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Hey everybody I wanted to give a little plug real quick. You guys know David right? He is one of our artists for extra history. He helped us make all of those episodes about Justinian, and Admiral Yi. and the Sengoku Jidai, and the South Sea Bubble. He's great. Well, what you may not know is that he is actually an extremely talented professional Illustrator. and what more, he's working on a graphic novel. It's called Son's of the Forgotten, a light hearted, high, fantasy epic that David's been developing for some time with his friend, Rufino Ayuso They've already got a lot of art and world building work done, and they just announced a Patreon for this project today. I'll put a link to that Patreon on screen, and in the text description below. If any of the art I've been putting on the screen strikes your fancy, and why wouldn't it. There's a lot more to see over on the Patreon page, so go give it a look. Thank you for your time, carry on with your day. [Music Plays]

Alright, alright, alright! Let's talk business. And I only talk business in my business barn. The thing about me is, I'm a straight shooter. And I only do business with other straight shooters. Oh, I assure you, we all shoot straight here, don't we? [ Laughs ] Well, I'm gonna need you to prove it. Not a problem. Is there a target? The target... Is this 'rita glass. All you gotta do is shoot it off the tippy-top of my butler's head. One shot each. Giddy up! ♪♪ What are you gonna do? I missed on purpose. ♪♪ Mrs. Cowboy: Whoo! I shouldn't be shooting guns at butlers just because my co-workers are. It's 2019. ♪♪ Goddamn it. That hurts, huh, scarecrow? Unfamiliar gun. If I had a second shot, I totally would have hit it. [ Groans ] Oh, looks like you could use some help there, pretty mouth. -Yeah. -All you gotta do is cock it. [ Breathing heavily ] And squeeze the trigger like a ripe summer peach. It's plump and juicy. Now squeeze it! [ Gunshot, glass shatters ] [ Cheering ] Y'all are straight shooters after all. Looks like we're in business. [ Gunshot ] Zack! -You shot him! -Oh, my God, he's dead! It had to be done. He was a whore. It was all right when he kissed my house guests, but my business partners -- unh-unh. No, ma'am. Now we're gonna play another little game. A little game I like to call... All: "Bury the butler."

this impossible thing suddenly became possible political sensation beto o'rourke and never in a million years wanted to pursue politics the tragedy that changed everything the night before he died i do remember my dad saying you know you you should think about running for office the regret that lets so many people down on trump as disgusting as the things are that he says there's a lot to learn better on black lives matter when george floyd is publicly murdered no one had to be told to take to the streets and demand justice and his lifelong running mate tell me a little bit about your wife her gift and her curse is telling the truth she also will kick my ass when i need it you can't live in this world today and not be curious in fact if ever there was a time to hear from more than the usual suspects it's now this is the carlos watson show maybe we'll surprise you maybe you'll be mad at us sometimes or inspired not only do i hope people will see more with the show but i hope they'll do more and be more people the good stuff starts now better welcome to the show thank you for joining me thank you for having me on i'm i'm excited to talk with you yeah i i love uh your background it's so beautiful i uh i'm living in california these days and i'm a son of miami florida and so anytime i see something beautiful i'm attracted to it the better o'rourke phenomenon was the biggest political story of 2018 as he tried to unseat long-time republican senator ted cruz beto's nice guy style made him a political celebrity with beyonce lebron james and jim carrey all publicly supporting him but when the votes were counted beto came up short cbs news projects that senator ted cruz has won re-election in the state of texas still wanting to fight for the values and ideals he believes in beto launched another campaign he ran for president of the united states but just eight months later came this democratic presidential candidate and former texas representative beta o'rourke announced he is suspending his campaign today with his powered by the people grassroots organization beto was putting all of his energy into turning texas blue for the presidential election something that hasn't been done in four decades i'm counting on you i'm counting on you [Applause] [Music] beto tell me a little bit about why you think you became such a political sensation if if you can take a step back like why did you take off why did it happen how do you see it as the person who actually had the true front row seat i think a lot of it has to do with the senate campaign that we ran first of all it was so unlikely you know that a guy named beto o'rourke a congressman from the furthest westernmost of the 254 counties of texas who had a name id in texas of like one or two percent would be able to successfully challenge an incumbent republican senator who's one of the most well-known figures in the state of texas a state which last elected a democrat to the senate in 1988 mission impossible um laughable um quixotic at at best and the way that we ran no posters no consultants no focus group test of the message no talking points our guiding principle was everyone gets to be involved and have been now to each one of the 254 counties of texas it doesn't matter how red or rural your community we're not going to write you off we're going to show up and this impossible thing suddenly became possible did you know that the uh kaepernick moment was gonna hap was gonna be a moment like when when did that okay we're at a town hall meeting ostensibly about public education and the first few questions i get are about the topic at hand and then this young man stands up i kind of wanted to know how you personally felt about like you had the nfl players kneeling during the national anthems i wanted to know if you found that disrespectful to our country to our veterans and anybody related to that i i was my batteries were were low my tank was was about empty and in some ways that was a good thing because it just allowed me to speak directly from the heart unfiltered my short answer is no i don't think it's disrespectful here's my longer answer but i'm gonna try to try to make sure that i get this right after i gave my answer where i look there are people who sacrificed in uniform there are people who sacrifice like you know john lewis who got beat within an inch of his life in 1965 uh crossing the edmund pettus bridge or four years before that there are a lot of people who sacrificed and struggled to bring us to this point and and perhaps the best way to honor that service is to take a knee or to stand up for the things that you really believe in and that you think will ensure that everyone's civil rights the dignity and respect owed to all of our fellow americans is is guaranteed and is insured and carlos i remember immediately afterwards the two folks who are traveling with me in in the campaign look at me and they're like kind of looking at me like like you know the campaign was starting to do well betso and we were starting to gain some traction and you and you had to answer that question and you had to answer it like that but thankfully uh a woman in houston texas who caught the live stream of that exchange clipped it and shared it and all of a sudden a lot of the country was was talking about it and i got to tell you i felt so grateful that i got to play whatever tiny minuscule role in advancing that that conversation better looking back now i mean you came painstakingly close to winning what would you do differently in order to have won i always come back to you know could i have tried harder could we have spent more hours of the day uh campaigning across texas you know if bethel hadn't said that the president should be impeached i always saying the president should be impeached in 2017 and you know in in a somewhat reliably conservative state maybe that didn't fly so high while not being happy with the result i've accepted it and have been able to to move on but but also i'll tell you this i've moved on with a lot of the people who made that campaign possible those those 20 000 volunteers so many of them have signed up to help lead the effort that we're running across texas right now it's called powered by people and it's basically volunteers engaging again all across the state of texas to try to elect a democratic majority to the state legislature and to try to help joe biden and kamala harris become the first democratic nominees to win the state of texas since 1976 [Music] you grew up in el paso yeah you've been there the whole distance yeah born and raised my dad's grandfather's father came here with the railroad you know past was a big railroad hub and so that brought him here and your works have have stayed ever since my dad was was on the edge of hippie dumb and then perhaps the the best legacy from that connection with um maybe the hippie world is just a love of outdoors so i love taking my kids backpacking in fact we just got back from a 10-day road trip through new mexico and colorado camping under the stars for a lot of that and that's something i got from my dad are you more like him you more like your mom are you a bled i'm a blend like my mom uh who who ran the family business i started a small business here in el paso in the 1990s a technology business and then a publishing business covering city hall and arts and culture in sila juarez and in el paso texas but like my dad i was very interested and involved in politics from a relatively young age and if i had met you in high school did you think you were the kind of guy who not only would have gotten involved in politics but you would have run for president like like was it that deep in you no yeah no you i don't know that you would recognize me um i was painfully shy and and introverted and unsure of myself in the world and what my role and function and purpose for for being alive was i loved music and and in particular punk rock and um and the punk rock community that for a very awkward weird strange kid was very welcoming and affirming and i i thought that's where i was going to be headed in my life i i thought i was going to either be playing music or or helping to put the music out for for others who were doing that and and was very happy to do that and never in a million years wanted to pursue politics but when i when i moved back to el paso from new york where i had gone to college i got involved and i was able to shed that shyness and that uh maybe almost fear of engaging with and talking to people that i didn't know and discovered that i loved it loved knocking on doors when i was a first time candidate in 2005 for for city council love talking to people loved meeting them loved bringing people together loved being brought together with others and i've really never looked back now your dad was a republican or did i make that up he was a a democrat for most of his life he was the co-chairman of the texas campaign for jesse jackson when jesse was running for president and i have a very fond memory of jesse jackson being in our living room in el paso texas where he held a press conference jesse jackson not only was the most electrifying speaker i had heard in my life at that point he may very well still be the most electrifying speaker i had ever heard we must never surrender america will get better and better keep hope alive keep hope alive but my dad um somewhat inexplicably and if you were here i'd i'd love to ask him uh after that campaign after supporting jesse after being a lifelong democrat uh changed parties but he was still the same person at at the end of the day but had just changed parties and he never got to see you run for office beto did he know did he know though that that's that's where you were headed did were you ever able to share that with him not totally um it's really interesting um the the night before he died and remember he was hit by a car when he was on his bicycle get some miles in on july 3rd of 2001. the night before july 2nd somehow fate god chance brought us together we were having a dinner of leftovers in the backyard of my parents house my mom was out my sisters were out just my dad and me sitting down with a bottle of wine maybe two bottles of wine over the course of of dinner and we we just and we kind of been estranged for um a while you know we just didn't see eye to eye on a lot of things we didn't get along couldn't quite find the language to communicate and i do remember my dad saying you know you you should think about running for office at some point um you know these things that you're excited about that have you fired up um there's a way that you can make a difference and you know it's not easy um but it may be something that that you you ought to think about pursuing so um i'm really grateful that we had that last conversation together um and and though he didn't see me run for office maybe somehow he knew that that was a possibility for me better tell me a little bit about your wife and am i overreading and saying that that that there's something there between the two of you that has also contributed to the man you've become or or had you kind of gotten a lot of the way here which which actually allowed the relationship uh to uh to take off yeah i gotta tell you amy uh to whom i've been married now almost 15 years absolutely changed my life and changed me for the better i think she forced me to think really seriously about who i am and who i want to be and what i'm willing to do to make that happen she's given me this unconditional love and support which is the most powerful force in in the world she also though will kick my ass when when i need it if i start bitchin and moanin about you know this or that is unfair or why didn't things work out the the way that we planned um she will remind me there are a lot of people who have it a lot harder than you do there are a lot of people who are counting on you right now so you better figure this out and get up and get after it beta do you think amy will ever run for office will we ever see her her name on the ballot it's so interesting um i watched michelle obama's extraordinary speech at the beginning of the democratic national convention it is up to us to add our voices and our votes to the course of history one of the things that michelle said was her admission that she hates politics she just doesn't like this stuff i think amy sees things very similarly she can't gladhand she can't fake it she can't say that was a great speech if if that was a terrible speech um her gift and her curse is telling the truth i think that for for those reasons she does not see herself in a a public role or maybe better put she doesn't see herself in the leading role in in public life but i'd like to see her do that or at least think about it [Music] tell me about your run for president like like when you look back on it what are the three or four things that stand out most for you first and foremost just