they missing the simple fact that hydrogen is the best heat transfer fluid known , a hydrogen car radiator would be 1/10 the size of water filled ones. For doubters , BMW have tried setting fire to their liqified tanks of hydrogen , nothing exciting happened , try holding a beach ball under water , imagine something 10 times as buoyant, but unconstrained ,you have to get hydrogen in a sealed container to get any kind of bang , as the man said O2 is more dangerous
Towerman June 1, 2020 06:03 AM
""HyPoint's "turbo fuel cells" promise huge range and power for eVTOLs""
Excellent write up Loz, complimenting exactly my points in the last 5 articles. Electrics is going to blow the competition to oblivion ! !
Kpar June 1, 2020 08:47 AM
Wow, so many comments with opinions that need challenging. Christopher, if man had been meant to fly, God would have given him wings. Spud, you didn't read the article- it completely refutes your claim of "ker-friggin-boom". George, the power still has to come (mostly) from the existing power grid- H2 is not freely available in nature, it must be freed from the chemical compounds in which it resides- H2 is an energy storage system, not an energy source. Mark, mostly correct, but the hydrogen must be mixed with an oxidizer first, and then contained before ignition to get a BOOM. Vince, completely correct. Now fo my comment- this article would make a lot more sense if a schematic of the device were included.
ljaques June 1, 2020 09:02 AM
Well, air taxis may have just been given a workable power source. Permitting's gonna be a beeyotch, tho. Best of luck to the Alchemists in question, three Sergeis and an Alex. LOL They have a marketable buzz phrase and a potentially exciting new power density to work with. I still don't see a consumer market, except perhaps in-town urgent deliveries between businesses, which may be enough for them to succeed when they get this to market. More power to ya, dudes! (groan)
Username June 1, 2020 09:31 AM
Swap-able battery packs. Ultra capacitor charging station so you don't "drain" the grid. Simple solutions.
guzmanchinky June 1, 2020 10:50 AM
People are so worried about the safety of these things, they don't realize that they will be far safer (yes, even with Hydrogen on board) than a current helicopter, which has a DISMAL safety record compared to commercial airliners and about double the failure rate of private planes. Aviation will always have SOME amount of risk, but this technology is inevitable one way or another. Now let's just hope it's not too noisy if it becomes really popular (helicopters and jets are annoying enough as is!)...
Saving comment...


Disney's PhotoPass service is a great way to preserve the memories from your Walt Disney World vacation. Being able to capture those special moments with the Disney characters will be something you and your family will cherish. At Disney's Yacht and Beach Club resorts, there is a PhotoPass booth, however, they would not be able to put your photo's on a CD for you. Your best option would be to head over to any of the PhotoPass centers in the theme parks and have them upload your personal photos for you! They can upload your pictures onto your PhotoPass account, and they will also be on the CD that is mailed to you. You can use your photos and the PhotoPass photos to create souvenirs and print pictures, but you will have the added security of a "back up" should your memory card get lost or damaged. Just visit a PhotoPass center and they will be more than happy to assist you!


