“Croeso I Gymru!,” If you don't know what this means, read on to find out more.

    When you cross over the border from England into Wales, you don't have to show your passport but you do notice a difference immediately. All the road markings and signs are shown in two languages — English and Welsh (威尔士语）. Not all visitors to Britain know that other languages are spoken here. There's the Gaelic (盖尔语) language in Scotland and a few people speak Cornish (康沃尔语）in the southwest of England, but the most widely spoken language in the UK besides English is Welsh.

    Perhaps the first Welsh word you^'ll see on the road into Wales is ARAF. There's a helpful English translation next to it — SLOW. As you can see, Welsh looks quite different from English. It sounds very different, too. Welsh looks and sounds so different from English because it's a Celtic language. Celtic cultures still exist around the edges of the UK — in Wales, Scotland and Northern Ireland and also in parts of France. For hundreds of years, almost everyone in Wales spoke Welsh, but nowadays there are about 600 thousand Welsh speakers — around 20% of the population.

    So is Welsh dying out? Not at all! Nowadays, all school children in Wales study Welsh and many choose to go to an all Welsh-speaking school. You can get public information in Welsh, speak Welsh in court or take a course at university in Welsh. People surf the Internet in Welsh, keep up with friends on Facebook and write blogs in Welsh.

    By the way, ^“Croeso I Gymru!" means “Welcome to Wales!” 一 I hope you'll be able to visit it one day.

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    Kawhi Leonard,who won the 2014 NBA Championship with the Spurs and was named the Finals Most Valuable Player,finished the 2016-17 season with averages of 25.5 points,5.8 rebounds,3.5 assists and 1.8 steals per game in the regular season,and 27.7 points,7.8 rebounds,4.6 assists and 1.7 steals in the playoffs.Then he was selected to the All-NBA First Team for the second time in his career,as well as earning All-Defensive First Team honors for the third time in three years.He's hopeful the playoffs happen to him again next season.

    He lived up to his reputation as the quiet man of the NBA in Beijing on Friday,but that didn't mean he wasn't enjoying himself.The San Antonio Spurs star rarely gets too animated—at least off the court.However,as he explained,people shouldn't read too much into it—it's simply his humble manner.

    Two-time All-Star Leonard is on week-long trip to China - his first visit here - until Aug 24 to promote basketball.Leonard hosted a basketball clinic in Beijing on Sunday for talented migrant school-kids,and on Saturday also met fans at NBA 5v5,the league's five-on-five tournament for elite players in China.

    The 26-year-old will then pay a visit to the NBA Academy Zhejiang in Zhuji,an elite training center which opened last November,to put the young talent there through their paces.“Just make sure that you also take care of your school work.If you are not fortunate enough to get into the NBA,you still can get a scholarship,a degree.”

    Leonard will wrap up his trip by making a special appearance at the NBA Play-zone in Shanghai,an NBA-themed family entertainment destination.After that,he's back home to focus on the build-up to the new season.

    Half a century ago, Japan built the world's first high-speed rail network—a network that remains the gold standard in train travel today. Currently the country is now helping Texas build its own bullet train, a potential game-changer for transportation in the state.

    When it launched on October 1, 1964, the world's first high-speed rail network was known as the “super-express of dreams.” The first line in Japan's now world-famous shinkansen network was built against all odds, in the face of fierce public opposition, technical difficulties and astronomical costs.

    Half a century ago, the system was far humbler. In 1964, the first track was a 320-mile-long link between Tokyo and Osaka that reduced the trip from six-and-a-half hours (on conventional trains) to three hours and 10 minutes, traveling at a maximum speed of 200 miles per hour. For the first time, workers could get to meetings in one city during the day and be back home drinking a beer in the local pub that night.

    Not only did the train expand mobility profoundly, but also businesses appeared around the major stops as a growing emphasis on productivity swept across Japan. Today, the shinkansen network has 1,487 miles of track, with more set to open in the coming years. It seems that everything the shinkansen touches turns to city, and regions that are off the beaten track, so to speak, benefit greatly from the economic jumpstart brought by the train. New shinkansen lines are often proceeded by aggressive marketing campaigns promoting tourism in those areas, a strategy that seems to work.

    Despite its astronomical costs, it actually has saved more. Today, over 350,000 annual trips transport tens of millions of passengers all over Japan with efficiency—the average delay time is less than a minute. A research report titled 30 Years of High-Speed Railways: Features and Economic and Social Effects of The Shinkansen by Hiroshi Okada, estimates that the economic impact from the shinkansen train network, based on the time saved from faster travel, is approximately ¥500 billion ($4.8 billion USD) per year. Okada stresses that the cultural impact is also significant, a shinkansen offers people living far from urban centers “easy access to concerts, exhibitions, theaters, etc., enabling them to lead fuller lives.”

    Japan has a plan, known as the One-Day Travel Initiative. Its goal: regardless of where you are in Japan, it should only take you three hours to get to the nearest major regional city (Tokyo, Osaka, Nagoya, Sapporo or Fukuoka). The planned impact of this hyper-mobility is to discourage the tide of migration toward urban centers, like Tokyo, and encourage decentralization.