how extraordinarily fortunate i am to have had the chance to do that i am so grateful for the opportunity to run to serve you as the next president of the united states of america thank you i think also carlos about how exhausted i was after that senate race where i had spent two years literally on the road day in day out traveling as 254 counties of texas without ever a thought or dream of running for another office certainly not the presidency of the united states of america and then to suddenly and unexpectedly at the conclusion that race be presented with that opportunity and have a number of people that i care very much about and admire and trust and respect encouraging me to run and beginning that campaign without having any of the the planning the infrastructure the preparation the rest and i think to be honest the the depth of understanding necessary to mount a campaign that is not the 254 counties of texas but the tens and thousands of counties across the the united states i really know that i let so many people down who gave us so much and and we owed them uh a much better campaign that could have gone a much longer distance they could have been far more grounded and and far more effective in the fight that we waged but i can't go back and and i can only go forward and i can only give this effort to make sure that texas meets the moment you know i i think i heard you say somewhere that texas is bidens to lose do you really believe that like as someone who is as as experienced and shrewd when it comes to politics and and numbers counting i do we are doing the necessary field work right now to make sure that texas is ready for example powered by people our organization has made just under 20 million voter contact attempts human beings connecting with human beings just like we did in the 2018 u.s senate race so the conditions are there we can do this we've got to give ourselves permission to believe again and then we have to bring it to pass this is for democrats to lose right now including joe biden ladies and gentlemen el proximo presidente de los estados i know that you're a student broadly in general and even people you deeply disagree with i'm sure you learn from what if anything have you learned from president trump uh over the last several years in whatever dimension you want to offer it there's a lot to learn i mean the tv ads the mailers the stuff you see on on facebook it is packaged and produced it has been made safe for consumption it is pole tested and focused group approved donald trump so successfully and powerfully broke through all of that he seemed to not only be speaking his mind he seemed to be speaking his id certainly his ego as disgusting as the things are that he says mexicans are rapists and and criminals the countries of africa are shitholes he wants more immigrants like those from sweden the whitest place on on planet earth you know immigrants are an invasion and infestation they're animals who who the talks like that the most powerful man in the world is talking like that and it completely blows past uh all of the filters and all of the the pre-approved messages from the parties and the people in power and it connects directly with people for better and as we have seen for worse we have just learned a short while ago that there has been a shooting in el paso and so i just ask for for everyone's strength for el paso right now the shooting in el paso that took place on august 3rd of last year this guy heard donald trump and went out to go fight literally that invasion that he had heard about and use a military weapon to take people out like you take them out on on a battlefield slaughtered 23 people shopping for school supplies on the weekend before the first day of school in el paso i think i've learned just how powerful that that rhetoric is beto do you think that if uh trump loses that he should be prosecuted or at least reviewed his actions in office should be reviewed for potential prosecution part of our our genius is the rule of law and the idea that that no one is above the law and certainly no one is below the law if we are to allow someone because of the position of power that they held escape the law would be to set a very dangerous precedent for this country if you've broken the law there has to be a consequence i appreciate that you that you're bringing that that energy to the fight i'm reminded of uh of bogey at the end of casablanca i don't know if you've ever seen that movie of course it's a yeah it's a great it's a great movie and he says to louie at the end welcome to the fight [Music] beto as we wrap up i want to hit a bunch of topics really quickly do you mind if i do that with you and hit you i'd love to hear what comes to mind who are two or three of the candidates you think people should pay attention to if you look at candace valenzuela um she is running for united states congress trying to unseat a long-serving republican incumbent she would be the first afro-latina member of of congress sima lajavardian a daughter of immigrants from iran to this country who has built a successful law practice and is a first-time candidate also for the united states congress who is running against trump's most powerful enabler in in the house right now dan crenshaw how do you think about the question of white male privilege the more i think about it the more i understand that it is definitional educational economic uh opportunities um housing criminal justice there is not an aspect of american life that is not in some ways defined by the power that white america has accrued ever since there was a white america last question are you a sports fan are you a uh do you have a team you have someone you root for my kids are are big celtics fans and so that's one thing that i want to work on during quarantine is my my sports iq so that i'm connecting with my kids better well good luck then to your boys in the celtics i love kimball walker so tell them they have good taste thank you so much for uh for joining me i wish you the best for i wish all of us the best uh for a good fall thank you so much thanks thanks for having me on i was honored to join you and and i i really enjoyed the conversation so um would be glad to come back anytime uh any time it works for you i'm grateful thank you so much thank you i really enjoyed having better o'rourke on today you know he and i got to speak for the first time a week ago and i told him i was trying to do something different with the show and that i only wanted people to come on who were really going to open up who weren't going to repeat the same things and he was true to his word i loved what he shared about his dad you know talking about jesse jackson gave me real color and real clarity on who beto is and who he was in that moment when he was answering the question about colin kaepernick really told me a lot love what he had to say about his wife what a lucky person to have someone like that in his life and then talk about beto making news you know the idea of trump being prosecuted after he leaves office that could create a big fight it also could create real energy anyhow i hope you enjoyed the show i'll see you soon hey tune into the carlos watson show it's like no other you're going to enjoy it every weekday on youtube

Từ ngày ta trở thành người gác mộ, ta đã biết đến nghĩa trang Lutz. Ta không được phép ngủ lại nơi đây Những người tốt thì được chôn cất nơi dây, còn quỷ dữ thì chôn xác bên ngoài Dối trá ! Tuy nhiên, đó lại là lời dối trá đầy thú vị. Những đồng tiền bẩn tưởi này bỗng trở thành tấm vé đưa ta đến với nghĩa trang Lutz. Vì Lutz, tất cả đều xứng đáng. Ah, thứ ánh sáng chết tiệt này Ta có thể cảm nhận được nỗi kinh sợ trong những linh hồn tội lỗi này. Quái vật ư ? Là ta ? Hay là chính bọn chúng ? Tất cả thật lố bịch, giờ ta chỉ biết rằng định mệnh đang gọi tên ta.

and my point of view how coming who each you know just leave a comment even make their books how amazing I mean leaving a comment they do not even reply back to you only replied back to rate comments really don't know one thing you have to review all comments just leads reply me you know like I and I and II

Okay, good morning, class, Today are going to do graphic... (*kids and Robert laugh*) Graphing quadratic functions, are you ready? (student: YEAH!) Yay Math? (students: Yaaayyy) (student: Yay Math!) It's good, now we know what to do; Oh yeah, math I seriously was like "what do I do now?" Oh yeah, we're filming y = 2x² - 4x - 5, this is the last major topic that we are going to do It's hard But don't be worried, don't be afraid, because Captain Math is here To start... Math Enterprise Dududuuuumm, I've never watched Star Trek before! I'm a hero too Oww, the pin hurt me, it's really sharp I'm a sensitive hero A quadratic function is a fancy way to say Parabola Parabola is a shape that looks like a "U" A little bow The reason we can tell that it is a parabola is that the x value is squared Remember, in graphing a line, when we graphed a line, it was y = mx + b This is a line right? (student: Yes) Notice, feel free to participate This is a line because y and x are not squared But this would be a parabola because x is squared If you square the x it's a parabola, if you don't, it's a line (student: Do you square the b?) The b is just a number So it would just be a number squared, that's another number So let's look at this, this is a parabola First, let's identify a few terms here The numbers in front of x², x, and here These are the Coefficients, and this one is called a, this one is b, and this one is c, So we have to identify the coefficients of every quadratic function Of every parabola Judging by this parabola, what is the value of a? Any guesses? (student: 2) The value of a is 2 So, a is the number in front here, this is 'a' (student: So whatever the actual number is, is the coefficient?) Yeah, that's right It's not x or x² or anything, it's just numbers a, b, and c are numbers, we are going to write that here a = 2 What's the value of b? (students: 4) 4 or -4? It's going to be -4 The value of b is -4 So it could be plus 4, or another problem would be +4 or -3, the sign is included So b is -4 What's the value of c? (student: -5) c is -5 Okay, so that is crucial, identifying a, b, and c a, b, and c are always numbers not x or x² or anything like that Question? (student: Can you spell "coefficients"?) Yes, can anyone spell it? (students: c-o-e-f-f-i-c-i-e-n-t) Here we have a, b, and c. Now, the way to graph this parabola This quadratic function, is that if we agree that it's like a bow, we need to know the starting point That point is called the vertex, the bottom value It's going to look like this So we need to know this value. We need to know where it starts This is called the vertex, The vertex will be in the form... Vertex is a point So we have to figure out what the point is *caption note: no pun intended* And the value of this point has an x and a y, the x is, and this is important... -b/2a -b/2a is the x value of the vertex And we're going to do this together, question? (student: Are vertexes only on parabolas or also on a line?) Well, the line can't have a vertex because if we're talking about a line it's just point, point There is no starting point and no ending point Parabolas have a vertext, it's like a starting point It's the crux, it's where it begins So the vertex always, every parabola has a vertex in which the x value is -b/2a So let's plug in. Yes? (student: What if our b is negative?) Then this will be positive up here Good question, you're already on it. (student: I don't understand, does that mean that x will always be a fraction?) Now that we establish a, b, and c (student: Oh, you're just solving) Now we have a, b, and c we don't need the parabola anymore, really We don't need this equation, a, b, and c are the real... things So what is -b? (students: 4) Yeah, it's -(-4) (student: So it's positive 4?) It's positive 4, So 4 over... what is 2 times a? (students: 4) What is 4/4? (students: 1) (student: How many of these do you typically have?) One vertex (student: So why are we doing three?) No, we simplify it The ground is shaking It's a starship enterprise! I need more power Okay, earthquake is done (student: Are we in the sky?) Oh, yeah, we're in the sky Pretty stars WOAH shooting star! We have panoramic vision What's that thing called? Like a window...? The window goes all the way around? A beautiful room Question? Who had a question? (student: I think I answered it in my head) Nice! Why am I here? Ahhh... Alright, so the vertex is (1, something), correct? Let's make... Oh did you ask the question "why we do it three times?" (student: Yeah) We didn't do it three times, this is the beginning, we put in numbers so we simplified So this is the vertex, here Let's make a T-chart Containing values of our parabola, so far it's (1, something) Any guesses how we get x's y friend? (student: OH!) (student: You plug in x to each of those where x is) Yeah, you plug in x here and you will get y (caption note: no pun intented) Let's do that, here we go I'm going to take this off (student: So the vertex is your x?) The vertex is x and y the x value is -b/2a The y value is when we plug x in So let's do that So y = 2(1²) (student: you square the 1 first and then multiply, right?) So this is the value of our equation and now we are going to place some x Here we go, 2 times 1² is? (students: 2) -4 is? (student: -2) -5 is? (student: -7) This simplifies to -7, questions? (student: so 2*1 is 2 and 2² is...) No, no, no. 1² first, order of operations Exponents before multiplying Exponents first, 1² is 1 Other questions on this? Okay. So this, we agreed, was -7 (student: So that's our point, are we done?) No, we're more than halfway done though This is the vertex, let's graph this point (student: Does it help to use graph paper?) It helps to use graph paper, yeah Where do we graph it? Let's graph it here (1, -7) is here So this is our starting point We agreed that we are going to have this kind of parabola coming up here We don't know where exactly So let's pick a point to the left of this, and a point to the right of this And then we will graph it So what would be a good point, say, to plug in for x? An easy one to plug in for x? (student: -1?) Even easier than plugging in -1 (students: 0?) 