LEGO Classic Creative Ocean Fun 11018 Building Kit; With 6 Mini Builds, Including a Viking Ship and a Yellow Submarine, Plus Extra Bricks for Imaginative Play; Educational Toy for Ages 4+ (333 Pieces)

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Line 353-356 – this is a bold statement without much evidence or explanation. This requires much more explanation and consideration – to help the reader understand how creating new substrate alternatives could reduce inequalities etc.

The above ocean adjectives are but a drop in the ocean (pun intended), yet they hope to capture a glimpse of its multifaceted charm.Some students may never have seen the ocean before, so describing oceans can be challenging, particularly for younger writers. We believe that the insights offered through this review are broadly relevant to the readers of Cambridge Prism: Coastal Futures because of the significance to assist in shifting paradigms towards meaningful environmental perspectives, strategies, policies and overall good governance.

Lines 122 - 124: Economics has subfields dedicated to sustainability issues (environmental and ecological economics) and also has long considered distributional issues. Perhaps what you mean is that decision makers should look beyond purely business interests to include non-market environmental goods and services and distributional consequences? Also, I’d rely on SDG 10 for the social equity citation, as (Okafor-Yarwood et al., 2020) cites UNEP for their rationale for social equity in the blue economy, and UNEPs role is to help meet the SDGs. SDG 10 is more direct. Please consider our manuscript “Eco-creative nature-based solutions to transform urban coastlines, local coastal communities and enhance biodiversity through the lens of scientific and Indigenous knowledge” for publication as a review in Cambridge Prism: Coastal Futures.

Teaching about the latest events?

Lines 59 - 110: This is a really long paragraph, consider breaking into two to focus on specific themes. It might be appropriate to have a table here, given the repetitive structuring of listing impacts with references.

Sea Sounds - get your little ones immersed in musical play for World Ocean Day! To do this, you could get some drums and shakers out and allow children to create sounds on the theme of the ocean. This will be greatly beneficial for their creative thinking and self-expression. Line 359 – its unclear how weaving is incorporated in the IMIsEE project. A brief paragraph detailing what the project actually entails is required so there is some context. Is this meant to be a perspective piece? There are a lot of normative statements in here that may not be reflective of social preferences. If someone has never seen or been to the ocean, they may struggle to describe it accurately in their writing. Yet, that doesn’t mean they can’t learn more about it. Lines 257 - 265: The paper up to this point has been framed as a call to include indigenous knowledge (line 257), but here there is also a call to have non-indigenous people “recognize indigenous cultural values.” This is echoed in lines 288 - 290. These are not the same thing. This paper sidesteps the issue of “is indigenous knowledge valuable because it enhances NBS for everyone, or is it valuable because it enhances aspects of NBS that indigenous people value?” The answer to this could be both, but there seems to be conflation of these two throughout without actually bringing this up at any point (also lines 392 - 395; 491 - 492). It could be worth thinking through this to make the paper clearer.Write an adventurous story about a free diver trying to find real-life treasure at the very bottom of the ocean floor. Lines 38 - 41: Compensatory mitigation is regularly used to reverse impacts or restore function due to development Indeed, our vision for inclusive and sustainable Indigenous performing arts pedagogies builds on transgressive learning. Through transgressive and eco-creative learning approaches, in parallel to the co-creation of the nature-based structures, researchers regularly engage with knowledge bearers, educators and learners to generate new forms of eco-knowledge and learning material through the science, arts and music. Researchers closely document testimonials throughout the co-design, manufacturing and testing of the nature-based structures. These interactions form the core mediators among all objectives of the research and will be translated into shared TCEs as transgressive pedagogical tools for communicable science. Transgressive eco-creative pedagogical intervention are aimed to empower the community and revalue Indigenous ways of knowing and being by giving the knowledge bearers agency as well as by disseminating the developing knowledge in accessible and creative ways. The value and sustainability of this kind of knowledge and pedagogical approach is incalculable. Pedagogically, the development of Indigenous and transgressive learning approaches adds to the emerging data on STEAM (Science, Technology, Engineering, Arts and Mathematics) learning education, a proposed goal of curriculum development (Barajas-López and Bang, Reference Barajas-López and Bang2018; O’Connor, Reference O’Connor, Corbett and Gereluk2020). With 71% of the earth’s surface covered with oceans, it was only a matter of time before underwater architecture became a growing trend in urban design. Though submerged habitats have existed since the ’60s—generally used for marine research purposes—underwater hotels, restaurants, and museums have flourished all across the globe in the past decade. These hospitality and tourism initiatives certainly offer an experience unlike anything that can be done on land, but many of these projects aren’t solely for human pleasure. Rune Grasdal, architect and project manager at Snøhetta, spoke with AD in 2019 saying the idea of an underwater structure was “very intriguing,” when the firm was approached to design a submerged restaurant off the coast of Norway.