text:
PETER GESCHWIND´S PHANTASMAGORIA
It should look as if the chair were moving through the room. Or rather like a picture of a chair moving through the room, as if the space itself were a movie or as if a movie appeared in space instead of on a surface. A 3-D-movie, but rather based on sculpture and early trick films than on contemporary technology for enhancement of the illusion of depth in motion pictures. The special effects of Georges Méliès' works from the infancy of cinema is often said to have a phantasmagorical quality that permits us to see in them a continuation of what was known as phantasmagoria during the revolutionary years at the end of the 18th century: a particular kind of theater where images of sculls and demons , skeleton and ghosts were projected from mobile projectors onto screens, walls and smoke. I is not impossible that this tradition is brought to life again in this exhibition, with a power to unbind the spectator from space and time – all the while pointing the strangeness of everything out to us, here and now. —-Svensk version av texten här
When I write this, Peter Geschwind's work does not yet exist. It is only a ghost from the future. There is something of an inverted science-fiction to it. By the somewhat jerky movements of this piece (at least in the test model of it that I saw), the audience finds itself projected to the time when the motion picture was invented. It is like taking part of an imaginary optical technology from back then, a technical isolate which did not have a part in the evolution leading to the motion picture or to any other optical device that has survived. In that sense, an alternative history emanates from this exhibition. – Or is it the other way around? Isn't it the 19th century that repeats itself in this piece in a guise that it could not have had at the time (for technical reasons, although in principle, it could have had it)? It might very well be that this work reactivates a sensibility from the past, but conditioned by later experiences. If that's the case, we could have a science-fiction like experience of our contemporary situation, viewed in the light of, and as, a the past, i.e. we would see it from the point of view of the future, a past future or a future past.
What is it about, this will to three dimensional motion picture? At the beginning of the 19th century, the image (a mental image, for example a perception) was no longer understood as an immediate copy of an object. Immediacy was replaced by a process in time, synthesizing a flux of stimuli into an image. This flux does not only come from the outside: the eye responds to stimuli by creating visual phenomena all by itself. If you for example look at a diptych, white on the one side, magenta on the other and first concentrate on the latter one before switching, then the white side will turn into green. An after-image has appeared and blended into the picture. This means that the image not only has extension in space, but also in time, and that it is not a still image, but a moving one since it transforms itself from being white/magenta to being green/magenta. Thus, it is no longer possible to understand the visible world as an immediate visual transfer from object to subject, but must be regarded as a plane common to both subject and object, to which both of them has contributed. It is a surface constituted by the way subject and object affect each other in the visual, or in the sensible – "a world of affects with the same rank of reality as our drives and affects", as Nietzsche wrote, calling this world will to power. The visual world is then almost like a film-screen (but three dimensional, at least) where images move and change.
But even though the image concealed a process, the 19th century still considered it as in principle a still. Movement was attributed to bodies out there, in the world, not to the images inside the subject (nor to the ones hanging on a wall). This situation offered two possibilities to connect movement and image. Either, movement was thought to be a secondary phenomena, only existing in between poses. A movement of this kind was possible to recreate through putting several images of similar poses in a row, and show them in a rapid sequence – the invention of moving picture. Or you consider the bodies as images, and then movement become a primary phenomenon, that which is directly given (and this was Henri Bergson's and Nietzsche's solution), as in the transformation of the diptych mentioned above.
Peter Geschwind could be said to use both solutions in order to do something else with them. His image of a chair is a real chair: in that sense, the image is a body. Then he takes multiple chairs, puts them in a row and lets the light travel, from spot to spot, thus giving rise to a sensation of movement, a mental image-movement. Of course, this combination is not optimal if your aim is to create an illusion. But, Geschwind is probably not interested in the most efficient solution, in terms of illusion, but in the relation between appearance and reality. It is a traditional locus for art; the point where appearance and being merge and the appearance manifests its own degree of reality at the same time as reality manifests its degree of fiction. But in Geschwind's work, being and appearence do not relate in quite such a traditional manner. He does not want them to merge. Instead, he wants tocreate a borderland between them, as large as possible, where the proceeding of things is different from the ones of being and of appearance, even though all the functions come from these two realms.
How make the illusory and fictional more real without simulating reality? Decrease its level of perfection. For a long time, perfection was a measure of reality or being. Thus, God was the most real being, the being with the highest degree of reality, since his perfection was the greatest. In arts today, it is almost the opposite: a sense of reality is often communicated by the very lack of perfection in an image (either in terms of composition or of technology). The rhetorical function that poor images have, is that of expressing a certain urgency and importance in recording events, an importance that is superior to that of appearance or the perfection of the image. Just think of all the pictures of war, taken with a cell phone: obscure blurred shapes in green light. The value of these pictures does not reside in clearly showing us something, in documenting the appearance and details of something, but in recording the existence, here and now, of something (a war), and making the images instantly accessible. The reverse side of this is that the poor images also give the impression that they actually have an audience, and that fast distribution is the reason for the images low quality. Access is more important than perfection; the image's existence is more important than its essence. The message has to come across, that's all that matters. That is also why the image quality of many movies we see today is not that much superior to what it was during the tender childhood of the motion picture.
That is the locus where Geschwind establishes his borderland. He takes the thought of reality and appearance to a meta-level, and applies it to illusions: if the illusory movement is made in a less illusory manner, it will appear to be more real to us, in spite of our calling its bluff. Which in its turn enhances the illusory power of it… This weird logic, which makes every unmasking reveal a more realistic, i.e. more illusory, mask, is one of the reasons for me to use the word "phantsmagoria" when speaking about this work of Geschwind's. In this installation, our sense of reality is like an affective after-image. When we are not seduced by the spectacle, but see through it, we get a feeling of reality that we transfer to the illusion. And when it happens, the installation has suddenly become an image inside of which we suddenly find ourselves, like in a phantsmagoria.
All these twists of logic and turns of time (the past as our present viewed from the point of view of the future; decrease in illusion = increased illusion, etc.) that we have seen are to me truly phantasmagorical. But there is also another side to it. Some of that which we reckon as being real sticks to a movement of the image that is proper to early motion pictures, the effect of a few frames less per second than we are used to today. I believe that it is the association to time passed, provoked by old movies, that finds it way into Geschwind's piece – but also the sensation of phantomatic technology that several new inventions, like the telephone, gave rise to. I think I got that sensation when receiving an automatic Facebook message, telling me to reconnect with a person there who, although dead, still had an account. All on its own, technology provokes feelings of forlornness, solitude, oblivion and death that may give this installation – and the audience – the quality of an undead, of a restless spirit. I also imagine that this piece will be reminiscent of a ghostlike roller coaster for one single person, transforming the exhibition space into an amusement park that is also purgatory or at least some kind of place for undead people. I do not quite understand why this work triggers off that kind of existential, slightly moral ideas. But the fact that these ideas come to my mind, pictures of death, of strange modes of life and a spiritual reality of peculiar proceedings, bears witness to the phantasmagorical quality of this work.
Lars-Erik Hjertström Lappalainen