0 is always a very good choice for plugging in Always try to plug in 0, it's so easy So we plug in 0 for x (student: Wait, why?) Because we want to find other points on the parabola So we can graph it "Why" is a great question, so we plug in 0 now So when x is 0, y is what? (student: -5?) -5 Questions? (student: uh yeah... why?) What is 2*0²? 0. (student: So it's all going to be 0?) This is 0, minus, what is 4*0? So you have 0 - 0, what's that? (student: And 0 - 5 is -5) That's why it's -5 (student: I get it, I get it.) If you don't, that is okay, you can ask Ask if you have a follow-up, please So (0,-5) is our next point, let's graph it There it is, here is (1,-7) And we said (0,-5) is here (0,-5) we have, and we start the parabola (student: How do you know... never mind) (student: Where do you draw the line?) (caption note: once again, no pun intended) What line? The parabola line? You mean this one? Over here? We don't know this (student: Why do you need the vertex) Well we need a starting point, We got that, that's our vertex And we need another point so we know where to go If our other point was here, our parabola would be a lot wider If it was closer our parabola would be thinner In this case, the point that we got was (0,-5) Alright, so we need points, now we need to know where to go on this side So here is my question to you; put on your thinking caps Star Trekians *cool sound* Sound effects rule Wouldn't it make sense that this parabola would be perfectly symmetric As in, whatever is on this side it would look exactly like on this side? (students: Yeah) So wouldn't it make sense that you can never have something like that? You can never have something like that because this is not even Right? (student: Right) Not even Where do we go to get (0,-5)? How far to the left [do] we go, and how far up do we go? (student: We went up 2, and 1 to the left) So we went this way 1, and we went up 2 Wouldn't you agree it would make sense that to get this point That we go this way 1 and up 2? That's the idea That would make this perfectly even So we go to the right 1, and up 2, again Notice how that's going to be, hopefully if I do it okay That's going to be perfectly even, watch this point here What is the value of this point? (student: It is (5,2)) Almost (2,-5) Now, observe... (student: How did you...) How do we get this? So, from 1 here, this is the value for x, from 1 we went to the 0 we went 1 this way and up 2 Correct? So, to make this perfectly even we should go 1 this way and up 2 That way the parabola will be perfectly symmetric So it's like, if I'm the vertex now, looking up at the parabola This arm happens when I go this way 1, and up 2 So that's this arm, that's that point So wouldn't it from the vertex, to make this one I should go this way 1 and up 2? That will make a perfectly symmetric bow And that's what we did, yes? (student: Is it always going to be perfectly symmetric?) Yes, parabolas are always symmetric (student: And you always go from the vertex?) Always from the vertex And, observe this! What do you think would happen if we plugged in 2 into the equation? What would result? If we plugged in 2 here? -5 If we plugged in 2 we would get -5 Can you try that for us? So plug in 2 and 2 Let's find out, I'll help you out (student: 2*2 is 4; 4² is 16) Okay, so you're doing 2(2) first, you want to do the 2² first 2² is? (student: So 4*2 is 8) This is 8, so I'm going to write 8 here Minus 4*2? so minus...? (student: 8) What's 8 - 8? (student: 0) 0-5? (student: -5) Here it is, -5 Few more things with this There is a line that we can draw within this parabola that will cut it perfectly down the middle Will this line be horizontal or vertical, maybe? (student: Wait, why are you making a line?) So what's going to... aahh... so many thoughts, right? What the book will ask you is for what is called axis of symmetry So the axis of symmetry is the line that we can draw that will cut this perfectly in half What will the line look like? (student: Vertical?) Vertical line, where? (student: On the vertex) On the vertex, correct This line cuts the parabola perfectly in half What's the equation of a vertical line always? What does it start with? Equation of a vertical line? y equals? x equals? x equals x= x =; what value for x here? 1, x = 1 Here's a big hint; the axis of symmetry is always the x value of the vertex I'll say that again, the axis of symmetry is always the x value of the vertex So there you go, x=1 is the axis of symmetry And, umm, that's it That's your parabola This is it, the problem would say graph this You say "Okay, here's the graph" And they say "What is the vertex?" You say "Vertex: (1,-7)" They would say what is the axis of symmetry? (student: 1) You would say "x=1" that's a common mistake It's a line So the equation of a line... (student: oh, (1,0)) No, that's a point, (0,1) is a point This is the equation of a line "x=1" is the equation of a line And one more thing, it will ask you "will this parabola open up or down?" In this case we graphed it, oh good, we can tell by the graph that the parabola opens up There's another way to tell if the parabola opens up, only by looking at it And that has to do with 'a' If a is positive, it opens up if a is negative, it opens down Let's write that down a postive, opens up a negative, opens down So you can look at this equation right here, And if I said "Yo! Does this open up or down" immediately you would say...? Up, why? (student: Because a is positive) What is a? (student: Positive) What is the value of a? 2 2 is positive so it opens up We are just going to do one more, that's it You ready? (student: No, one second) One second... One more second? (student: Like, three) HA HA (student: That's your superpower) Oh my energy water! Oh, I'm actually advertising falsely, never mind (student: That was the longest single problem that we have ever done) Congratulations (student: Thanks) *Robert buzzes* Which way does this parabola open? Up or down? (students: Down!) Everybody is like, halfway through the problem and it's like "what's the vertex?" "Down!" Aren't we on that problem? a equals? (student: -3) b equals? (student: -6) What's c? (student: 4) (student: Isn't b 6?) -6, include the sign Oh, you're talking about the... No here Good looking out, friends (student: We love you!) Love you too (student: Why do you have to put so much on there?) Because we didn't see it over here In the frame Okay, so great! What's the value of the vertex? How do we get the vertex? (student: x is -b/2x...) Okay, let's do it Vertex; (-b/2a, something) What is -b? (student: it's 3) (students: 6) -b is 6 What is 2 times what the value of a is? (student: Is it always going to equal 1?) No, no, coincidence I'm staying close to home, you know (student: I like it) The vertex can be anything I'm just making it... (student: Oh, I have a question) Yes? (student: So if you get 3/4 as your vertex you just plug in 3/4?) So the vertex is a little less then 1, something Question? (student: Wouldn't it be -6 and not positive 6?) So what is 6/-6? (students: -1) And so, -1 (student: Wait, I thought it would be positive 6 on the bottom too?) 2a, right? What's a? (student: -3) So what's 2*(-3)? So, -1 What do we do with our -1 to get the y? (student: You plug it in) Plug it in, any questions about that or have we picked that up? That was important We're going to plug it in sooo carefully with the negatives y = -3( )² - 6( ) + 4 So, we are going to plug -1 now Volunteer, you got it? Cool! (student: Could you just wait a second) Yeah, wait, wait, wait Yeah, wait for a sec And go! How do we do it? (student: (-1)*(-1) which is 1) Good, exponents first (student: Then you do (-3)*1 which is -3) Right, (-3)*1 is -3, good, keep going (student: Then you do that, which is +6) (student: Then +4 and you get 7) Seven (student: That's ironic) I know It's just coincidence Irony would be completely unexpected, (student: I didn't expect that) No, irony would be amusingly and humoristically unexpected) Like, you work so hard to get all kinds of money; thinking you would be happy, But then you work so hard that you don't stay healthy, (student: That's not amusing) I know, and then you have to pay all the money to medical bills, and so that's irony (student: Thank you) But this is just a point (student: Isn't irony, like, when a fireman's house...) Yes, a fireman's house (student: Or a police commits a crime) Or a police commits a crime Yes, that is technically ironic, but maybe also very sad So there we go, (-1,7) Let's graph this point (-1,7) 1, 2, 3, 4, ha, he, hennigg, ih When I count I don't speak English I just he, hee, hohoho Now what do we do? What do we do now? (student: You plug in different points) Okay, what's a good point to plug in? (student: 0) Let's plug in 0 I'm taking off the vertex, we're almost there (-1,7), thank you, and now 0 When x is 0, you got it? Alright. (student: 4) (student: Wait... never mind, don't worry about me) It's okay, I'm glad , if I am going too fast, say it We're going to, together, WE! So we plug in 0, 0is the easiest thing to plug in, you can plug in right here 0 - 0 + 4 And 4 (0,4) here And notice, it's looking like it's going to open down now Based on our 'a' being negative, remember? a being negative, it's going to open down, the graph confirms that (student: What do you mean "open down"?) (student: So, like an 'n'?) like a head, yeah (student: No!) Like an alien head, ni ni niii (student: Oh, it's perfect for that!) Like a bowl and then you're like... Like, what if this thing had been a 'U', here, like this It's my hat *students laugh* Superhero fashion bowl Remember, we talked about how to make this symmetric? From here, what's this point? (-1,7) Where do we go to get the (0,4)? How far which way and then... you said it in the back That was great, let's get someone else How do we go from here to here? (student: Down...) Down, how much? (student: By 3) So we went down 3, how far this way? (student: 1) (student: How do you know which one you went down and which one you went up? y is going down, x is going left or right We went down 3 and over to the right 1 So to make it symmetric, which way do we go? (student: Left) Left, how much? (student: 1) And how much down? (student: 3) So when I put a point here, and that goes like that, what's the value of that point? (student: -2) (-2,4) (student: It's sort of like an 'A' without the bar) It should be curvier, I just didn't draw it curvier And what is one thing we haven't done in this problem? Axis of symmetry The axis of symmetry is what? Ist it a line or a point or a... (student: A line) ...or a bird It's a line, right (student: x = -1) x = -1 The line that cuts this is half is the value of x = -1 Alright. Questions? It really amazes me how it's been, what, 20 minutes or so We can do a new topic and know everything that's going on Practise a little at home, you will be great It's going to be fine Says Captain Ahdooties He does the Star Trek dance More power, Captain! Okay, thanks! (students: Bye!)

Welcome to the introduction to the quantum chemistry playlist. Quantum mechanics will be studied heavily in this course, as opposed to classical mechanics. Classical mechanics is the laws of physics that are used to describe the behavior of everyday-sized objects. You're familiar with Newton's laws, how everyday-sized objects like cars and boats and people move, with the various forces that act on them. That's all classical mechanics. It's the kind of thing you learn about in introductory general physics courses. Quantum mechanics, by contrast, is the laws of physics for very very small objects. This is critical in chemistry because the scale at which quantum mechanics becomes important is the scale at which electrons, atoms, and molecules exist. To compare and contrast these two sets of laws we have classical mechanics versus quantum mechanics. Classical mechanics describes objects that are very large. Quantum mechanics describes objects that are very small. CM describes things that are heavy, versus QM describing things that are very very light: electrons, atoms, molecules are all very light compared to things like people, dumbbells, anything that would have a mass that you could reasonably measure in kilograms. Anything you could touch, any macroscopic object. Classical mechanics is continuous, meaning that you can have very very small changes in all physical properties. I can change the position, velocity, energy, momentum, any property of whatever object I'm interested in by very very small amounts. By contrast in QM the behavior of objects is discrete. It is what you would call "quantized". That's the root word of where "quantum" mechanics comes from. Discrete means that there are a finite number of states that a particle can have. It can't change its energy by any tiny amount, it can only have certain "allowed" values of energy. For CM, you would solve Newton's equations, F = ma (Newton's second law). In QM you use the Schrodinger equation, which we'll derive several videos down the line. When you solve Newton's equations you get a trajectory. Your particle starts at a certain position and momentum at an initial time, and solving Newton's equations (F = ma) you get a trajectory of where that particle moves over time. Maybe it moves in a circle, maybe a straight line, maybe it accelerates, but at any point in time you know its position and momentum. By contrast, in QM you get a wavefunction. The Schrodinger equation gives you a wavefunction, which is not a map of where the particle is at any point in time, but describes the particle as a wave. The wave is spread out over space, and it doesn't have well-defined values for its exact position or momentum. The only well-defined value will be the energy. CM is what we call "deterministic". If you start with the same initial conditions (position, velocity), you'll get the same result every time. If you solve the equation again or do the experiment again you should get the same result within experimental error. QM is what we would call "probabilistic". If we have 2 systems in the exact same state and we make a measurement for both, they might not give the same result, but there are probabilities for what result they will give. Those probabilities for how it's going to behave are given by the wavefunction. The wavefunction tells us about the probability for various possible outcomes, but it doesn't tell us exactly what outcomes will occur in the same way that a classical trajectory would. CM is "intuitive". We have an intrinsic understanding of how CM works. We're very familiar with how everyday objects behave. We know that if you drop a ball it will fall to the Earth, accelerating while it does so. We know how to throw things, how to catch things, how to keep things from falling over. We know how to build airplanes that fly, we know how to build cars that turn the correct direction. We're familiar with how all of these objects behave. QM is usually non-intuitive to us, and has a lot of features that you wouldn't have guessed before learning about how the Schrodinger equation and wavefunctions work. That's because we're not familiar with how things work at this very very small scale. Things like atoms, electrons, and molecules are going to behave differently than everyday-sized objects. That's because of this "quantum" behavior. This quantum behavior comes into play at very very small scales, and it's very different than anything that we have experience with in our everyday lives. That is the basic intro to quantum chemistry. The core of this course is ~120 videos organized into ~10 chapters (links in the description). They're organized into a course playlist as well as various chapter playlists. If you're looking for specific topics you can look in the course playlist, or the links in the description to the various chapters and the topics within those chapters. I'm trying to organize this channel to be as easy to navigate as possible. If you have trouble finding things you should be able to search on the channel page, the playlist pages, or even in the YouTube search bar. The results seem to be pretty good. Let me know if you have any trouble. Any comments you have I'm interested to hear. Any feedback or suggestions you have you're welcome to send in comments or by email as well.

