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For today's video I'd like to pose a question.

It's a question aimed at myself as much as it's aimed at everyone watching, and

if I'm being entirely honestly, it's a question I might not have a full answer to,

but it's one I've been thinking over ever since getting back from my trip to Disneyland.

I am not shy about my distaste for Dinoland USA in the Animal Kingdom at Walt Disney World.

I think it's a low effort area of the park that falls below the standards I've come

to expect from Disney and doesn't inherently feel like a Disney experience.

On paper, I feel the same could be said of Paradise Pier over in Disney's California

Adventure.

So why am I OK with Paradise Pier while I hate Dinoland USA?

I guess the first thing I need to do is clarify why this question is even a question.

For those who might not have been to one park or the other, Paradise Pier and Dinoland USA

share quite a lot in common while being two pretty unique experiences at the same time.

For one, they're both lands within a theme park that are based around older forms of

amusement that pre-date Disney.

Over in California, Paradise Pier is a recreation of the Victorian coastal boardwalks from as

far back as a hundred years ago.

In Florida we have Dinoland USA, which is, in essence, a throwback to the type of state

fair and traveling carnival that has been around long before Disneyland.

In terms of offerings, they're also pretty similar in that they have their E-ticket draw

with California Screamin' and Dinosaur, as well as a number of lower quality rides

you wouldn't really associate with Disney.

Paradise Pier has the swings and the ferris wheel, while Dinoland USA has

Primeval Whirl, a Dumbo clone.

Lastly, they're both relatively new in terms of Disney history, with Paradise Pier opening

in 2001 and Dinoland USA getting that carnival addition around 2002.

so I don't think nostalgia of the lands factor into any of this.

So with all of that said, I couldn't help but wonder why I really enjoyed my time spent

at Paradise Pier, yet I'll usually avoid Dinoland USA.

I have a theory that I'd like to share.

I believe it largely has to do with not only my age, or our collective ages if you agree

with me, but the age of the amusements depicted themselves.

The Victorian boardwalks that Paradise Pier idealizes come from a time that, I think it's

safe to say, nobody watching this was alive to experience.

While we still have plenty of boardwalk amusements today, that aesthetic of the white wood and

exposed bulbs at night originates from as far back as the early 1900s.

On the flip side of that, Dinoland USA emulates the very style of traveling fair that we can

actually still find today.

It's a setting that many of us can say we've experienced ourselves.

I wonder if that difference in experience is the core of what makes these two lands

feel so different.

After all, it's much more difficult to apply rose-tinted nostalgia to something we can

still experience today.

Inversely, maybe easier to apply that rose-tinted nostalgia if we've never truly experienced

it to begin with, but simply go off of what we've seen in films, television or through

stories we're told.

When we look at something like Main Street USA, we're looking at Walt's nostalgic

ode to his childhood life in Missouri.

He felt the drive to recreate that optimistic look back at Main Street because at the time

it was an experience that was quickly disappearing around the country.

Perhaps the same could be said of the boardwalks of Paradise Pier.

However we don't have to go very far to find the inspiration of Dinoland USA.

So why does this even matter?

I suppose it's partially because I'm interesting in hearing what you all have to say about

the lands, and a part of me hopes that maybe asking this question would shed some

light on what could be done with future lands at the parks to improve.

With that theory in mind, does it mean that in 50 years or so kids will look at Dinoland

USA with awe and nostalgia for something they've never experienced, similar to the way I ?

kind of do right now with Paradise Pier?

Is the solution that perhaps lands shouldn't be designed around experiences we can still

find today?

If you look at the Magic Kingdom, those lands are either fiction of some form, or romanticized

versions of an era that is long gone.

I guess it might not matter.

After all, Paradise Pier will be undergoing a transformation into Pixar Pier, and there

are early rumors going around that Dinoland USA might also see a complete transformation.

Either way, I'd love to hear from you.

Maybe you're on the complete opposite side of this and love Dinoland while hating the

Pier.

Maybe you love them both or hate them both.

Let me know in the comments what your two cents are.

I want to turn this into a larger discussion.

Thanks for watching, and I'll see you next time!

For more infomation >> Paradise Pier vs Dinoland USA: Why do I like one and hate the other? - Duration: 5:13.

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60 Second Lecture Why Do We Walk Where We Walk A Meditation on Movement, Meaning, and Agency - Duration: 1:32.

-: Why do we walk where we walk?

Roads, city plans, railway and tram lines,

bridges and buildings, define our urban landscape.

To a certain exent then,

our physical context determines where we can walk,

and yet we still have choices.

So why do we choose to go left here and not there

when by making the opposite choice,

we would arrive at the same place at the same time

or perhaps even earlier?

In these circumstances, we are exercising our agency.

Our desire to visit a particular coffee shop,

to catch a particular view, or perhaps

to encounter a particular person.

For some social theorists, this exercise of agency

amounts to an act of resistance.

We are sticking it to the man by taking

a slightly longer view, by ducking into an alley or

whimsically zigging and zagging our way to our destination.

Equally, however, we're writing ourselves, our hopes,

our fears and dreams, into the world around us.

We are inscribing meaning.

By walking the same way to class every day,

we elevate that walk to a ritual,

and rituals have powerful implications

for our sense of individual and collective identity.

In short, we simultaneously use the landscape

as a canvas upon which to perform ourselves,

and derive meaning and our sense of self from

the everyday act of walking.

Thank you.

(applause)

For more infomation >> 60 Second Lecture Why Do We Walk Where We Walk A Meditation on Movement, Meaning, and Agency - Duration: 1:32.