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text:
Freeport, Illinois Civil Procedure
Freeport, Illinois Civil Procedures
Find the right Litigation attorney in Freeport, IL
Litigation Lawyers in Freeport
In Freeport, Illinois, "civil procedure" refers to the varied processes and procedures that must be followed when conducting a civil lawsuit.
Freeport, Illinois's government strives to make the civil justice system fair, efficient, and accessible. The rules of civil procedure are designed to advocate those goals, to the greatest extent possible.
In Freeport, Illinois, civil litigation is often extremely intricate. So, it shouldn't be a surprise that the rules of civil procedure can also be fairly confusing. After all, they govern everything from the first document filed by the plaintiff, to the last ruling issued by an appeals court.
Major Freeport, Illinois Civil Procedure Issues
Complaint: When somebody believes that they have suffered a legal wrong in Freeport, Illinois, and decide to file a lawsuit, the first document that they file with the court is typically the complaint. The complaint is very important, because it can frame the factual and legal issues, and set the tone, for the rest of the process. The complaint normally contains every factual allegation against the defendant that forms the basis of the plaintiff's lawsuit. It also contains a prayer for relief, in which the plaintiff lays out his or her desired remedies, if the court finds the defendant liable.
Answer: After the plaintiff files the complaint, the defendant has to act. While they have a few options at this stage of the game, most defendants elect to file an answer. The answer is the defendant's first direct response to the plaintiff's allegations. Sometimes, the answer contains a general denial, in which the defendant simply denies everything the plaintiff alleges. It might also contain a point-by-point addressing of every allegation the plaintiff makes, denying some, and admitting some.
Discovery: Once both sides have fired their opening volleys in the form of the complaint and answer, the next process in civil litigation in Freeport, Illinois is discovery. Under the civil procedure rules of most jurisdictions in the U.S., each side of a lawsuit is required by law to disclose relevant information to the other side. These disclosures come in the form of depositions, the production of documents, and answers to written questions submitted by opposing counsel.
Trial: Although the trial is arguably the most dramatic element of civil procedure in Freeport, Illinois, it is truly extremely rare for civil lawsuits to make it this far. Civil procedure in Freeport is designed to encourage early settlement of cases, or dismissal of cases that don't have any legal or factual merit. However, in the rare cases when the case is not dismissed, and the parties can't reach a settlement, the matter will go to trial. A trial is the most visible aspect of civil litigation, and it is the stage when all of the legal and factual questions raised by both parties are resolved by a judge and jury, respectively.
How Can a Freeport, Illinois Lawyer Help?
If you're suing someone, or are being sued, in Freeport, Illinois, dealing with issues of civil procedure is going to be a fact of life for quite some time.
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text:
<!DOCTYPE html>

  <title>DDD Brisbane 2012</title>
  <meta charset="utf-8">
  <meta http-equiv="X-UA-Compatible" content="chrome=1">

  <meta name="apple-mobile-web-app-capable" content="yes">
  <link rel="stylesheet" media="all" href="theme/css/default.css">
  <link rel="stylesheet" media="only screen and (max-device-width: 480px)" href="theme/css/phone.css">
  <base target="_blank">

<slides class="layout-widescreen">

  <slide class="nobackground">

  </slide>

  <slide class="title-slide segue nobackground">

    <hgroup class="auto-fadein">

    </hgroup>

Maurice Butler

@ButlerMaurice

Meldr / The Locker Project

Patrick Klug

@PatrickKlug

Greenheart Games

Live Backchannel: #dddbrisbane

  </slide>

  <slide class="fill nobackground" style="background-image: url(images/JavaScript-the-good-parts.jpg)">
    Source: http://bit.ly/V3nZOO
  </slide>
  <slide>
	<hgroup>

From professional to beginner in one decision.

	</hgroup>

Preconceived ideas need to be challenged.

I thought JavaScript is slow. It isn't.

I thought JavaScript is unsophisticated. It isn't.

                  Being a beginner again is frustrating. (especially a CSS beginner)

A few things which make it easier

a very active community

tons of examples

tons of libraries

HTML/JS is powerful

example apps

code visually

  </slide>
  <slide>
    <hgroup>

Where do I start to code?

    </hgroup>

There is no special entry point. A JS file referenced in HTML is simply executed.

<script src="js/myJSFile.js"><script>

Hint: Don't use self-closing tags. It will not work.

<script src="js/myJSFile.js"/> //will not load

You could then start coding in the JS file directly.

var a = 5 + 10;

But this would place your code into a global scope which is rarely what you want.

</slide>
        <slide>
      <hgroup>

Building blocks

      </hgroup>

A few things you need to get started

//functions
function foo(){
};

foo();

var bar = function(){ //function assigned to a variable
};

bar();

var obj = {};//object
var person = {name:'Patrick'};

var array = [1,2,3]; //array

  </slide>
  <slide>
    <hgroup>

Understanding JavaScript with a C# background

    </hgroup>

Scope

Types

Truthy and Falsey

Functions are objects

Hoisting

Scope Revisited

  </slide>

  <slide class="different">
    <hgroup>

Scope - Dont hate me cause im different

    </hgroup>

Scope in JavaScript works very different than scope in C#

Javascript uses Function Scope rather than Block Scope

But we will come back to that...

      Source: http://bit.ly/V3ESJa

  </slide>

  <slide>
    <hgroup>

Types

    </hgroup>

JavaScript has only 5 primitive types:

boolean

string

number

null

undefined

  </slide>

  <slide>
    <hgroup>

Types

Boolean & String

    </hgroup>

The JavaScript boolean and string types behave very similarly to their C# counter parts.

There are some minor differences, but they are boring and I wont go into those here.

  </slide>

  <slide>
    <hgroup>

Types

Number

    </hgroup>

JavaScript has no float, int, double or any other types to represent numbers

All numbers are represented as a 64-bit floating-point double

The other interesting point is the 2 valid number values NaN and Infinity. The value NaN (stands for Not a Number) occurs when a value is returned as a number type, but the value is not parseable as a number. This is usually when trying to parse a non numeric string value (such as "abc") to a number. The value infinity occurs when a number exceeds the upper limit of the floating point numbers, which is 1.7976931348623157E+10308.