German: [Musik] Freunde in dieser besonderen Episode von Glow Trab mit Trey Dean Komplize erzählt eine Geschichte darüber, was passiert ist, als Elvis ging mit ihm ins Krankenhaus teilt auch eine Geschichte über das erste Mal, dass er jemals Racquetball mit Elvis gespielt Presley und was Elvis ihm angetan hat und George Klein erzählt eine Geschichte darüber, wie er versuchte uns zu einem Hologramm zu überreden in den 1970er Jahren Freunde verpassen dieses hey nicht und erinnern sich wenn Sie es noch nicht vergessen haben Nicht doppelt dribbeln Freunde abonnieren Sie wissen, finden Sie einfach den roten Knopf rechts dort Es ist eine Freude, mit Trey zu fahren. Es ist kostenlos . und du bleibst jedes Mal auf dem Laufenden, wenn ich Italian: [Musica] amici in questo episodio speciale di bagliore trotto con complice Trey Dean condivide una storia su ciò che è accaduto quando Elvis andò in ospedale con lui lui condivide anche una storia per la prima volta mai giocato a squash con Elvis Presley e quello che Elvis gli ha fatto e George Klein condivide una storia su come ha cercato di convincerci a fare un ologramma negli anni '70 gli amici non mancano questo ehi e ricordano se non l'hai già non dimenticare non raddoppiare il dribbling degli amici iscriversi sai basta trovare quel pulsante rosso a destra lì è un gongolo in sella a Trey è gratuito e rimani aggiornato ogni volta che French: [Musique] amis sur cet épisode spécial de lueur trotter avec Trey Dean complice partage une histoire sur ce qui s'est passé quand Elvis est allé à l'hôpital avec lui partage également une histoire sur la première fois qu'il jamais joué au racquetball avec Elvis Presley et ce qu'Elvis lui a fait et George Klein partage une histoire sur la façon dont il essayé de nous convaincre de faire un hologramme dans les années 1970 les amis ne manquent pas ce bon souvenir et souvenez-vous si vous ne l'avez pas déjà fait n'oubliez pas ne doublez pas vos amis pour vous abonner vous savez juste trouver ce bouton rouge à droite là c'est un plaisir fou avec Trey c'est gratuit et vous restez à jour à chaque fois que je Japanese: [音楽] この特別な輝きのエピソードの友達 Trey Deanの共犯者 との戯れ のときに起こったことについての話を共有します エルビスは彼と一緒に病院に行きました 彼が初めて話をしたときも エルビスとラケットボールをしたことがある プレスリーとエルビスが彼にしたこと ジョージクラインは、彼がどのようにしたかについての話を共有します ホログラムを作成するように私たちに話してみました 1970年代に戻る 友達はこれを見逃さないでください 忘れていないなら ドリブルフレンドを2倍に登録しないでください あなたはちょうどその赤いボタンを右に見つけることを知っています そこ Treyのライディングは無料です 。 そして、あなたは私 Chinese: [音乐] 这个发光特别集的朋友 与Trey Dean的同伙小跑 分享一个有关 发生了什么的故事 猫王和他一起去医院 也第一次分享了他的故事 曾与猫王 玩壁球 普雷斯利和猫王对他的所作所为 乔治·克莱因(George Klein)分享了他的故事 试图说服我们做全息图 早在1970年代 朋友们不要错过这个嘿，记住 如果您还没有忘记 不要双重运球朋友订阅 你知道只是找到右边的红色按钮 在那里 与Trey一起幸灾乐祸免费 并且每次我 Russian: [Музыка] друзья в этом особом эпизоде ​​свечения рысью с сообщником Трея Дина делится историей о том, что произошло, когда Элвис отправился в больницу с ним он также рассказывает историю о том, как он впервые когда-либо играл в ракетбол с Элвисом Пресли и что Элвис сделал с ним и Джордж Кляйн делится историей о том, как он пытался уговорить нас сделать голограмму в 1970-х друзья не пропустите это эй и помните если вы еще не забыли не делайте двойных подписок Вы знаете, просто найдите эту красную кнопку справа там это трогательная поездка с Трэем, это бесплатно и вы остаетесь в курсе каждый раз, когда я Dutch: [Muziek] vrienden in deze speciale aflevering van glow draven met medeplichtige Trey Dean deelt een verhaal over wat er gebeurde toen Elvis ging met hem naar het ziekenhuis hij deelt ook een verhaal over de eerste keer dat hij ooit racquetball gespeeld met Elvis Presley en wat Elvis hem aandeed en George Klein vertelt een verhaal over hoe hij probeerde ons over te halen een hologram te maken terug in de jaren 70 vrienden missen dit niet en onthouden als je het nog niet hebt vergeten geen dubbele dribbel-vrienden abonneren weet je, vind gewoon die rode knop rechts daar het is een geweldige rit met Trey het is gratis en je blijft op de hoogte met elke keer dat ik Spanish: [Música] amigos en este episodio especial de brillo trotando con el cómplice de Trey Dean comparte una historia sobre lo que sucedió cuando Elvis fue a un hospital con él él También comparte una historia sobre la primera vez que él alguna vez jugó racquetball con Elvis Presley y lo que Elvis le hizo y George Klein comparte una historia sobre cómo él Trató de convencernos de hacer un holograma en la década de 1970 amigos, no te lo pierdas, y recuerda si aún no lo has hecho, no lo olvides no se doblen los amigos que se suscriben ya sabes, encuentra ese botón rojo a la derecha allí Es un paseo con Trey, es gratis y te mantienes actualizado cada vez que yo Czech: [Hudba] přátelé na této speciální epizodě záře klusu s komplikací Trey Deana sdílí příběh o tom, co se stalo, když Elvis šel s ním do nemocnice také sdílí příběh poprvé, kdy někdy hrál racquetball s Elvisem Presley a co mu Elvis udělal a George Klein sdílí příběh o tom, jak on pokusil se s námi mluvit, abych udělal hologram zpět v 70. letech přátelé si nenechte ujít toto hej a nezapomeňte pokud jste ještě nezapomněli předplatit dvojité dribling přátele víte, prostě zjistíte, že červené tlačítko vpravo tam je to nádherná jízda s Trey je zdarma a zůstáváte aktualizováni pokaždé, když I Portuguese: [Música] amigos neste episódio especial de brilho trotar com cúmplice de Trey Dean compartilha uma história sobre o que aconteceu quando Elvis foi a um hospital com ele, ele também conta uma história na primeira vez que ele já jogou raquete com Elvis Presley e o que Elvis fez com ele e George Klein conta uma história de como ele tentou nos convencer a fazer um holograma na década de 1970 amigos não perdem esse ei e lembre-se se você ainda não se esqueceu não driblar o dobro de amigos que assinam você sabe, basta encontrar o botão vermelho certo lá é um gloat andando com Trey é grátis e você fica atualizado sempre que eu Swedish: [Musik] vänner på detta speciella avsnitt av glöd trav med Trey Dean medarbetare delar en berättelse om vad som hände när Elvis åkte till ett sjukhus med honom delar också en berättelse för första gången han spelade någonsin racquetball med Elvis Presley och vad Elvis gjorde med honom och George Klein delar en historia om hur han försökte prata oss om att göra ett hologram tillbaka på 1970-talet vänner missar inte detta hej och kom ihåg om du inte redan har glömt inte dubbel dribla vänner prenumerera du vet bara hitta den röda knappen höger där det är en gloat som rider med Trey det är gratis och du hålls uppdaterad med varje gång jag Italian: carica un nuovo video una volta alla settimana più questi speciali come questo oggi Prince andiamo allo show do sai che era un campione di racquetball giocatore ed è così che lo vedi campo da squash essendo su Graceland e tutte le guerre in essa tutta la mente da capogiro più vedi quando cammini per un dischi d'oro del corridoio e poi vai in il campo da squash c'è che ti regole costruito per racquetball perché eravamo pronti membri del team noi erano pronti per il JCCC Memphis è noto per dicendo che Memphis Country Club eravamo mezzanotte vai e affitta e gioca racquetball e stavano insegnando il l'altro lato per giocare a racquetball è un sport duro e forma fisica reale vita veloce ma lui e il dott. NIC e campo da squash costruito nella loro casa non potevamo andare con un play-by-play noi non avrei capito deena commedia signori scusate se lo farete Portuguese: envie um novo vídeo uma vez por semana mais esses especiais como este hoje Prince vamos ao show do você sabe que ele era um campeão de raquetebol jogador e é assim que você vê isso quadra de squash em Graceland e todas as guerras nele toda a mente desconcertante quanto mais você vê quando anda por um registros de ouro no corredor e depois entrar em a quadra de raquetebol há regras para você construído para raquetebol porque estávamos prontos, membro da equipe estavam prontos que o JCCC Memphis é conhecido por dizendo que o Memphis Country Club éramos meia-noite, vá e alugue e brinque racquetball e eles estavam ensinando o outro lado para jogar racquetball é um esporte difícil e colocá-lo em forma real vida rápida, mas ele e dr. NIC e quadra de raquete construída em sua casa não podíamos ir com um play-by-play nós não teria deena comedy cavalheiros desculpe se você vai French: téléchargez une nouvelle vidéo une fois par semaine plus ces spéciaux comme celui-ci aujourd'hui Prince, allons au spectacle tu sais qu'il était un champion de racquetball joueur et c'est comme ça que vous voyez terrain de racquetball sur Graceland et toutes les guerres en elle tout l'esprit ahurissant plus vous voyez quand vous descendez un couloir disques d'or, puis entrez dans le terrain de racquetball il y a des règles pour vous conçu pour le racquetball parce que nous étions prêts à faire partie de l'équipe étaient prêts, le JCCC Memphis est connu pour disant que nous étions au Memphis Country Club minuit aller et louer et jouer racquetball et ils enseignaient le l'autre côté pour jouer au racquetball est un sport dur et vous mettre en forme réel vie rapide mais lui et dr. NIC et terrain de racquetball intégré à leur maison nous ne pouvions pas aller avec un play-by-play nous n'obtiendrais pas cependant messieurs de deena de comédie désolé si vous voulez à propos de Jennifer Colorado quand vous avez eu Spanish: subir un video nuevo que es una vez a la semana más estos especiales como este hoy Prince vamos al show do sabes que era un campeón de racquetball jugador y así es como lo ves la cancha de racquetball está en Graceland y todas las guerras en él toda la mente alucinante cuanto más ves cuando caminas por un registros de oro del pasillo y luego entrar en la cancha de racquetball hay reglas para ti construido para racquetball porque estábamos listos miembro del equipo nosotros estaban listos por el JCCC Memphis es conocido por diciendo Memphis Country Club estábamos medianoche ve y alquila y juega racquetball y estaban enseñando el otro lado para jugar racquetball es un deporte duro y ponerte en forma de verdad vida rápida pero él y el dr. NIC y cancha de racquetball integrada en su casa no podríamos ir con un juego por juego que aunque no lo conseguiría deena comedia caballeros lo siento si lo harán Chinese: 时您都保持更新 上载每周一次的新视频 加上像这样的这些特殊的 今天王子让我们去表演吧 你知道他是冠军壁球 播放器，这就是您的看到方式 壁球场位于 所有的战争都令人难以置信 走下 时看到的内容越多 走廊黄金记录，然后进入 壁球场上有你的规定 专为壁球 因为我们已经准备好团队成员，所以我们 准备好JCCC孟菲斯 说我们是孟菲斯乡村俱乐部 午夜去租房玩 壁球，他们在教 对方打壁球是 艰苦的运动，让您真正塑造体形 生活快，但他和博士。 