When we balance out our factors and consider which factor or two is more important than the others, we can make a decision. In this situation, the nature of the work (creative) and the amount of the work (the whole thing) are kind of a wash; illustrated story books are always creative, and to read a story from beginning to end is the point of story time. One could not have story time by reading a factual work like a scholarly journal article or by reading a small portion of the work. The first factor, purpose, seems more important than the effect on the market because we have not avoided a sale, assuming the library has purchased the book.
This question is essentially asking if the social benefits of story time are lost if the story time is delivered digitally. The social benefits remain the same regardless of the means of delivery, so it makes sense that digital story time is also fair.
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There are a few spots where copyright can get dicey with digital story time. One is that more people will have access to story time. Some feel that going to a larger audience is a problem, and if story time is recorded or downloaded, people can see and hear the story time repeatedly.
Yes, the fair use argument will not be as strong, but in my opinion it could still be made depending on other circumstances. For example, in some story times, the children engage in part of the public performance by providing aspects or embellishments to the story. For children with disabilities, story time may have to be modified to meet their needs, which would add to a strong fair use argument.
There is a growing consensus among copyright experts that posting online story times to continue mission-driven library and educational services during the coronavirus emergency is a fair use. As always, when using protected resources, I recommend that efforts be taken whenever possible to restrict access and further distribution of the story time to the public.
Background: Refugees report elevated rates of posttraumatic stress disorder (PTSD), but are relatively unlikely to seek help for their symptoms. Mental health stigma is a key barrier to help-seeking amongst refugees. We evaluated the efficacy of an online intervention in reducing self-stigma and increasing help-seeking in refugee men.
Methods: Participants were 103 refugee men with PTSD symptoms from Arabic, Farsi or Tamil-speaking backgrounds who were randomly assigned to either receive an 11-module online stigma reduction intervention specifically designed for refugees ('Tell Your Story', TYS) or to a wait-list control (WLC) group. Participants completed online assessments of self-stigma for PTSD and help-seeking, and help-seeking intentions and behaviors at baseline, post-intervention, and at a 1 month follow-up.
Conclusions: This is the first investigation of a mental health stigma reduction program specifically designed for refugees. Findings suggest that evidence-based stigma reduction strategies are beneficial in targeting self-stigma related to help-seeking and increasing help-seeking amongst refugees. These results indicate that online interventions focusing on social contact may be a promising avenue for removing barriers to accessing help for mental health symptoms in traumatized refugees.
Once you're familiar with Twine, you should learn more about the story format you're using. Story formats are like game engines, and determine the features you'll have access to and the way you'll write code.
Non-financial support is important, too. You can help someone out with a question, contribute to the Cookbook, create tutorials of your own, help fix bugs in Twine or its story formats, or translate Twine's user interface to another language.
Professor Dwight Lindley does a fantastic job teaching this course! He's enthusiastic, energetic and seems to love the story himself, which really makes it enjoyable! I'm thinking about Charles Dickens and his story, "A Christmas Carol", in new ways and with deeper meaning!
ArcGIS StoryMaps made its debut at the Esri User Conference in July. Jennifer Bell, the product manager for ArcGIS StoryMaps, transported attendees to Nepal and Tibet as she rebuilt the Mapping Mount Everest story by Alex Tait, a geographer for the National Geographic Society, live.
Immediately after, customers around the world began creating immersive stories and collections with the new product. Their feedback helped transform ArcGIS StoryMaps into a powerful storytelling app for GIS professionals to share their work with the world.
Thanks to continual product development, the most familiar classic storytelling patterns are made available in ArcGIS StoryMaps, and organizations of all sizes successfully transition to it. With thousands of stories published daily, storytellers worldwide embrace ArcGIS StoryMaps.
ArcGIS StoryMaps will continue to receive continual improvement in line with customers' needs to ensure storytelling thrives in line with the changing digital experience expectations of content creators and readers.
Question 1. Does the pile of Lv.4 missions give me storyline missions for better standing gain rewards rather than Lv.1 missions ?
Question 2. Are there anything I can do to receive storyline missions with better standing gains selectively ?
From when I used to do storyline missions log ago I would say it seems random, similar to normal missions. With some hidden agent attributes giving a higher percentage chance for a certain type of storyline mission.
Probably you are right. Originally I had less than -5 standings towards Thukker Tribes and started this journey to repair theirs while maintaining the rest empires standings too.
Those entangled standing modifications led me to get bogged down in the mire.
I tired some of amarr storylines to repair amatarr standings, thereby losing ORE standings now. Jeez. If only The interbus had their storyline missions this could have been more easy.
Anyway thanks for the help. Please pray for me not to be kicked out from any of those empires.
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IGN's Red Dead Online (RDO) Walkthrough features guides for the many Red Dead Redemption 2 Online story missions, complete with Gold Medal Checklist Requirements, screenshots, and tips for each of them.
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Original story author Maidy said that they were happy to help create a film version of their story as there were still issues to explore not covered by the television series.[3] Differences from the television version of the story, Final Fantasy XIV: Dad of Light, include the addition of a fourth sibling to the family.[3] Another change was to have other characters play Final Fantasy XIV not just father and son.[3] Square Enix also gave the filmmakers their own game server to control the time of day and weather in order to film exactly the kinds of shots they wished.[3] 2351a5e196
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