  </slide>

  <slide>
    <hgroup>

Types

Null

    </hgroup>

The JavaScript null type is similar to the C# Null however it does have one gotcha.

When applying the typeof operator to a null value, it will return "object". This is actually completely wrong, and is a mistake that was made very early in the language's standardisation.

It was deemed however that it was too late to fix typeof due to the amount of existing code that would break.

          var x = null;
          console.log(typeof x);  // object

  </slide>

  <slide>
    <hgroup>

Types

Undefined

    </hgroup>

The JavaScript undefined type is similar to null, however while null means a variable or property has no value, undefined means that the variable or property does not exist.

For a variable it can also mean that the variable was declared but never assigned a value

          var foo;
          console.log(typeof foo); // undefined

          foo = 123;
          console.log(typeof foo); // number

          foo = "abc";
          console.log(typeof foo); // string

          foo = true;
          console.log(typeof foo); // boolean

          foo = null;
          console.log(typeof foo); // object

          foo = {};
          console.log(typeof foo); // object

  </slide>

  <slide>
    <hgroup>

Types

    </hgroup>

          var foo;
          console.log(typeof foo); // undefined

          foo = 123;
          console.log(typeof foo); // number

          foo = "abc";
          console.log(typeof foo); // string

          foo = true;
          console.log(typeof foo); // boolean

          foo = null;
          console.log(typeof foo); // object

          foo = {};
          console.log(typeof foo); // object

  </slide>

  <slide>
    <hgroup>

Truthy and Falsey

    </hgroup>

In JavaScript any object can be automatically coerced into a boolean representation (i.e. true or false).

Anything that exists and has a value will evaluate as true unless the value is false, null, undefined, 0, NaN or an empty string.

  </slide>

  <slide>
    <hgroup>

Truthy and Falsey

    </hgroup>

        var foo;

        if(foo) // exists but is undefined -> evaluate as false
        {
            console.log(foo); // will not execute
        }

        foo = "Hello World";

        if(foo) // exists and has a value -> evaluate as true
        {
            console.log(foo); // will execute
        }

  </slide>

  <slide>
    <hgroup>

Truthy and Falsey

    </hgroup>

We can now use these concepts to write defensive JavaScript, by ensuring variables or properties exist before using them.

        if (someObject && !someObject.foo){
            someObject.foo = 'foo';
        }

        console.log(someObject.foo);

The above code checks if someObject is truthy (not null etc) and if someObject.foo has been defined.

If someObject.foo has not been defined it will set it to the string value 'foo' before continuing to log it out.

  </slide>

  <slide>
    <hgroup>

Functions are objects

    </hgroup>

A function in JavaScript is an object just like any other object.

While this concept might not be as huge a deal for someone familiar with Generics and Lambda expressions, it is still a big difference between C# and JavaScript.

You can do many more weird and wonderful things

Create anonymous functions

Assign a function to a variable

Pass that variable to another function

Change the function object to do other things

Parse it as a string

And many more

  </slide>

  <slide>
    <hgroup>

Functions are objects

    </hgroup>

 Define a function called foo and then call the named function.

            function foo(){
                console.log('bar');
            }

            foo();  // bar

But how about this?

            var foo = function (){
                console.log('bar');
            }

            foo();  // bar

  </slide>

  <slide>
    <hgroup>

Functions are objects

    </hgroup>

In the second example, we defined an anonymous function and assigned to to the variable foo

We now have a variable foo which we can do what we please with

        console.log(foo); // function (){
                          //     console.log('bar');
                          // }

        foo.randomProperty = "We just added a property to an object";

        console.log(foo.randomProperty); // We just added a property to an object

  </slide>

  <slide>
    <hgroup>

Hoisting

    </hgroup>

When JavaScript is executed, the interpreter moves or "hoists" all variable declarations to the top of their containing function / scope boundary, regardless of where they occur.

        var foo = 'global foo';

        function myFunction() {
            console.log(foo);
        }

        myFunction();

This code defines a global variable foo and sets its value to 'global foo'. We then call my function that logs the value of foo.

  </slide>

  <slide>
    <hgroup>

Hoisting

    </hgroup>

Now lets change this function so that it logs the global variable and then logs a local version of foo

        var foo = 'global foo';

        function myFunction() {
            console.log(foo); // undefined
            var foo = 'local foo';
            console.log(foo); // local foo
        }

        myFunction();

Why does the first console.log return undefined?

  </slide>

  <slide>
    <hgroup>

Hoisting

    </hgroup>

The code that is actually being executed after hoisting has occurred looks like this

        var foo = 'global foo';

        function myFunction() {
            var foo;
            console.log(foo); // undefined
            foo = 'local foo';
            console.log(foo); // local foo
        }

        myFunction();

  </slide>

  <slide>
    <hgroup>

Scope Revisited

    </hgroup>

OK, time to talk about scope.

In C#, scope is introduced by braces or are "Block Scoped". A variable declared inside a class, function, loop, condition block, etc are available to all members within the blocks braces.

public void Method1()
{
 var elements = new int[] { 0, 1, 2, 3, 4, 5 }; // available everywhere in the function

 for (var i = 0; i < elements.Length; i++)
    {
       var element = elements[i]; // available only within this for loop
         Console.Write(element);
    }
}

  </slide>

  <slide>
    <hgroup>

Scope Revisited

    </hgroup>

In JavaScript however, functions define scope.