NIC和 房屋内设有壁球场 我们无法进行逐场比赛 虽然不会 deena喜剧先生们，如果您愿意，抱歉 Dutch: upload een nieuwe video die eens per week is plus deze speciale zoals deze vandaag gaan we naar de show van Prince je weet dat hij een kampioen racquetball was speler en zo zie je dat racquetball court op Graceland en alle oorlogen erin verbijsterend hoe meer je ziet als je een afloopt gang gouden platen en ga dan naar het racketbalveld er zijn regels die jij gebouwd voor racquetball omdat we klaar teamlid waren wij waar de JCCC Memphis om bekend staat Memphis Country Club zeggen we waren middernacht gaan en huren en spelen racquetball en ze leerden de andere kant om racquetball te spelen is een zware sport en krijg je echt in vorm snel leven maar hij en dr. NIC en Racquetballbaan ingebouwd in hun huis we konden niet gaan met een play-by-play we zou echter niet komen deena comedy heren sorry als je wilt Czech: nahrát nové video, které je jednou týdně plus tyto speciální, jako je tento dnes se princ pojďme podívat na show víte, že byl šampionem šampionátu a tak to vidíte racquetball hřiště na Graceland a všechny války v tom všem mysl ohromující čím více uvidíte, když jdete dolů chodba zlaté záznamy a pak jít do racquetball court tam vládneš postaven pro racquetball protože jsme byli připraveni být členem týmu byli připraveni JCCC Memphis je známý pro říkali Memphis Country Club jsme byli o půlnoci jít a pronajmout si a hrát racquetball a oni učili další strana hrát racquetball je tvrdý sport a dostanete se do skutečné podoby rychlý život, ale on a dr. NIC a do jejich domu vestavěn racquetballový kurt nemohli jsme jít s play-by-play we nedostal by deena komedie pánové promiňte, pokud budete Swedish: ladda upp en ny video som är en gång i veckan plus dessa speciella som den här idag Prince låt oss komma till showen du vet att han var en mästare racquetball spelare och det är så du ser det racquetballplan är på Graceland och alla krig i det hela sinnet boggling desto mer ser du när du går ner en hall guldrekord och gå sedan in racquetballbanan där reglerar du byggd för racquetball eftersom vi var redo lagmedlem vi var redo JCCC Memphis är känd för säger Memphis Country Club vi var midnatt gå över och hyra och spela racquetball och de undervisade i andra sidan att spela racquetball är en tuff sport och få dig i form verklig snabbt liv men han och dr. NIC och racquetballplan inbyggt i deras hus vi kunde inte gå med en play-by-play vi skulle inte få deena comedy herrar ledsen om du kommer Japanese: のたびに更新されたままです 週1回の新しい動画をアップロードする さらに、このような特別なもの 今日プリンスはショーに行こう あなたは彼がチャンピオンのラケットボールだったことを知っています プレーヤーとそれはあなたがそれを見る方法です グレースランドにあるラケットボールコートと その中のすべての戦争すべての心がうごめく を歩くと、より多くのことがわかります 廊下の金を記録し、 に移動します ラケットボールコートにはルールがあります ラケットボール用に構築された 私たちはチームメンバーの準備ができていたので JCCCメンフィスは で知られています メンフィスカントリークラブと言った 真夜中に行き、レンタルして遊ぶ ラケットボールと彼らは を教えていました ラケットボールをする相手は タフなスポーツとあなたを本当の形にする クイックライフが彼と博士。 NICおよび 家に建てられたラケットボールコート 実況プレイでは行けませんでした は取得しません ディーナコメディ紳士 Russian: загрузить новое видео, которое раз в неделю плюс эти специальные, как этот сегодня принц добрался до шоу до Вы знаете, он был чемпионом по ракетболу игрок, и вот как вы это видите площадка для ракетбола на Грейсленде и все войны в нем все ошеломляют чем больше вы видите, когда вы идете вниз золотые записи в коридоре, а затем перейдите в на площадке для ракетбола есть правила построен для ракетбола потому что мы были готовыми членами команды мы были готовы JCCC Мемфис известен говоря Мемфис Кантри Клаб мы были полночь переехать и арендовать и играть ракетбол, и они учили Другая сторона играть в ракетбол жесткий спорт и приведи тебя в форму быстрая жизнь но он и др. NIC и площадка для ракетбола, встроенная в их дом мы не могли пойти с игрой за игрой мы не получил бы хотя Дина, комедии, господа, извините, если вы будете German: lade ein neues Video hoch, das einmal pro Woche ist plus diese besonderen wie diese Heute, Prince, lass uns zur Show gehen Sie wissen, dass er ein Champion Racquetball war Spieler und so sieht man das Racquetballplatz auf Graceland und all die Kriege darin, all der Verstand verwirrt Je mehr Sie sehen, wenn Sie eine Flur Gold Schallplatten und dann gehen in Auf dem Racquetballplatz gibt es Regeln, die Sie gebaut für Racquetball weil wir bereit waren Teammitglied wir waren bereit das JCCC Memphis ist bekannt für Wir sagten Memphis Country Club, wir waren Mitternacht gehen und mieten und spielen Racquetball und sie unterrichteten die Die andere Seite, um Racquetball zu spielen, ist eine harter Sport und bring dich in Form schnelles leben aber er und dr. NIC und Racquetballplatz in ihr Haus eingebaut wir konnten nicht mit einem Play-by-Play gehen, das wir würde aber nicht bekommen Deena Comedy Gentlemen Entschuldigung, wenn Sie so wollen Portuguese: sobre Jennifer Colorado quando você conseguiu machucado na encosta de neve descendo estes pistas de esqui e Elvis é cerca de 2:30 em de manhã e eu olho para eles e disse que penso esse pensamento simples que eu vou, eu vou vá em frente, eu estou cansado de qualquer maneira, ele parece peças agora mais uma vez que todo mundo vai entrar e não estávamos indo descendo esta pequena ladeira para descer a pistas de esqui reais e quando você estiver usando esses discos de lata de lixo e nós éramos sentado Eu só vou descer para você não tem controle nós caímos como da última vez que estávamos na verdade tente o monte de mãos dadas caras meio que fazem as pessoas de mãos dadas e nós estávamos voando lá embaixo Neville é apenas ter uma bola bem, eu dei como um pedaço de madeira e um meu pai quebrou minha perna, então Elvis decide ligar atrás do dinheiro um vem conferir minha perna e ele vai outro e ele tem uma música para Steve porque você sabemos que somos todo o esquema cético estava frio de qualquer maneira, então ele mantém sua máscara de chá ele entra na ambulância comigo e estamos sentados atrás e ele tentando dizer ao paramédico o que é German: über Jennifer Colorado, als Sie verletzt auf dem Schneehang, der diese hinuntergeht Skipisten und Elvis ist ca. 2:30 in am Morgen und ich schaue sie an und sagte, ich denke dieses einfache Denken, ich werde ich werde Ich bin sowieso müde, er sieht aus Stücke jetzt noch einmal, dass jeder wird reingehen und wir gingen nicht diesen kleinen Hang hinunter zum echte Skipisten und wenn Sie benutzen diese Mülleimer Untertassen und wir waren sitzend gehe ich nur runter, damit du habe keine Kontrolle wir gingen runter wie beim letzten Mal Versuchen Sie tatsächlich die Händchen halten von Jungs machen Leute Händchen haltend und wir flogen dort hinunter Nevilles gerade einen Ball haben Nun, ich gab es als ein Stück Holz und ein Zaun mein Vater brach mein Bein so Elvis beschließt, hinter dem Geld eins anzurufen Komm und überprüfe mein Bein und er geht noch eines und er hat Steve ein Lied, weil du Ich weiß, wir sind alle das Schema ein skeptisch war sowieso kalt, also behält er seine Teemaske am steigt er mit mir in den Krankenwagen und Wir sitzen hinten und er ist versuchen, dem Sanitäter zu sagen, was Chinese: 关于得到珍妮佛·科罗拉多 这些山坡上的雪坡受伤了 滑雪场和猫王在 中约为2:30 早上 我看着他们，我说我认为 这个简单的想法，我要去 继续吧，我看起来还是很累 现在，每个人又一次休息 要进去，我们不去 沿着这个小坡度往下走 真正的滑雪场以及使用时 这些垃圾罐碟，我们是 坐在我正要下去，所以你 没有控制权 就像我们上一次一样 实际尝试 家伙有点牵手的人， 我们飞到那是内维尔 有球 好吧，我把它当作一块木头和 父亲把栅栏打断了，所以猫王 决定给钱一个 来检查我的腿，他又走了 他给了史蒂夫一首歌，因为你 知道我们都是怀疑的架构 还是很冷所以他保留了茶膜 他和我一起进入救护车， 我们坐在后面，他 试图告诉护理人员什么是 French: mal sur la pente de neige en descendant ces pistes de ski et Elvis est d'environ 2h30 le matin et je les regarde et j'ai dit que je pense cette simple pensée que je vais je vais allez-y je suis fatigué de toute façon il a l'air pièces maintenant une fois de plus que tout le monde va entrer et nous n'allions pas descendre cette petite pente pour descendre le de vraies pistes de ski et quand vous utilisez ces soucoupes de poubelle et nous étions assis, je descends juste pour que vous avoir aucun contrôle nous sommes descendus comme la dernière fois que nous étions essayez en fait le tas de mains de maintien les gars font en quelque sorte les gens se tenant la main et nous volions là-bas, Neville est juste avoir une balle eh bien je l'ai donné comme un morceau de bois et un clôture mon père m'a cassé la jambe alors Elvis décide d'appeler derrière l'argent viens vérifier ma jambe et il va un autre et il a une chanson pour Steve parce que vous sais que nous sommes tous le schéma un sceptique il avait quand même froid donc il garde son masque de thé sur il monte dans l'ambulance avec moi et nous sommes assis à l'arrière et il est essayer de dire à l'ambulancier ce qui est mal avec moi et je vais traduire le Spanish: sobre Jennifer Colorado cuando tienes duele en la pendiente de nieve bajando estos pistas de esquí y Elvis es aproximadamente 2:30 en la mañana y los miro y les digo que pienso ese simple pensamiento que voy a que voy a adelante estoy cansado de todos modos se ve piezas ahora una vez más que todos va a entrar y no íbamos bajando esta pequeña pendiente para bajar el pistas de esquí reales y cuando estás usando estos platillos de basura y estábamos sentado, estoy bajando, así que tú no tener control bajamos como la última vez que estuvimos en realidad prueba el manojo de manos los chicos hacen gente agarrada de la mano y Estábamos volando allí Neville solo tener una pelota bueno lo di como un pedazo de madera y un cerca mi padre me rompió la pierna así que Elvis decide llamar detrás del dinero uno ven a revisar mi pierna y él va otro y le tiene a Steve una canción porque tú sabemos que todos somos un esquema escéptico estaba frío de todos modos, así que mantiene su máscara de té en él entra en la ambulancia conmigo y estamos sentados atrás y él tratando de decirle al paramédico qué es Dutch: over Jennifer Colorado toen je kreeg doet pijn op de sneeuwhelling die naar beneden gaat skipistes en Elvis is ongeveer 2:30 in de ochtend en ik kijk naar ze en ik zei dat ik denk dat simpele denken dat ik ga, ik ga ga je gang ik ben toch moe hij kijkt stukken nu nog een keer dat iedereen gaat naar binnen en wij niet deze kleine helling af om naar beneden te gaan echte skipistes en bij gebruik deze vuilnisbakschotels en we waren zittend op Ik ga gewoon naar beneden zodat jij heb geen controle we gingen naar beneden zoals de laatste keer dat we waren probeer echt de handen vast te houden jongens doen soort mensen hand in hand en we vlogen daar beneden Marcel's rechtvaardige een bal hebben nou ik gaf het als een stuk hout en een hek mijn vader brak mijn been dus Elvis besluit om achter het geld te bellen kom mijn been controleren en hij gaat een ander en hij heeft Steve een liedje gegeven omdat jij weet dat we allemaal het schema a sceptisch zijn was sowieso koud dus hij houdt zijn theemasker op hij stapt met mij in de ambulance en we zitten achterin en hij is proberen de paramedicus te vertellen wat Czech: o Jennifer Colorado, když máš bolet na sjezdovce klesající tyto sjezdovky a Elvis je asi 2:30 v ráno a podívám se na ně a řekl jsem si, že tak jednoduché myšlení, že se chystám pokračuj, už jsem unavený, jak vypadá kousky nyní ještě jednou, že všichni půjde dovnitř a nešli jsme po tomto malém svahu dolů skutečné sjezdovky a když používáte tyto popelnice na odpadky a my jsme byli sedím na tom, jdu jen dolů, takže ty nemají žádnou kontrolu šli jsme dolů jako naposledy, kdy jsme byli ve skutečnosti vyzkoušejte držení rukou kluci něco dělat lidi drželi se za ruce a letěli jsme tam