1 . I teach digital technology. Although this class is high-tech; we try to make it high-touch. In other words, we keep screen-time to a ______

One day, I helped my Grade 8 students build robotic arms. They’re ______ their robots to perform tasks from the ______ —dipping a tea bag into a mug—to the complex, like cleaning up radioactive (放射性的) waste. Like most days, things often don’t ______ as expected. Sometimes it’s the wiring that’s not working. Sometimes, it’s a ______ problem, like the glue holding the parts together ______ because of continuous movement. I do my best to encourage students to continue through ______, though, truly, their peers are the best cheerleaders. When things aren’t working, they make ______: “That happened to me, and here’s how I fixed it.” They ______ each other up: “Try again! You can do it!” They also do a lot of playful ______. But when things finally work, they celebrate together. ______, this is a classroom of teammates, not ______.

Educators and parents have done a lot of thinking lately about the future of ______. We don’t learn best on the ______. More and more, I’ve come to believe that the future of school lies in classrooms like the one we’ve built, where students ______ technology with human creativity and connection.

FluentU is a great method to learn a foreign language. We watch videos with subtitles and at any time, we can stop the video if we don’t understand a word or an expression. We click on for additional explanations. Then, we have a quiz to work the vocabulary. I find this method very interesting to improve and stay motivated.

—Estelle Jaouen

I appreciate being able to hear the pronunciation from a male and female voice. I think the mix of characters and pinyin are great and well-balanced. I love the fact that I’ve only been doing this for less than a month and I already know dozens of useful phrases and words!

—Maria van Eeden

I like the fact that it’s very dynamic and not grammar focused. Also, having many videos to learn from makes it even less boring no matter where you are as long as you have a smart phone. I like to just watch each video one time, pause at each sentence and try to remember words and sentences.

—Eduard Marius

The best thing about FluentU is that you have direct context for each new vocabulary that you learn. Repeating the dialogues is the way I learn. Also, that you can bring in your own vocabulary list and that the program searches for videos or material in which the words are included are remarkable!

—Jan Rehmer

3 . A satellite is an object in space that orbits around another. It has two kinds — natural satellites and artificial satellites. The moon is a natural satellite that moves around the earth while artificial satellites are those made by man.

Despite their widespread impact on daily life, artificial satellites mainly depend on different complicated makeups. On the outside, they may look like a wheel, equipped with solar panels or sails. Inside, the satellites contain mission-specific scientific instruments, which include whatever tools the satellites need to perform their work. Among them, high-resolution cameras and communication electronics are typical ones. Besides, the part that carries the load and holds all the parts together is called the bus.

Artificial satellites operate in a systematic way just like humans. Computers function as the satellite’s brain, which receive information, interpret it, and send messages back to the earth. Advanced digital cameras serve as the satellite’s eyes. Sensors are other important parts that not only recognize light, heat, and gases, but also record changes in what is being observed. Radios on the satellite send information back to the earth. Solar panels provide electrical power for the computers and other equipment, as well as the power to move the satellite forward.

Artificial satellites use gravity to stay in their orbits. Earth’s gravity pulls everything toward the center of the planet. To stay in the earth’s orbit, the speed of a satellite must adjust to the tiniest changes in the pull of gravity. The satellite’s speed works against earth’s gravity just enough so that it doesn’t go speeding into space or falling back to the earth.

Rockets carry satellites to different types and heights of orbits, based on the tasks they need to perform. Satellites closer to the earth are in low-earth orbit, which can be 200-500 miles high. The closer to the earth, the stronger the gravity is. Therefore, these satellites must travel at about 17,000 miles per hour to keep from falling back to the earth, while higher-orbiting satellites can travel more slowly.

5 . To American ears, hearing the words “Black Grace” used together makes them feel a kind of quiet strength in times of hardship or perhaps a positive cultural stereotype (刻板印象). To choreographer Neil Ieremia, the words represent the joining of two ideas born from personal and cultural conflict.