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If God is all-powerful, why do disasters happen? Why is there evil? - Duration: 2:00.

If God is all-powerful, why do disasters happen? Why is there evil?

This is a question we often receive, and ultimately the answer is: we do not know.

Why do people join terrorism groups and do evil? Why do disasters happen and bury entire villages?

Why does one child live and another die in the mother's womb?

How can God allow this to happen?

I cannot tell you why. But we can say a number of things on the basis of our faith.

First of all, we can be assured that God does not want evil. Not the evil inflicted by people, nor that of natural disasters, illness and death.

God is all good! He created the world for us, although it is not yet the perfect place that he has in mind for us.

So now here we are confronted with evil, suffering, pain.

You sometimes hear that evil is the absence of good; I think I'd rather say that evil occurs when people do not live in the love of God.

In fact, we have the assurance of Jesus that God is present precisely there where people are suffering.

God cries when evil is done.

What can we do about evil? Can anything good come from evil?

If we can, we should take away the source of suffering, like when you cure an illness.

But when evil is unavoidable, and unfortunately often this is the case, we can find a great comfort in the presence of other people.

As I visited the site of an earthquake once, I was struck by the number of people who stood up and helped their fellow people,

even without asking anything in return. The evil event brought about the best in people.

Above all, as Christians we know that Jesus suffers with us. You may think of his Way of the Cross: his suffering and his death opened for us the way to God.

So from evil, some good can come. Evil does not need to have the last word.

If we allow for him to be part of our lives, God's love will win!

Neither the world nor the people in it are perfect, hence bad things happen. God proves his omnipotence by bringing good out of evil.

For more infomation >> If God is all-powerful, why do disasters happen? Why is there evil? - Duration: 2:00.

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Why save for retirement? - Duration: 1:11.

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Why save for retirement?

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Save to spend time with friends.

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Save to spend time with family.

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Save for epic adventures.

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Save to see the world.

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Save to better your community.

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Save for what matters most.

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Retirement dreams are just a plan away.

What's your why?

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Now is the time to save for a meaningful retirement.

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Plan today to continue doing what you love.

Visit wellsfargo.com and start saving for your why.

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For more infomation >> Why save for retirement? - Duration: 1:11.

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Why do Korean nurses in Germany not return home? - Korea Times - Duration: 6:07.

Why do Korean nurses in Germany not return home?

In the 1960s, many Korean nurses and mine workers migrated to Germany, as the country invited Korean laborers as part of its Gastarbeiter program.

Images usually depict the dispatched nurses to Germany wearing hanbok (traditional Korean costume) and waving Korean Taegeukgi flags at the airport.

They are just lumped together as a symbol of sacrifice for economic development.

A documentary play The Nurses, Who Do Not Return Home sheds light on the other half of the history of these Korean-German nurses, centering on individual lives rather than the whole history.

The documentary play is a product of director Kim Jae-yeops year in Berlin.

He met politics expert Yoo Jung-sook who studied the lives of Korean immigrants and nurses in Germany.

Director Kim, who also is a professor of Sejong Universitys Department of Film Art, headed to Berlin for a year as an exchange professor at Berlin University of the Arts.

A year at the German capital made the director ponder ideas of cosmopolitanism, immigration and refugees.

He presented Die Gedanken Sind Frei, or Thoughts are Free at the Doosan Art Center in May, which was more about the artists role in this cosmopolitan world as a first of his Berlin Commentary trilogy.

Die Krankenschwestern, die nicht nach Hause zuruckkehren, or The Nurses, Who Do Not Return Home, is the second in the series and currently staged at the Jayu Theater of the Seoul Arts Center in Seoul.

This time, Kim narrowed the subject down to a specific group of Koreans living in Germany ― Korean nurses who went to West Germany in the 1960s.

The play revolves around three Korean nurses ― Sun-ok, Guk-hui and Myeong-ja ― who head to Germany for different reasons.

They encounter Korean student Jeong-min, who studies politics in Germany.

All the characters are based on real people.

http://img. koreatimes.

kr/upload/newsV2/images/171127_1. jpg.

Jeong-min, who researches the history of immigrants, decides to focus on the individuals lives for her doctoral thesis and the four become friends, even though their paths might never have crossed in Korea.

They watch Rainer Werner Fassbinders 1974 film Ali: Fear Eats the Soul, which revolves around the relationship between an elderly woman and a Moroccan migrant worker in post-war Germany.

The portrayal of minorities in the film resonates with them and they begin to speak their voices on social issues.

They form an association of Korean women in Germany and start to fight for their rights.

They gather signatures in a nationwide campaign to acquire the right to stay in Germany and bring up the unfair treatment of female migrants in Germany.

Though their foundation of living has shifted to Germany, they never forgot Korea and made known the circumstances of the May 18 Gwangju Uprising in 1980 after watching German journalist Jurgen Hinzpeters video.

http://img. koreatimes.

kr/upload/newsV2/images/171127_2. jpg.

They grow up through solidarity and director Kim tells the tale of these girls becoming cosmopolites who can raise their voice in a composed tone, through his alter ego Jae-yeop in the play, acted by Jung Won-jo.

Jeon Guk-hyang plays Myeong-ja, Lee Young-suk plays Sun-ok and Hong Sung-kyung plays Guk-hui.

Two German-born actors add diversity to the play.

Anna Rihlmann, also known as Anna Yoon, and Philipp Windischmann play multiple German characters and make the audiences think about Korean society, which still has strong racial homogeneity.

The play runs until Dec.

For more information, visit sac.or. kr