Neville's just mít míč dobře jsem to dal jako kus dřeva a plot můj otec mi zlomil nohu, takže Elvis rozhodl se zavolat za peníze pojď se podívat na mou nohu a on jde další a má Steva píseň, protože ty víme, že jsme celé schéma skeptické byl stejně studený, takže si uchovává svou čajovou masku on se mnou v sanitce a sedíme vzadu a on je se snaží říct záchranáři, co je Russian: о Дженнифер Колорадо, когда вы получили больно на снежном склоне, спускаясь по этим лыжные трассы и Элвис около 2:30 в утро и я смотрю на них, и я сказал, что я думаю это простое мышление я собираюсь я собираюсь давай я устал все равно он выглядит куски теперь еще раз, что все собирается войти, и мы не собирались вниз по этому небольшому склону, чтобы спуститься реальные лыжные трассы и когда вы используете эти тарелки для мусора и мы были сидя на я просто спускаюсь, чтобы вы не иметь контроля мы спустились как в прошлый раз на самом деле попробуйте взяться за руки ребята вроде люди держатся за руки и мы летели туда просто Невиллом с мячом хорошо я дал его как кусок дерева и забор мой отец сломал мне ногу, чтобы Элвис решает позвонить за деньгами один приди, проверь мою ногу, и он идет другой и у него есть песня Стива, потому что ты знаю, что мы все схемы скептически все равно было холодно, поэтому он держит свою чайную маску на он попадает в скорую помощь со мной и мы сидим сзади, и он пытаясь сказать, что медработник Swedish: om Jennifer Colorado när du fick skada på snö sluttningen nedåt dessa skidbackar och Elvis är cirka 02:30 morgonen och jag tittar på dem och jag sa att jag tror så enkelt tänker jag ska jag ska gå vidare jag är trött ändå han ser ut delar nu ännu en gång som alla kommer att gå in och vi skulle inte ner den lilla lutningen för att gå ner riktiga skidbackar och när du använder dessa skräpskålar och vi var sitter på att jag bara går ner så du har ingen kontroll vi gick ner som förra gången vi var försök faktiskt att hålla händerna gäng killar sorts gör människor som håller hand och vi flyger där nere Neville's just ha en boll ja, jag gav det som ett träslag och en staket min far bröt benet så Elvis beslutar att ringa bakom pengarna kom kolla mitt ben och han går en annan och han har Steve en låt eftersom du vet att vi är alla schema ett skeptiskt det var kallt ändå så han håller sin temaska ​​ på han kommer i ambulansen med mig och vi sitter i ryggen och han är försöker berätta för sjukvården vad som är Japanese: ジェニファーコロラドについて これらを下る雪の斜面を傷つける スキー場とエルビスは で約2:30です 朝 そして私はそれらを見て、私が思うと言った その単純な考え私はつもりだ とにかく疲れた 作品は今やもう一度誰もが 入って行くつもりはなかった この小さな斜面を下​​りて 実際のスキー場とあなたが使用しているとき これらのゴミ箱の受け皿と私たちは 座っているだけで下がるから 制御できない 前回と同じように降りてきました 実際に の手を握ってください みんな手を繋いでいる人たち 私たちはそこをネビルのちょうど下に飛んでいた ボールを持っている まあ私はそれを木片として与え、 父がフェンスで足が折れたのでエルビス お金の後ろに電話することにしました 私の足をチェックに来て、彼は別の に行きます あなたはスティーブに歌を歌っています 私たちすべてがスキーマに懐疑的であることを知ってください とにかく寒かったのでティーマスクをつけておく 彼は私と一緒に救急車に乗り、 私たちは後ろに座って、彼は Italian: su Jennifer Colorado quando hai ferito sul pendio della neve scendendo questi piste da sci ed Elvis è circa 2:30 in la mattina e li guardo e ho detto che penso quel semplice pensiero che sto per fare vai avanti sono stanco comunque sembra pezzi ora ancora una volta che tutti entrerà e non andremo giù per questa piccola pendenza per scendere piste da sci reali e quando si utilizza questi piattini della spazzatura e noi eravamo seduto su sto solo andando giù così tu non avere controllo siamo scesi come l'ultima volta che siamo stati prova effettivamente il mazzo di mani in mano di ragazzi tipo di persone che si tengono per mano e stavamo volando laggiù proprio Neville avere una palla bene l'ho dato come un pezzo di legno e un recinto mio padre mi ha rotto una gamba così Elvis decide di chiamare dietro il denaro vieni a controllare la mia gamba e se ne va un altro e ha una canzone per Steve perché tu so che siamo tutti uno schema un po 'scettico faceva comunque freddo, quindi mantiene la sua maschera da tè su sale in ambulanza con me e siamo seduti dietro e lui cercando di dire al paramedico cos'è French: paramédic pour nous ce qui ne va pas mais vous savoir qu'Elvis était en contrôle mais de toute façon on va à la faculté de droit et moi obtenir regarde-le et je te dis bien juste ça a vraiment mal tourné et c'est parti donner à la voiture d'assurance mon assurance carte a dit Elvis Presley que cela change c'est une voiture Blue Cross et la dame là-bas était une infirmière assise ici et j'étais était assis juste ici et un couple des gars ici et elle est en quelque sorte mon cheveux encore elle dit bien où est le bureau comme ça et personne n'a dit rien ne va vivre ne dit pas rien parce que nous ne voulons pas que personne ne le sache le monde donc de toute façon elle réveille Elvis dans le masque de ski et elle dit où qui es-tu qu'il se retourne lui fait un clin d'œil et il dit que je suis un seul garde forestier pour toi et c'est tout, nous sommes retournés à l'endroit la raison pour laquelle nous avons fait cela parce que si vous vous en souvenez avant, avait sa fille là-bas et puis la maison a décidé que ma calamité et que personne ne voulait savoir où nous étions parce qu'ils ne l'ont pas fait veulent que tout le monde dérange tout Dutch: mis met mij en ik zal de vertalen paramedicus voor ons wat er aan de hand is, behalve jij weten dat Elvis de touwtjes in handen had maar hoe dan ook, we gaan rechten studeren en ik krijgen kijk ernaar en ik zei goed, je gewoon hebben het echt heel erg vastgelopen en dus gaan we om de verzekeringsauto mijn verzekering te geven kaart zei Elvis Presley dit verandert het is een auto van Blue Cross en de dame daar zat hier een verpleegster en ik was zat hier en een paar van jongens hier en ze is een soort van mijn weer haar zegt ze goed waar is de kantoor zoals dat en niemand zei alles gaat leven zegt niet niets want we willen niet dat niemand het weet de wereld dus hoe dan ook, ze maakt Elvis wakker in het skimasker en ze zegt waar wie ben jij, hij draait zich om, knipoogt naar haar en hij zegt dat ik een eenzame boswachter ben voor jou en dat was het, we gingen terug naar de plaats de reden waarom we dat deden was omdat als je het je herinnert had zijn dochter daar en toen besloot het huis dat mijn rampspoed en niemand dat wilde weten waar we waren omdat ze dat niet deden Czech: špatně se mnou a přeložím záchranář k nám, co se děje, ale vy vědět, že Elvis měl kontrolu ale přesto jdeme na právnickou školu a já získat podívej se na to a řekl jsem ti dobře opravdu to zaseklo opravdu špatně, a tak jdeme dát pojišťovacímu vozu mé pojištění karta řekla Elvis Presley tyto změny je to auto Blue Cross a dáma tam byla zdravotní sestra, která tady seděla a já jsem seděl přímo tady a pár kluků právě tady a je to moje vlasy opět říká, kde je kancelář takhle a nikdo neřekl cokoli přežije a neříkám nic, protože nechceme, aby to nikdo nevěděl svět tak stejně probudí, že Elvis v lyžařské masce a říká, kde kdo Jsi se otočil mrknutí na ni a říká, že jsem pro vás osamělý strážce a to bylo to, že jsme se vrátili na místo důvod, proč jsme to udělali proto, že pokud si pamatujete, dříve měla jeho dcera tam a pak se dům rozhodl že moje kalamita a nikdo nechtěli vědět, kde jsme byli, protože ne Swedish: fel med mig och jag ska översätta paramedicin för oss vad som är fel men du vet att Elvis hade kontroll men ändå så går vi till lagskola och jag få titta på det och jag sa bra du bara fastnat det riktigt dåligt och så går vi att ge försäkringsbilen min försäkring kort sa Elvis Presley detta ändras det är en Blue Cross-bil och damen där satt en sjuksköterska här och jag var satt här inne och ett par av killar här och hon är sorts min hår igen säger hon väl var är kontor som det och ingen sa allt går levande säger inte ingenting cuz vi inte vill att ingen vet världen så i alla fall vaknar hon att Elvis i skimasken och hon säger var vem är du han vänder sig blinkar till henne och han säger att jag är en ensam ranger för dig och det var det vi åkte tillbaka till platsen anledningen till att vi gjorde det var för att om du kommer ihåg tidigare hade hans dotter där borta och då beslutade huset att min olycka och ingen ville vet var vi var för de gjorde det inte Chinese: 我错了，我会翻译 护理人员对我们有什么问题，但是您 知道猫王在控制之中 但无论如何，我们和我去了法学院 得到 看着它，我说的很好，你只是 真的卡住了它真的很糟糕，所以我们去 给我的保险车保险 卡说埃尔维斯·普雷斯利(Elvis Presley)的情况有所改变 这是一辆蓝十字汽车，那位女士 是一个护士坐在这里，我当时 正坐在这里和一对夫妇 在这里的人，她有点像我 再说一遍，她说好了 那样的办公室，没人说 一切都活着不说 没什么，因为我们不想没人知道 无论如何，她唤醒了猫王 在滑雪面罩上，她说在哪里 你是他转过身对她眨眨眼吗 他说我对你和 都是一个孤独的游侠 就这样我们回到了那个地方 我们这样做的原因是因为 如果您还记得以前有他的女儿 在那边，然后房子决定 我的灾难，没人愿意 知道我们在哪里，因为他们没有 German: falsch mit mir und ich werde die übersetzen Sanitäter zu uns, was außer Ihnen los ist weiß, dass Elvis die Kontrolle hatte aber trotzdem gehen wir auf die juristische Fakultät und ich get schau es dir an und ich sagte dir gut gerade wirklich sehr schlecht gestaut und so gehen wir um dem Versicherungswagen meine Versicherung zu geben Karte sagte Elvis Presley dies ändert Es ist ein Blue Cross Auto und die Dame dort war eine Krankenschwester hier und ich war saß genau hier und ein paar von Jungs hier und sie ist eine Art von mir wieder Haare sagt sie gut wo ist die Büro so und niemand sagte Alles, was lebendig wird, sagt nichts nichts, weil wir nicht wollen, dass niemand es weiß die Welt so trotzdem weckt sie diesen Elvis in der Skimaske und sie sagt wo wer bist du er dreht sich um zwinkert ihr zu und er sagt, ich bin ein einsamer Waldläufer für dich und das war es, wir gingen zurück zu dem Ort Der Grund, warum wir das getan haben, war wenn Sie sich erinnern, hatte zuvor seine Tochter da drüben und dann entschied das Haus dass mein Unglück und niemand wollte wissen, wo wir waren, weil sie nicht Italian: sbagliato con me e tradurrò il paramedico per noi cosa c'è che non va ma tu so che Elvis era in controllo ma comunque andiamo a scuola di legge e io get guarda e ho detto bene solo tu l'ho bloccato davvero male e così andiamo dare l'assicurazione alla mia auto carta ha detto Elvis Presley questo cambia è un'auto Blue Cross e la signora lì ero un'infermiera seduta qui ed io era seduto proprio qui e una coppia di ragazzi proprio qui ed è una specie di mio capelli di nuovo lei dice bene dov'è il ufficio del genere e nessuno ha detto qualsiasi cosa vivi non sta dicendo niente perché non vogliamo che nessuno lo sappia il mondo così comunque si sveglia che Elvis nella passamontagna e dice dove chi ti gira le fa l'occhiolino e dice che sono un ranger solitario per te e ecco che siamo tornati sul posto il motivo per cui l'abbiamo fatto è perché se ricordi prima aveva sua figlia laggiù e poi la casa decise che la mia calamità e nessuno voleva sapere dove eravamo perché non lo sapevano Japanese: 何が救急隊員に伝えようとしている を翻訳します。 