A variable declared outside of a function is in the global namespace. As in any language, you should try to avoid polluting the global namespace.

A variable declared inside a function is visible anywhere within that function but are not visible outside the function.

function Method1(){
  var elements = [0, 1, 2, 3, 4, 5]; // available everywhere in the function

  for(var i = 0; i < elements.length; i++) {
    var element = elements[i];  // remember Hoisting? will be available everywhere,
                                //even though it was originally declared inside the loop
    console.log(element);
  }
}

  </slide>

  <slide>
    <hgroup>

Scope Revisited

    </hgroup>

Lets now modify this code to take the the array of values and create an array of functions that return the original values.

        function Method1(){
          var elements = [0, 1, 2, 3, 4, 5],
              functions= [];

          for(var i = 0; i < elements.length; i++) {
            var element = elements[i];
            functions.push(function() {
              console.log(element);
            });
          }

          functions[3]();
        }

        Source: http://bit.ly/QFQbGd

  </slide>

  <slide>
    <hgroup>

Scope Revisited

    </hgroup>

So what is the result of the function call?

        function Method1(){
          var elements = [0, 1, 2, 3, 4, 5],
              functions= [];

          for(var i = 0; i < elements.length; i++) {
            var element = elements[i];
            functions.push(function() {
              console.log(element);
            });
          }

          functions[3]();
        }

  </slide>

  <slide>
    <hgroup>

Scope Revisited

    </hgroup>

        functions[3]();  // 5

As discussed before, JavaScript does not have "Block Scope" thus the for loop has not introduced new scope.

This means that each time the element variable is accessed, the same memory location is updated, rather than a loop iteration specific variable as one would expect in C#

  </slide>

  <slide>
    <hgroup>

Scope Revisited

    </hgroup>

For simplicity we will just wrap our for block in an anonymous, auto executing function, (often referred to a closure) and pass the element parameter into this function.

  for (i = 0; i < elements.length; i++) {

      (function (element) {                    // start of closure

          functions.push(
              function() {
                  console.log(element);
              });

      }(elements[i]));                         // end of closure
  }

  </slide>

  <slide>
    <hgroup>

Scope Revisited

    </hgroup>

        functions[3]();  // 3

We now log 3 as originally expected.

The code is now similar to the C# example (scope wise) as the element variable is declared, assigned used and destroyed within the for loop.

This is because Hoisting moves variables to the top of a function, the closure stops it bubbling up to the same location as the other variable declarations.

  </slide>

    <slide>
        <hgroup>

Code Structure

        </hgroup>

{
    var a = 5;
    var b = a;
}
var b = a; //a does not exist

The key to structuring code in JS is scope.

Scope is defined by functions.

To place your code into its own scope it needs to be enclosed by a function.

(function(){
    var a=5;
    var b=a;//5
})(); //self-executing anonymous function to introduce scope.
var b=a;//undefined

        </slide>
    <slide>
        <hgroup>

Code Structure 2

        </hgroup>

Self-executing anonymous are used to divide the code base and move things out of the global scope.

If you want to define a bunch of functions but you don't need them in global scope, you wrap them in a self-excecuting function.

(function(){
    var foo = function(){
    };
    foo();//available
})();
foo();//unavailable

To make this separate code usable elsewhere you just have to attach it to an object in the global scope.

var GlobalObject = {};
(function(){
    var bar = function(){...};
    GlobalObject.foo = function(){
        bar();
    };
})();
GlobalObject.foo();

    </slide>
    <slide>
    <hgroup>

Code Structure 3

    </hgroup>

namespace Product
{
  public static class MyStaticClass
  {
    private static int a = 5;
    public static int Foo()
    {
        return a;
    }
  }
}
Product.MyStaticClass.Foo();

var Product = {};//simple object serves as a namespace.
Product.MyStaticObject={}; //simple object serves as the container for our static functions
(function(){
    var a = 5;
    Product.MyStaticObject.foo = function(){
        return a;
    }
})();//self-executing anonymous function to introduce scope.
Product.MyStaticObject.foo();

    </slide>
    <slide>
        <hgroup>

Classes 1

        </hgroup>

There are no classes in JavaScript but there are several features you can use to get similar things.

Option: Use simple objects instead of classes.

Objects to simply group some functions and properties.

var person = {};
person.name = 'Patrick';
person.birthday = '15/03/1983';
person.getAge = function(){};

Or the same in JSON-style.

var person = {
    name:'Patrick',
    birthday:'15/03/1983',
    getAge = function(){
        //logic
    }
}

    </slide>
    <slide>
        <hgroup>

Classes 2

        </hgroup>

Defining a 'class' by using the following facts:

1. A function is an object.

2. You can create a new instance of an object via the new keyword

Example:

var Person = function (name){
    this.name = name;
};
var presenter1 = new Person('Maurice');
var presenter2 = new Person('Patrick');

                    Since a function is an object you could also attach more functions.

var Person = function (name, birthday){
    this.name = name; this.birthday=birthday;
    this.getAge =function(){
        //logic
    };
};
var presenter1 = new Person('Maurice');
var presenter2 = new Person('Patrick');

    </slide>
    <slide>
        <hgroup>

Classes 3

        </hgroup>

My preferred option using the JavaScript prototype object.

var Person = function(name, birthdate){ //think of this as the constructor
    this.name = name;
    this.birthdate = birthdate;
};
(function(){
    //think of this as the class defintion
    var p = Person.prototype;
    p.getAge = function(){
        //logic using this.birthdate;
    };
})(); //scope only available to the class definition

var presenter2 = new Person('Patrick','15/03/1983');
presenter2.getAge();

Prototype: The prototype of an object defines the properties and methods which are available on all instances of the object.