In New Zealand, where Ieremia grew up in what he describes as “a fairly tough town” northeast of Wellington, black was used to describe brave, daring behavior. In Ieremia’s youth, brave people were called “black”, linking them to the neighborhood’ s heroes, New Zealand’ s great All Blacks, the national rugby (橄榄球) team.

Ieremia was born in New Zealand to Samoan immigrants who arrived in the country during the 1960s. Illnesses kept him from actively participating in the country’s widespread sports culture. This was difficult for a Pacific Island boy living in a neighborhood where boys were expected to be sporty and tough. In this world, he developed a passion for music.

At the age of 19, Ieremia decided to attend dance school. At his first ballet class, the instructor told him he lacked grace. Ieremia wasn’t discouraged. When he started his own dance company in 1995, he looked to his own experiences for a name that would also reflect his ambitions for dance grace and storytelling. Thus Black Grace was born. Since then, he has changed the face of modern dance in New Zealand and turned Black Grace into one of the most recognizable and successful cultural brands.

In the early years of Black Grace, Ieremia struggled with the conflict between Samoan and New Zealand cultures. Questions of how and where one belongs were at the forefront of his work. Ieremia draws inspiration from his Samoan and New Zealand roots to create innovative dance works that reach across social, cultural and generational barriers. The work itself is highly physical, rich in the storytelling traditions of the South Pacific, and expressed with unique beauty and power.

9 . Two new residents in Aarwangen, a small village in Swiss, filed complaints with the village council about the constant ringing of cowbells. They asked for the cows’ bells to be _________ at night so they could sleep.

Long-term residents, and the village’s remaining farmers were _________. They thought it was a(n) _________ on their traditional culture. “We want to _________ and maintain our lived traditions in the future,” they say.

Cowbells have been used in rural Switzerland for centuries. They were once useful for _________ cows on the hill side in summer. Farmers say they can _________ each individual cow by the sound of its own bell. _________, in modern times, many farmers have switched to using electronic chips _________ bells.

Over the past few decades, many new _________ have arrived here from large cities. They are less __________ to the agricultural way of life.

This year’s battle is not the first time residents have __________ cowbells. In 2015, a Zurich appeals court __________ a farmer to remove the bells from his 27 cows from 10:00 p.m. to 7:00 a.m., since they were safe in a small farm and keeping the neighbors __________.

Next month, Aarwangen’s villagers will gather for a public meeting to vote on the __________ of their bells. They will decide how the sound of the bells can __________ without breaking noise pollution laws.

10 . Reading poems is not exactly an everyday activity for most people. In fact, many people never read a poem once they get out of high school.

It is worth reminding ourselves that this has not always been the case in America. In the nineteenth century, a usual American activity was to sit around the fireside in the evening and read poems aloud. It is true that there was no television at that time, nor movie theatres, nor World Wide Web, to provide diversion. However, poems were a source of pleasure, of self-education, of connection to other people or to the world beyond one’s own community. Reading them was a social act as well as an individual one, and perhaps even more social than individual. Writing poems to share with friends and relations was, like reading poems by the fireside, another way in which poetry has a place in everyday life.

How did things change? Why are most Americans no longer comfortable with poetry, and why do most people today think that a poem has nothing to tell them and that they can do well without poems?

There are, I believe, three factors: poets, teachers, and we ourselves. Of these, the least important is the third: the world surrounding the poem has betrayed us more than we have betrayed the poem. Early in the twentieth century, poetry in English headed into directions unfavourable to the reading of poetry. Readers decided that poems were not for the fireside or the easy chair at night, and that they belonged where other difficult-to-read things belonged.

Poets failed the reader, so did teachers. They want their students to know something about the skills of a poem; they want their students to see that poems mean something. Yet what usually occurs when teachers push these concerns on their high school students is that young people decide poems are unpleasant crossword puzzles.