    In 2016, designer Liz Ciokajlo received a task from the Museum of Modern Art (Moma) in New York: revisit the Moon Boot, a fluffy-looking snowshoe inspired by the footwear used by the Apollo astronauts.

    Launched in 1972 at the height of the lunar missions, the Moon Boot is an icon of the 20th Century's “plastic age” and the museum administrators wanted a new take on it.

    Ciokajlo set out to reimagine it. She knew only a biomaterial would work in a “post-plastic age”, but the designer also wanted a new destination to inspire it. Our generation's space travel obsession is not the Moon, she thought, but the red planet Mars. And Mars allows you to really think outside of the box.

    The task led her to an amazing biomaterial that had already attracted the attention of engineers innovating m building materials and of top space agencies like NASA and ESA. Her final design, a tall, female, rough-looking boot, can be made on board a spaceship with almost only human sweat and a few fungus spores (真菌孢子), ideal for a seven-month trip to Mars with limited check-in luggage.

    This magic biomaterial is mycelium (菌丝体), the vegetative part of the fungus It looks like amass of white thread-like structures, each called hyphae. Collectively, these threads are called mycelium and are the largest part of the fungus.

    Mycelium has amazing properties. It is a great recycler, as it feeds off a substrate to create more material, and has the potential of almost limitless growth in the right conditions. It can endure more pressure than conventional concrete without breaking. It is a known insulator and fire-retardant and could even provide radiation protection on space missions.

    On Earth it's currently used to create ceiling panels, leather, packaging materials and building materials, but in outer space it stands out for its architectural potential, says artist and engineer Maurizio Montalti, who has teamed up with Ciokajlo.

    For her revisited boot, Ciokajlo wanted to use the human body as the source for some of the building materials and decided to employ sweat. Reusing sweat is not entirely new in space exploration but a novelty approach for footwear. She thinks it might make astronauts feel closer to home during the long journey to Mars.

    The design is still hypothetical, because the real boot submitted for Moma and currently in display at the London Design Museum did use mycelium but not human sweat, as their deadline was too tight, but the science checks out.

    When hospital staff are in full scrubs (手术衣), their faces are almost completely covered by their caps and face masks, and we can only see their eyes and eyebrows. In order to solve the problem, a doctor in Sydney, Australia, called Rob Hackett launched a campaign named "Theatre (手术室) Cap Challenge"-encourage hospital staffs to write their' names and roles on their caps. At first, his colleagues didn't take it seriously. However, with time going on, it has been adopted around the world with studies from the US and UK reporting how this simple idea can decrease human errors in healthcare.

    "I went to a theatre where there were about 20 doctors and nurses in the room," Dr. Rob Hackett said. "I struggled to even ask to be passed some gloves because the person I was pointing to thought I was pointing to the person behind them, because I don't know their names." said Rob. As we all know, doctors are a stressful profession. When faced with life and death, they need to save the patient's life for a second. At the moment, effective communications are important.

    "The 'Theatre Cap Challenge' is in response to concerns about how easily avoidable mistakes and poor communication are contributing to rising harmful events for our patients." said Rob. "We need to develop systems which reduce mistakes and misunderstanding without causing harm. For this to happen, we need to let everyone know we're human." he added On the other hand, from the patients' viewpoint, caps with names on them can make patients more unworried. When everyone appears the same, it is extremely difficult to distinguish who is who. Knowing them relaxed.

    For most of us, work is the central, dominating fact of life. We spend more than half our conscious hours at work, preparing for work, traveling to and from work. What we do there largely determines our standard of living and our status to a considerable extent. It is sometimes said that because leisure has become more important, the injustices of work can be pushed into a corner, and that because most work is pretty intolerable, the people who do it should compensate for its boredom, frustrations and humiliations by concentrating their hopes on the other parts of their lives. For the foreseeable future, however, the material and psychological rewards which work can provide will continue to play a vital part in determining the satisfaction that life can offer.

    Yet only a small minority can control the pace at which they work or the conditions where their work is done; only for a small minority does work offer scope for creativity, imagination or initiative.

    Inequality at work is still one of the most glaring (明显的) forms of inequality in our society. We cannot hope to solve the more obvious problems of industrial life, many of which arise from the frustrations created by inequality at work, unless we handle it determinedly.

    The most glaring inequality is that between managers and the rest. For most managers, work is an opportunity and a challenge. Their jobs engage their interest and allow them to develop their abilities. They are constantly learning. They are able to exercise responsibility. They have a considerable degree of control over their own and others' working lives. Most important of all, they have opportunities to initiate. By contrast, for most manual workers, work is a boring, dull, even painful experience. They spend all their working lives in intolerable conditions. The majority have little control over their work. It provides them with no opportunity for personal development. Many jobs are so routine that workers feel themselves to be mere cogs (齿轮) in the bureaucratic machine. As a direct consequence of their work experience, many workers feel alienated (疏远) from their work and their firm.