    </slide>
    <slide>
        <hgroup>

C# vs. JavaScript Example

        </hgroup>

public class Person
{
    public Person (string name, DateTime birthday)
    {
        this.Name = name;
        this.Birthday = birthday;
    }
    //Name and Birthday properties omitted
    public int GetAge()
    {
        //logic
    }
}

var Person = function(name, birthday){
    this.name = name;
    this.birthday = birthday;
};
(function(){
    var p = Person.prototype;
    p.getAge =function(){
        //logic
    };
})();

    </slide>
    <slide>
        <hgroup>

Advanced Concept: JavaScript inheritance.

        </hgroup>

Inheriting properties/methods from other objects is also possible in JavaScript.

var DisplayObject = function(x, y){
    this.x = x;
    this.y = y;
};

var Container = function(x, y){
     //roughly equivalent with :base(..) in C#.
    DisplayObject.apply(this, arguments);
};
(function(){
    //this effectively says that any instance of Container
    //should have the same properties/methods as a DisplayObject
    Container.prototype = new DisplayObject();

    //define additional methods/properties for Container objects.
    var p = Container.prototype;
    p.addChild = function(){};
})();

.apply() calls a method with an array of arguments and defines what this is.

arguments holds the arguments passed to a function.

    </slide>
    <slide>
        <hgroup>

Forging your tool set to suit your C# mind.

        </hgroup>

Dictionary/Hashtable

Events

                    LINQ extension methods (mostly IEnumerable<T> methods)

.Where() => .filter()

.Select() => .map()

.Except() => ?

.Count(filter) / .Max(filter) / .Sum(filter) / .Average(filter) => ?

.FirstOrDefault(filter) / .LastOrDefault(filter) => ?

.GroupBy() => ?

                    Other methods I simply got used to

.format()

...

    </slide>
    <slide>
        <hgroup>

My number 1 requirement for a programming language?

        </hgroup>

Extension methods!

I simply re-implemented helper methods by extending the prototype objects.

Array.prototype.first = function (filter) {
	if (!filter) {
		if (this.length > 0)
			return this[0];
		return null;
	}

	for (var i = 0; i < this.length; i++) {
		var obj = this[i];
		if (filter(obj))
			return obj;
	}
	return null;
};

//usage
[1,2,3,4,5,6].first(function(n){ return n>4; }); //like .FirstOrDefault((n)=>{return n>4;}));

    </slide>
        <slide>
        <hgroup>

More extension examples

        </hgroup>

Array.prototype.insertAt = function (index, obj) {
	this.splice(index, 0, obj);
};

Array.prototype.skip = function (count) {
	if (this.length < count)
		return [];
	return this.slice(count, (this.length - count) + 1);
};

//http://stackoverflow.com/a/4673436/10779
String.prototype.format = function () {
	var args = arguments;
	return this.replace(/{(\d+)}/g, function (match, number) {
		return typeof args[number] != 'undefined'
    ? args[number] : match;
	});
};

Number.prototype.clamp = function (min, max) {
	return Math.min(Math.max(this, min), max);
};

Hint: You might want to check for existing functions before overwriting them on prototype objects.

    </slide>
    <slide>
        <hgroup>

Dictionaries

        </hgroup>

There is no C# like dictionary in JavaScript but a simple key/value pair holder is easy to come by.

var dict = {}; //use a simple object as a dictionary
dict.myKey = value;
//or like this
dict['stringKey']= value;

//check for value
if (dict.myKey!=undefined){
}
if (dict['stringKey']!=undefined){
}
//access value
dict.myKey;
dict['stringKey'];

    </slide>
    <slide>
        <hgroup>

Dictionaries 2

        </hgroup>

Iterate over keys

var dict = {};
for (var key in Object.keys(dict)){
}

//or, more often you see this:
for (var key in dict){
    //.hasOwnProperty returns false if the property is from a prototype object.
    if(!dict.hasOwnProperty(key))
        continue;
    var value = dict[key];
}

To use a key that is not a string or a number you can use an additional array and use the index as the key.

var keyArray = [obj1, obj2, obj3];
var dict = {};
dict[keyArray.indexOf(obj1)]=value;

if (dict[keyArray.indexOf(obj3)] != undefined){
}

    </slide>
    <slide>
        <hgroup>

Events

        </hgroup>

It's simple to respond to events from the HTML DOM

<input id="myButton" onclick="UI.onClick()" />

var UI = {};
UI.onClick = function(e){
};

You can also easily do the same thing from code alone

var myButton = document.getElementById('myButton');
myButton.onclick = function(e){
};

But there is no built-in way to define events on your own objects.

    </slide>
    <slide>
        <hgroup>

Events 2

        </hgroup>

Events in C# are multicast delegates which essentially means a list of methods which are called when the event fires.