何が悪いのか私たちに救急隊員 エルビスが支配していたことを知っている とにかく私はロースクールと私に行きます get それを見て、私はあなたによく言った 本当にひどい状態だったので 保険自動車に保険をかけるには カードはこの変更をElvis Presleyと述べた それはブルークロスの車とそこの女性です ここに座っている看護師でした こことカップルに座っていた ここの男の人と彼女は私のようなものです 髪は再び彼女はよく言っています そのようなオフィスと誰も言っていない 何も言わないで生きている 誰にも知られたくない 世界はとにかく彼女は目を覚ますエルビス スキーマスクと彼女はどこに誰が言った 彼は彼女にウィンクを振り向いて、あなたは 彼は私があなたと に孤独なレンジャーだと言います それは私たちがその場所に戻ったということでした 私たちがそうした理由は 以前に彼の娘がいたことを覚えているなら あっちで家が決めた 私の災難で誰も望んでいないこと 彼らが知らなかったので私たちがどこにいたのかを知ってください Russian: не так со мной и я переведу фельдшер нам что не так, кроме вас знаю, что Элвис был под контролем но так или иначе, мы идем в юридическую школу, и я получить посмотрите на это, и я хорошо сказал, что вы просто действительно заклинило это очень плохо, и поэтому мы идем оформить страховку автомобиля моей страховкой Карточка Элвиса Пресли об этих изменениях это машина Blue Cross и леди там сидела здесь медсестра, а я сидел прямо здесь и пара парней прямо здесь, и она своего рода моя волосы снова она хорошо говорит, где находится офис так и никто не сказал ничего живого не говорю ничего, потому что мы не хотим, чтобы никто не знал мир так или иначе она будит, что Элвис в лыжной маске, и она говорит, где, кто ты, он оборачивается, подмигивает ей и он говорит, что я одинокий рейнджер для вас и это было то, что мы вернулись на место причина, по которой мы это сделали, заключалась в том, что если вы помните, раньше была его дочь тут же дом решил что моя беда и никто не хотел знать, где мы были, потому что они этого не сделали Spanish: mal conmigo y traduciré el paramédico para nosotros lo que está mal, pero usted Sé que Elvis tenía el control pero de todos modos, así que vamos a la escuela de leyes y yo obtener Míralo y te dije que bien realmente atascado es realmente malo y así vamos dar el seguro del auto a mi seguro tarjeta dijo Elvis Presley esto cambia es un auto de Blue Cross y la dama allí era una enfermera sentada aquí y yo estaba estaba sentado justo aquí y una pareja de chicos aquí y ella es una especie de mi pelo otra vez ella dice bien dónde está el oficina así y nadie dijo todo lo que cobra vida no está diciendo nada porque no queremos que nadie lo sepa el mundo así que de todos modos ella despierta que Elvis en la máscara de esquí y ella dice dónde quién eres tú que le da la vuelta guiños y él dice que soy un llanero solitario para ti y eso fue todo, volvimos al lugar la razón por la que hicimos eso fue porque si recuerdas antes tuvo a su hija allá y luego la casa decidió que mi calamidad y nadie quería saber dónde estábamos porque no lo hicieron Portuguese: errado comigo e eu vou traduzir o paramédico para nós o que há de errado, mas você sabe que Elvis estava no controle de qualquer maneira, então vamos para a faculdade de direito e eu get olha só e eu disse bem você realmente encravou muito mal e então vamos para dar ao carro meu seguro cartão disse Elvis Presley isso muda é um carro da Blue Cross e a senhora lá era uma enfermeira sentada bem aqui e eu era estava sentado aqui e um casal de caras aqui e ela é uma espécie da minha cabelo novamente, ela diz bem onde está o escritório assim e ninguém disse qualquer coisa que viva não está dizendo nada porque não queremos que ninguém saiba de qualquer maneira, ela acorda que Elvis na máscara de esqui e ela diz onde quem você é ele vira piscadelas para ela e ele diz que eu sou um guarda solitário para você e foi isso que voltamos ao local a razão pela qual fizemos isso foi porque se você se lembra antes teve a filha dele ali e então a casa decidiu que minha calamidade e ninguém queria sabe onde estávamos porque eles não Russian: хочу, чтобы все беспокоили все это так вот, что случилось, он был именем в месте, где у них был теннис турнир мы попали на площадки для ракетбола и второй быстрый есть место под названием Мемфис Атлетик Клуб и это очень хорошее место у вас есть чемпионат теннис там все равно это хороший дракон Мяч и так играем ракетбол, как это было много игрока Я учился как все Ди сделал его чемпионов джеба мы были и Джерри Шелли со мной и я уже готов Джерри, что я собирался сделать, я иду сказал вам, что я сказал, что придурок я собираюсь объясните это Элвису, но я получил удар правильное время ваше время до бесконечности, поэтому они играть в ракетбол это хорошая история так играть в ракетбол, и я буду делиться Элвис здесь, Дуглас здесь Элвис Italian: vuoi che tutti disturbino tutto quindi è quello che è successo era il nome nel posto dove avevano il tennis torneo colpiamo campi da squash e la seconda veloce c'è un posto chiamato Memphis Athletic Club ed è molto bel posto hai un campionato il tennis lì è comunque un bel drago Corso di palla e così stiamo giocando racquetball come è stato un giocatore Stavo imparando come tutti gli altri dee ha fatto i suoi campioni di jab che eravamo imparando e così Jerry Shelley è con me e avevo già preparato Jerry cosa stavo per fare una passeggiata I ti ho detto che ho detto il coglione che sto per fare spiegalo a Elvis ma sono stato colpito il momento giusto il tuo tempo è fan all'infinito, quindi sono giocando a racquetball questa è una bella storia quindi giocando a racquetball e condividerò Elvises qui Douglass's is Elvis is French: c'est donc ce qui s'est passé, il était le nom en place où ils avaient le tennis tournoi, nous avons frappé des courts de racquetball et le deuxième rapide, il y a un endroit appelé Memphis Athletic Club et c'est un très bel endroit où vous avez un championnat le tennis là de toute façon c'est un joli dragon Bien sûr, nous jouons racquetball comment c'était beaucoup d'un joueur J'apprenais comme tout le monde dee a fait ses champions du jab que nous étions apprendre et donc Jerry Shelley est avec moi et j'avais déjà préparé Jerry ce que j'allais faire une promenade I Je t'ai dit que j'avais dit au connard que je vais expliquer à Elvis mais je me suis fait frapper le bon moment votre temps est fan à l'infini donc ils sont jouer au racquetball c'est une bonne histoire donc jouer au racquetball et je partagerai Elvises ici Douglass's est ici Elvis est ici pas ici on est juste assis Swedish: vill att alla ska bry sig om det hela så det var vad som hände han var namnet på plats där de hade tennis turnering vi träffade racquetballbanor och den andra snabba finns det en plats som heter Memphis Athletic Club och det är en mycket trevligt ställe du har ett mästerskap tennis där är det ändå en trevlig drake Bollbana och så spelar vi racquetball hur var det mycket med en spelare Jag lärde mig som alla andra dee gjorde sina jab-mästare vi var lärande och så är Jerry Shelley med mig och jag hade redan förberett Jerry vad jag skulle göra en promenad jag sa till dig att jag sa den ryck jag ska förklara det för Elvis men jag träffade rätt tid din tid är fan till oändlighet så de är spelar racquetball detta är en bra historia så spelar racquetball och jag ska dela Elvises här Douglass är här Elvis är Dutch: wil dat iedereen de hele zaak stoort dus dat is wat er gebeurde, hij was de naam op de plaats waar ze tennis hadden toernooi raken we racquetballbanen en de tweede snelle is er een plaats genaamd Memphis Athletic Club en het is een zeer mooie plek waar je een kampioenschap hebt tennis daar is het sowieso een leuke draak Balbaan en dus spelen we racquetball hoe was het veel van een speler Ik leerde zoals iedereen dee deed zijn jabkampioenen die we waren leren en dus is Jerry Shelley bij mij en ik had al voorbereid Jerry wat ik ging wandelen ik zei je dat ik de eikel zei waar ik naar toe ga leg het uit aan Elvis maar ik werd geraakt door de juiste tijd jouw tijd is fan tot in het oneindige dus ze zijn racquetball spelen dit is een goed verhaal dus racquetball spelen en ik zal delen Elvis hier Douglass is hier Elvis is Chinese: 希望所有人都烦恼整个事情 所以这就是他的名字 在他们打网球的地方 比赛我们打了壁球场 第二个快速的地方是 孟菲斯体育俱乐部，这是一个非常 你有冠军的好地方 无论如何那里的网球都是不错的巨龙 球道，所以我们在玩 壁球运动员的表现如何 我像其他人一样学习 迪做了他的刺拳冠军 学习，所以杰里·雪莱(Jerry Shelley)和我在一起 我已经准备好了 杰瑞我打算去散步我 告诉你我说过要去的混蛋 向猫王解释，但我被击中了 正确的时间 你的时间是无限的，所以他们是 打壁球这是一个好故事 所以 打壁球，我会分享 猫王在这里道格拉斯在这里猫王在 Spanish: quiero que todos se molesten en todo así que eso es lo que pasó, él era el nombre en el lugar donde tenían el tenis torneo golpeamos canchas de racquetball y el segundo rápido hay un lugar llamado Memphis Athletic Club y es un muy bonito lugar tienes un campeonato tenis allí de todos modos es un buen dragón Campo de pelota y entonces estamos jugando racquetball como fue gran parte de un jugador Estaba aprendiendo como todos los demás dee hizo sus jab campeones estábamos aprendiendo y Jerry Shelley está conmigo y ya me había preparado Jerry lo que iba a hacer una caminata I te dije que dije el idiota al que voy a ir explicárselo a Elvis pero me golpearon el momento adecuado tu tiempo es fanático hasta el infinito, entonces son jugar racquetball esta es una buena historia entonces jugando racquetball y compartiré Elvises aquí Douglass's está aquí Elvis está German: möchte, dass jeder die ganze Sache stört das ist also passiert, er war der Name an Ort und Stelle, wo sie Tennis hatten Turnier schlagen wir Racquetballplätze und das zweite schnell gibt es einen Ort namens Memphis Athletic Club und es ist ein sehr schöner Ort, Sie haben eine Meisterschaft Tennis dort ist es sowieso ein schöner Drache Ballplatz und so spielen wir Racquetball wie war es ein Spieler Ich habe wie alle anderen gelernt dee hat seine Jab Champions gemacht, die wir waren Lernen und so ist Jerry Shelley bei mir und ich hatte bereits vorbereitet Jerry, was ich spazieren gehen wollte I Ich habe dir gesagt, ich habe den Trottel gesagt, zu dem ich gehen werde Erkläre es Elvis, aber ich wurde getroffen richtige Zeit Ihre Zeit ist Fan bis unendlich, also sind sie Racquetball spielen das ist eine gute Geschichte so Racquetball spielen und ich werde teilen Elvis hier Douglass ist hier Elvis ist Portuguese: quero que todo mundo se incomode com a coisa toda então foi assim que ele foi o nome no lugar onde eles tinham o tênis torneio atingimos quadras de raquetebol e o segundo rápido, há um lugar chamado Memphis Athletic Club e é muito lugar legal, você tem um campeonato tênis lá de qualquer maneira é um bom dragão Curso de bola e por isso estamos jogando raquete de bola como era muito de um jogador Eu estava aprendendo como todo mundo dee fez seus jab campeões que éramos aprendendo e então Jerry Shelley está comigo e eu já tinha preparado Jerry o que eu ia fazer uma caminhada eu te disse que eu disse o idiota que eu vou explique para Elvis, mas eu fui atingido hora certa seu tempo é fã do infinito, então eles são jogando raquete esta é uma boa história então jogando raquetebol e eu vou compartilhar Elvis aqui Douglass é aqui Elvis é Czech: chcete, aby všichni obtěžovali celou věc tak se stalo, že se jmenovalo na místě, kde měli tenis turnaj jsme zasáhli racquetball kurty a druhé rychlé je místo zvané Memphis Athletic Club a je to velmi pěkné místo, kde máte mistrovství tenis tam stejně je to pěkný drak Míčové hřiště a tak hrajeme ) racquetball jak to bylo hodně z hráče Učil jsem se jako všichni ostatní dee udělal jeho bodnutí šampióny jsme byli učení a tak Jerry Shelley je se mnou a už jsem připravil Jerry, co