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the floor of the valley has dropped in recent decades with increased groundwater pumping by farms, meaning more land might be subject to inundation,

Flood protection in California is largely a local affair, with water agencies, special districts and private companies building and maintaining the infrastructure. Smaller towns, like those in the San Joaquin Valley, often don’t have the money to develop their own levee systems, and while the state and federal government help out, winning investment from them isn’t easy.

The Tulare Lake basin also doesn’t have major Army Corps of Engineers flood projects to buffer large amounts of water as do some areas such as the Sacramento region.

The current crisis is the opposite of the usual one--instead of fighting over who gets access to water, groups are fighting over how to get rid of it.

Farmers, residents, municipal work crews, and hired contractors are reinforcing levees, pumping out excess water, and evacuating livestock, equipment, and homes.

One group was hired to protect a supply warehouse 3 miles south of Corcoran.

J.G. Boswell Company, which mainly produces cotton, owns most of the lowlands that are the Tulare Lake bed. They have allowed some fields to flood in efforts to protect other areas (the most productive farmland). The County Board of Supervisors forced them to cut another levee and flood more land because they weren't doing enough to protect populated areas.

"Flood protection in California is largely a local affair, with water agencies, special districts and private companies building and maintaining the infrastructure. Smaller towns, like those in the San Joaquin Valley, often don’t have the money to develop their own levee systems, and while the state and federal government help out, winning investment from them isn’t easy. The Tulare Lake basin also doesn’t have major Army Corps of Engineers flood projects to buffer large amounts of water as do some areas such as the Sacramento region."

Tulare lake used to be the largest body of water east of the Mississipppi. It had ports, steamships, elk and antelope. 40 different Yokut groups lived on its shores.

Ernesto Yerena Montejano, currently a Boyle Heights resident and originally from Imperial County, and his team of fellow artists Arlene Mejorado and Ayerim Leon — complete with friends and families" painted the mura.

It belongs to the Imperial Valley, but was one of 14 California commissions art projects as part of a collaboration between the Governor's Office, CA Dept of Public Health and The Center at Sierra Health Foundation. The commissioning program aimed to raise awareness about Covid19 within the State's hardest hit areas. Each an governmental agency stakeholder in the project along with curators who selected the artist for this mural.

The building's owner, which appears to be a someone poised to sell it soon is also a stakeholder and most importantly, local resident are active stakeholders as they began adding names of family members who died because of Covid on the western corner of the mural unprompted and without explicit instruction or permission.

The mural is located at 739 N. Imperial Avenue in El Centro. It is precariously positioned because although the current owner of the building has promised to protect it for the next 6 months (per Jun 10, 2021), the next owner of the building may cover over the mural. The mural was completed over 1 week by 5+ painters under the direction of  the artist Ernesto Yerena Montejano on May 30, 2021.

It brings together community members to commorate the toll Covid 19 has taken on the community. It provides a public service message to continue masking and thereby taking care of the community. And it adds an element of beauty and artfulness to what was a run-down building exterior

The mural covers the entire side of one building. The background is painted in purples, blue and yellow. One side of the wall is painted "Protege A Nuestra Comunidad!"|"Protect our Community!"

The centerpiece of the mural both figuratively and literally is a beautiful woman (anywhere beteween 20-40yo) in traditional dress with two long strands of brown braided hair holding a bouquet of colorful flowers tied together with a yellow sash. She is wear a face mask to back up the Covid-19 theme.

The flowers she holds is both a reference to the business--"Cynthia's Flower Connection" which has since moved as well as a tribute to the community and their deceased members who died of Covid. One indication is that community members began adding names to the side of the mural as a tribute to lost family members.

This mural is a public-works project commissioned by the State and agencies. It was created by an artist who has ties to the area. It is also meant to be a public health message, another way to reach local residents who have been "locked in"

“Right away we saw how powerful the mural was in bringing people together, especially after this year where we've been locked in and it's been hard to communicate with our community,” he said. Per David Varela, “People are slowly making their way to the mural and are able to mourn a little bit too,” Varela said. “It's really healthy to mourn and I think people are getting a chance to do that through the mural. I knew we'd not only get a beautiful mural, but a powerful message.”

• The process of designing curriculum is quite useful as it details how different activities correspond to learning goals in science, mathematics, and technology. Fig. 3 describes the steps: selecting content through content specialists in the POAC team, making a curriculum outline, individual meetings with content specialists, and making the lesson plans. I really like the activities they designed, such as comparing different mask materials and how they protected against differently-sized viruses. They were also given time to research career pathways and present on epidemiology careers, a step that invites students to imagine career pathways. 

• I realize the scope and audience of this paper is different, but I am so curious about how the Imhotep Academy created a setting that encouraged underrepresented students to participate and speak up, given that they cite evidence of how difficult that can be. How did they choose participants? 

• Having read Freire’s Pedagogy of the Oppressed recently, I am thinking about his approach to curriculum design that is based on a feedback loop between would-be learners and would-be educators. The roles of learners and educators aren’t fixed. Content development is not done beforehand just by content specialists but in an iterative process with multiple feedback loops. Since very few research teams have the time or the resources to deploy Freire’s rigorous approach, I am not surprised that most curriculum development does not follow the route. And educators are working with former experiences anyway. So I am curious about how the authors’ previous experiences shaped their approach to curriculum design?

• A context for this paper is the controversy on the proposed revisions to the California math curriculum that conservative media outlets argue “waters down” calculus–a cherry topping on the college admissions cake–to privilege data science in middle-school grades. Education researchers contend that apart from physics and engineering majors, not many colleges actually require calculus for admissions (many private institutions do), and that the relevance of advanced calculus for college preparation is overrated. 

• National Commission on Excellence in Education ‘s 1983 report Nation At Risk: the need for a new STEM workforce specializing in computer science and technology 

• National Council on Mathematics 2000 guidelines for preparing American students for college in Common Core Mathematics 

• Stuck in the Shallow End: Virtual segregation; Inequality in learning computer science in American schools focusing on Black students