Given this definition we can create our own event implementation:

var EventSource = {};
(function(){
    var p = EventSource.prototype;
    p._events = {}; //dictionary to store event handlers
    p.on = function(key, handler){
        if (this._events[key]==undefined)){
                this._listeners[key]=[];
        }
        this._events[key].push(handler);
    };
    p.off = function(key, handler){
        if (this._events[key]!=undefined && this._events[key].indexOf(handler)!=-1)){
            this._events[key].splice(this._events[key].indexOf(handler), 1); //splice (startIndex, numberToRemove)
        }
    };
    p._raiseEvent = function(key){
        var handlers = this._events[key];
        for (var i=0;i<handlers.length;i++){
            handlers[i]();
        }
    };
})();

    </slide>
    <slide>
        <hgroup>

Events 3

        </hgroup>

Usage is simple

var MyObject = {};
(function(){
    MyObject.prototype = new EventSource(); //inherit methods/properties from EventSource
    var p = MyObject.prototype;
    p.doSomething = function(){
        this._raiseEvent('somethinghappened');
    };
})();
//somewhere else
instance.on('somethinghappened',function(){
    //handler
});

    </slide>
    <slide>
        <hgroup>

Common pitfalls

        </hgroup>

Usage of this

var allPresenters = [
	{ id: 0, name: 'Maurice', talks: [0, 2] },
	{ id: 1, name: 'Patrick', talks: [0, 3] }
];
var DDDTalk = function (talkId, name) {
	this.talkId = talkId; this.name = name;
};
(function () {
	var p = DDDTalk.prototype;
	p.getPresenters = function (arr) {
		return arr.filter(function (item) {
			return item.talks.indexOf(this.talkId) != -1;
		});
	};
})();
    var talk = new DDDTalk(0, 'JavaScript for C# devs');
    var presenters = talk.getPresenters(allPresenters);
}

    </slide>
    <slide>
        <hgroup>

Common pitfalls (this)

        </hgroup>

Simple solution

(function () {
	var p = DDDTalk.prototype;
	p.getPresenters = function (arr) {
            var id = this.talkId;
		return arr.filter(function (item) {
			return item.talks.indexOf(id) != -1;
		});
	};
})();

(function () {
	var p = DDDTalk.prototype;
	p.getPresenters = function (arr) {
            var that = this;
		return arr.filter(function (item) {
			return item.talks.indexOf(that.talkId) != -1;
		});
	};
})();

    </slide>
    <slide>
        <hgroup>

Common pitfalls

        </hgroup>

this might not be what you think it is. just keep it in mind when things don't work.

                   When working with functions/callbacks and variables in for loops, be aware of scope issues.

You will likely go half insane because of this at least once.

Just keep calm. Re-read Maurice's blog post and earn the padawan achievement again.

I did it thrice :)

                   typos, syntax errors etc.

just be more careful. test early, test often.

and use

'use strict';

                           in Visual Studio 2012

                    be careful when using
if (value)
 to check if a value is set as this will be false if the value is 0. you can use if (value!=undefined) instead.

    </slide>
    <slide>
        <hgroup>

My Recommendations (Patrick)

        </hgroup>

Start with a goal in mind.

Start coding.

Read code.

Read more code.

Leave 'architecture' frameworks for later. (You might not need MVVM)

Learn jQuery (esp. if you need to do a lot of DOM manipulation).

If something is not working: Keep calm and investigate.

If you don't understand why your own code is working, you should not continue.

Don't be the superstitious dev.

Read Maurice's blog post on hoisting and scope.

    </slide>
  <slide class="title-slide segue nobackground">
    <hgroup class="auto-fadein">

Thanks!

    </hgroup>

Maurice Butler

@ButlerMaurice

Meldr / The Locker Project

Patrick Klug

@PatrickKlug

Greenheart Games

Live Backchannel: #dddbrisbane

  </slide>

  <slide class="logoslide dark nobackground">

  </slide>

  <slide class="backdrop"></slide>

</slides>

redpajama_set_name: RedPajamaGithub


text:
Delivering a culturally relevant computing curriculum: new guide for teachers
Sue Sentance
In computing education, designing equitable and authentic learning experiences requires a conscious effort to take into account the characteristics of all learners and their social environments. Doing this allows teachers to address topics that are relevant to a diverse range of learners. To support computing and computer science teachers with this work, we're now sharing a practical guide document for culturally responsive teaching in schools.
Download the guide as a PDF
We need to make computing culturally relevant
Making computing culturally relevant means that learners with a range of cultural identities will be able to identify with the examples chosen to illustrate computing concepts, to engage effectively with the teaching methods, and to feel empowered to use computing to address problems that are meaningful to them and their communities. This will enable a more diverse group of learners to feel that they belong in computing and encourage them to choose to continue with it as a discipline in qualifications and careers.
Such an approach can empower all our students and support their skills and understanding of the integral role that computing can play in promoting social justice.
Yota Dimitriadi, Associate Professor at the University of Reading, member of the project working group
We introduced our work on this new document to you previously here on the blog. Check out the previous blog post to find out more about the project's funding and background, and the external working group of teachers and academics we brought together to develop the guide.
Some shared definitions
To get the project off to the best start possible once we had assembled the working group, we first spent time drawing on research from the USA and discussing within the working group to come to a shared understanding of key terms:
Culture: A person's knowledge, beliefs, and understanding of the world, which are affected by multiple personal characteristics, as well as social and economic factors.
Culturally relevant pedagogy: A framework for teaching that emphasises the importance of incorporating and valuing all learners' knowledge, ways of learning, and heritage, and that promotes critical consciousness in teachers and learners.
Culturally responsive teaching: A range of teaching practices that draw on learners' personal experiences and cultural identities to make learning more relevant to them, and that support the development of critical consciousness.
Social justice: The extent to which all members of society have a fair and equal chance to participate in all aspects of social life, develop to their full potential, contribute to society, and be treated as equals.
Equity: The extent to which different groups in society have access to particular activities or resources. To ensure that opportunities for access and participation are equal across different groups.
To bring in the voices of young people into the project, we asked teachers in the working group to consult with their learners to understand their perspectives on computing and how schools can engage more diverse groups of learners in elective computer science courses. The main reason that learners reported for being put off computing: complex or boring lessons of coding activities with a focus on theory rather than on practical outcomes. Many said that they were inspired by tasks such as producing their own games and suggested that early experiences in primary school and Key Stage 3 had been very important for their engagement in computing.
Curriculum, teaching approaches, and learning materials
The guide shows you that a culturally relevant pedagogy applies in three aspects of education, which we liken to a tree to indicate how these aspects connect to each other: the tree's root system, the basis of culturally relevant pedagogy, is the focus of the curriculum; the tree's trunk and branches are the teaching approaches taken to deliver the curriculum; the learning materials, represented by the tree's crown of leaves, are the most widely visible aspect of computing lessons.
Each aspect plays an important role in culturally relevant pedagogy:
Within the curriculum, it is important to think about the contexts in which computing concepts are taught, and about you make connections with issues that are meaningful to your learners
Equitable teaching approaches, such as open-ended, inquiry-led activities and discussion-based collaborative tasks, are key if you want to provide opportunities for all your learners to express their ideas and their identities through computing
Finally, inclusive representations of a range of cultures, and making learning materials accessible, are both of great importance to ensure that all your learners feel that computing is relevant to them
You can download the guide on culturally relevant pedagogy for computing teachers now to explore the resources provided:
You'll find a lot more information, practical tips, and links to resources to support you to implement culturally relevant pedagogy in all these aspects of your teaching
The document links to different available curricula, and we have highlighted materials we've created for the Teach Computing Curriculum that promote key aspects of the approach
We've also included links to academic papers and books if you want to learn more, as well as to videos and courses that you can use for professional development
What was being part of the working group like?
One of the teachers who was part of the working group is Joe Arday from Woodbridge High School in Essex, UK. Joe originally worked in the technology sector and has been teaching computing for ten years. We asked him about his experience of being part of the project and how he plans to use the guide in his own classroom practice:
"It has been an absolute privilege to play a part in working towards producing the guide that my own children will be beneficiaries of when they are studying the computing curriculum throughout their education. I have been able to reflect on how to further improve my teaching practice and pedagogy to ensure that the curriculum taught is culturally diverse and caters for all learners that I teach. (Also, having the opportunity to work with academics from both the UK and US has made me think about becoming an academic in the field of computing at some point in the future!)"
Joe also says: "I plan to review the computing curriculum taught in my computing department and sit down with my colleagues to work on how we can implement the guide in our units of work for Key Stages 3 to 5. The guide will also help my department to work towards one of my school's aims to encourage an anti-racism community and curriculum in my school."
Continuing the work
We hope you find this resource useful for your own practice, and for conversations within your school and network of fellow educators! Please spread the word about the guide to anyone in your circles who you think might benefit.
We plan to keep working with learners on their perspectives on culturally relevant teaching, and to develop professional development opportunities for teachers, initially in conjunction with a small number of schools. As always with our research projects, we will investigate what works well and share all our findings widely and promptly.
Many thanks to the teachers and academics in the working group for being wonderful collaborators, to the learners who contributed their time and ideas, and to Hayley Leonard and Diana Kirby from our team for all the time and energy they devoted to this project!
Joseph Arday, FCCT, Woodbridge High School, Essex, UK
Lynda Chinaka, University of Roehampton, UK
Mike Deutsch, Kids Code Jeunesse, Canada
Dr Yota Dimitriadi, University of Reading, UK
Amir Fakhoury, St Anne's Catholic School and Sixth Form College, Hampshire, UK
Dr Samuel George, Ark St Alban's Academy, West Midlands, UK
Professor Joanna Goode, University of Oregon, USA
Alain Ndabala, St George Catholic College, Hampshire, UK
Vanessa Olsen-Dry, North Cambridge Academy, Cambridgeshire, UK
Rohini Shah, Queens Park Community School, London, UK
Neelu Vasishth, Hampton Court House, Surrey, UK
computing education
culturally relevant teaching
Exploring how culture and computing intersect
How can we design inclusive and accessible curricula for computer science?
Computing education and underrepresentation: the data from England
Introducing the Raspberry Pi Computing Education Research Centre
Celebrating the community: Toshan
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5th August 2021, 1:23 pm
Very excellent method. Using practical problem solving as a basis provides an engaging construct. I would like to suggest, the selection of application should be age directed. Using a banking example with eight-year-olds will loose the audience. Perhaps a dog washing system for a maker class, or a cost tracking system for a lemonade stand. Keep the examples fun, and it becomes easier to hold their attention.
Reply to Jack
Ali Alzubaidy
Raspberry Pi projects are amazing I used them with MyCodeClub members, the amazing thing they join between coding and another science STEAM Education
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