jsem chtěl udělat procházku I Řekl jsem, že jsem řekl, že trhnu vysvětlete to Elvisovi, ale zasáhl jsem správný čas váš čas je fanouškem nekonečna, takže jsou hrát racquetball je to dobrý příběh tak hrát racquetball a budu sdílet Elvises tady Douglass's je tady Elvis is Japanese: みんなに気になってもらいたい それが彼の名前でした 彼らがテニスをしていた場所 ラケットボールのコートを打つトーナメントと 2番目のクイックには、 という場所があります メンフィスアスレチッククラブ、それは非常に 優勝できる素敵な場所 テニスはとにかくいいドラゴンです ボールコースなので、私たちは遊んでいます ラケットボールはどうでしたか みんなと同じように学んでいた ディーは私たちのジャブチャンピオンをしました 学習しているので、ジェリーシェリーは私と一緒です そして、私はすでに準備しています ジェリー私が散歩をするつもりだった私 私が行くジャークを言ったと言った エルビスに説明するが、私は に当たった 適切なタイミング あなたの時間は無限大のファンなので ラケットボールをするのはいい話です そう ラケットボールをして、共有します Elvises here Douglass's here Elvis is Italian: qui non qui siamo solo seduti fare una pausa e nessun altro lo era in giro e ho detto ciliegia pensi che sia ora di colpirlo adesso sembra buono cosa state facendo ragazzi giù e ho detto che Elvis fa California a mio amico un ingegnere di Cal Poly controlla ora sono 37 39 anni fa 39 anni fa questo ragazzo si è avvicinato a me e lui ho detto che ho detto di no, ma vuole fare tutto un ologramma su di te ha detto che questo sarebbe essere CD per coprire un piccolo campione di di cosa parlavo, quindi ho detto bene: 2-8-5-5 scheda vuole portarti a Howard Hughes Aerei a Los Angeles che l'unico modo in cui posso fare con questo disegno come angusto quindi qualcosa è nuovo di zecca nessuno era come se qualcuno dicesse di sì, ho detto bene no ma vogliono spararti e con ti regali pieni sulla tua tuta bianca mai non salire sul palco e con questo macchina ologramma e quindi non prendere loro circa tre settimane per metterli Dutch: hier niet hier we zitten gewoon een pauze nemen en niemand anders was rond en ik zei kers, je denkt dat het is tijd om er nu mee te slaan hij ziet er goed uit wat zijn jullie van plan naar beneden en ik zei dat Elvis Californië een doet vriend van mij een ingenieur van Cal Poly check nu dit is 37 39 jaar geleden 39 jaar geleden benaderde deze man mij en hij zei ik zei nee maar hij wil alles doen a hologram op jou zei hij dat dit zou zijn cd's om een ​​klein stukje van te bedekken waar ging het over dus ik zei goed is dit tab wil je meenemen naar Howard Hughes Vliegtuigen in Los Angeles dat de enige hoe ik met dit ontwerp kan doen hoe krap dus iets is gloednieuw niemand was alsof iemand ja zegt, zei ik nee maar ze willen je neerschieten en met je volledige regalia op je witte jumpsuit ga nooit het podium op en hiermee hologrammachine en neem dan niet Swedish: här inte här sitter vi bara ner tog en paus och ingen annan var runt och jag sa körsbär tror du att det är dags att slå det med det nu han ser bra ut vad är ni upp till och jag sa att Elvis gör Kalifornien a min vän en ingenjör från Cal Poly kolla nu detta är 37 39 år sedan 39 år sedan den här killen kontaktade mig och han sa jag sa nej men han vill göra alla hologram på dig sa han att detta skulle vara CD-skivor för att täcka ett litet prov av vad handlade om så jag sa bra är detta fliken vill ta dig till Howard Hughes Flygplan i Los Angeles som det enda sätt jag kan göra med denna design hur trångt så att något är helt ny ingen var som att någon säger ja rätt sa jag nej men de vill skjuta dig och med du full regalia på din vita jumpsuit gå aldrig på scenen och med detta hologram maskin och sedan inte ta Czech: tady ne tady jen sedíme pauzu a nikdo jiný nebyl a řekl jsem třešničku, že si myslíte, že je to čas na to, abych si to teď užil vypadá dobře, na co jste vy dolů a řekl jsem, že Elvis dělá Kalifornii můj přítel inženýr z Cal Poly zkontrolovat teď toto je 37 před 39 lety 39 před lety se tento chlap ke mně přiblížil a on řekl jsem ne, ale chce dělat všechno hologram na vás řekl, že by to být CD to zakrýt malý vzorek o čem to bylo, tak jsem řekl, že je to karta vás chce přivést k Howardovi Hughesovi Letadla v Los Angeles, která jako jediná jak mohu udělat s tímto designem jak stísněné, takže něco není úplně nový bylo to, že někdo řekl ano, správně, řekl jsem ne, ale chtějí tě zastřelit jsi plný regalia na bílé kombinéze nikdy nejděte na pódium as tím hologramový stroj a poté neberte Russian: здесь не здесь мы просто садимся перерыв и никто другой не был вокруг, и я сказал вишня, вы думаете, что это время ударить его с этим сейчас он выглядит хорошо, что вы, ребята, до вниз, и я сказал, что Элвис делает Калифорнию мой друг инженер из Cal Poly проверить сейчас это 37 39 лет назад 39 лет назад этот парень подошел ко мне и он сказал, что я сказал нет, но он хочет сделать все Голограмма на вас он сказал, что это будет быть CD, чтобы прикрыть небольшой образец о чем я так хорошо сказал Вкладка хочет отвести вас к Говарду Хьюзу Самолеты в Лос-Анджелесе это единственное как я могу сделать с этим дизайном, как так тесновато что то новенькое никто был как кто-то говорит, да правильно, я сказал нет, но они хотят стрелять в тебя и с Вы полные регалии на вашем белом комбинезоне никогда не выходи на сцену и с этим Голограмма машины, а затем не брать Spanish: aquí no aquí solo estamos sentados tomando un descanso y nadie más estaba alrededor y dije cereza crees que es hora de golpearlo ahora se ve bien, ¿qué están haciendo? abajo y dije que Elvis le hace a California un amigo mío, ingeniero de Cal Poly compruebe ahora esto es 37 hace 39 años 39 Hace años este chico se me acercó y él Dije que dije que no, pero él quiere hacer todo un holograma en ti, dijo que esto sería sean CDs para cubrir una pequeña muestra de de qué se trataba, así que dije bien es esto ficha quiere llevarte a Howard Hughes Avión en Los Ángeles que el único cómo puedo hacer con este diseño cómo apretado para que algo sea nuevo, nadie fue como si alguien dijera que sí, dije no pero quieren dispararte y con tu atuendo completo en tu mono blanco nunca no subas al escenario y con esto máquina de hologramas y luego no tome French: prendre une pause et personne d'autre n'était autour et j'ai dit cerise tu penses que c'est il est temps de le frapper maintenant il a l'air bien que faites-vous les gars vers le bas et je l'ai dit Elvis fait la Californie un un de mes amis un ingénieur de Cal Poly vérifier maintenant c'est 37 il y a 39 ans 39 il y a des années, ce type m'a approché et il J'ai dit non mais il veut tout faire hologramme sur vous, il a dit que ce serait être des CD pour couvrir un petit échantillon de ce qui se passait donc j'ai bien dit c'est tab veut vous emmener à Howard Hughes Avion à Los Angeles que le seul comment je peux faire avec cette conception comment à l'étroit donc quelque chose est tout nouveau personne était comme si quelqu'un disait oui à droite j'ai dit non mais ils veulent te tirer dessus et avec vous plein regalia sur votre combinaison blanche ne jamais monter sur scène et avec ça hologramme machine et ensuite ne prenez pas les environ trois semaines pour les mettre Portuguese: aqui não aqui estamos apenas sentados dando um tempo e ninguém mais estava por aí e eu disse cereja você acha que é hora de acertar com ele agora ele parece bem o que vocês estão fazendo para baixo e eu disse que Elvis faz Califórnia um amigo meu um engenheiro de Cal Poly verifique agora isto é 37 39 anos atrás 39 anos atrás, esse cara se aproximou de mim e ele disse que eu disse que não, mas ele quer fazer tudo holograma em você, ele disse que isso seria CDs para cobrir uma pequena amostra de o que era então eu disse bem é isso guia quer levá-lo para Howard Hughes Aeronaves em Los Angeles que o único maneira que eu posso fazer com este design como apertado, então algo é novo em folha era como se alguém dissesse sim certo, eu disse não, mas eles querem atirar em você e com seu traje completo em seu macacão branco nunca não suba no palco e com isso máquina de holograma e depois não tome German: hier nicht hier sitzen wir nur eine Pause machen und niemand anderes war herum und ich sagte Kirsche du denkst es ist Zeit, es jetzt damit zu schlagen er sieht gut aus was habt ihr vor unten und ich sagte, Elvis macht Kalifornien ein Freund von mir, ein Ingenieur aus Cal Poly check now this is 37 vor 39 Jahren 39 Vor Jahren kam dieser Typ auf mich zu und er sagte ich sagte nein aber er will alles a machen Hologramm auf Sie sagte er, dass dies CDs sein, um eine kleine Probe von zu vertuschen Was war, also sagte ich gut, ist dies tab will dich zu Howard Hughes bringen Flugzeuge in Los Angeles, die das einzige wie ich mit diesem design machen kann wie eng, so dass etwas brandneu ist, niemand war wie jemand sagt ja richtig ich sagte nein aber sie wollen dich erschießen und mit du volles Ornat auf deinem weißen Overall gehe niemals nicht auf die Bühne und damit Hologrammmaschine und dann nicht nehmen Chinese: 这里不是这里，我们只是坐下来 休息一下，没有人是 周围，​​我说樱桃，你认为是 该立即使用它了 他看起来不错，你们到底在做什么 我说猫王在加利福尼亚 我的朋友，来自Cal Poly 的工程师 现在检查这是37 39年前39 多年前这个家伙走近我，他 说我说不，但他想做所有的事 全息图在你身上，他说这会 被CD掩盖 的小样本 那是什么意思，所以我说的很好，这是 选项卡想要带您去霍华德·休斯 洛杉矶唯一的飞机 我可以用这种设计做的方式 局促，所以有些东西是全新的没人 就像有人说是的，我说过 不，但他们想向您开枪 您穿着白色连身裤的全富豪 永远不要上台，并以此 全息机，然后​​不要拿 Japanese: ここではなく、座っているだけです 休憩して誰もいなかった 周りと私はあなたがそれが だと思うチェリーを言った 今それでそれを打つ時間 までのあなたは何ですか ダウンして、私はエルビスがカリフォルニアを行うと言いました 私の友達Cal Poly のエンジニア 今チェック37これは37 39年前39 数年前、この男が私と彼に近づきました 私はいいえと言ったが、彼はすべてをやりたいと思っている あなたのホログラムは、これは の小さなサンプルをカバーするCDになる 何だったのでこれはよくわかりました タブからハワードヒューズ に移動したい ロサンゼルスで唯一の航空機 このデザインで私ができる方法 窮屈なので何か新しい人はいない 誰かがそう言ったようでした いいえ、彼らはあなたを撃ちたいと思っています あなたはあなたの白いジャンプスーツに完全なレガリア 決してステージに上がらず、これで ホログラムマシンを服用しないでください Italian: insieme e poi quando il tuo concerto è le luci scendono l'immagine di qui fluttuerà proprio attraverso il pubblico e da dietro e Jerry Schilling ha detto oh, è una buona idea ed ero pensando di estendere lo strato secondario ha detto guarda ragazzi apprezzano celebrato essere il primo ma non ho mai usato un trucco nel mio cuore ora usando come il sig. e bruciando il chitarre sono stato colpito da intrattenitori su di lui ha detto che vengo posso saltare uno spettacolo I stanno dicendo altre domande la prima volta che ho realizzato giocare a racquetball Penso che George abbia fatto circa altri due ragazzi sono di sotto al camerino sai che penserebbero che sia onestà Mi piace giocare a racquetball cosa sta impiegando così tanto tempo il tuo accademico I non sapevo per favore perché questi ragazzi sono così erano molto lenti sai che lo faranno fare quando il loro tempo smette di sedersi lassù Nellis dice il tag uno su cui vai campo da squash Russian: им около трех недель, чтобы поставить их вместе, а затем, когда ваш концерт огни падают на изображение здесь будет плыть прямо через аудиторию и назад иди и Джерри Шиллинг сказал о, это довольно хорошая идея, и я был думая, если бы я продлил слой суб он сказал, посмотрите, ребята, оцените, отпраздновали быть первым, но я никогда не использовал трюк сейчас в моем сердце используя как г-н. и сжигание гитары меня поразили артисты над ним он сказал, что я приду, я могу пропустить шоу я они задают любые другие вопросы в самый первый раз, когда я сделал в играть в ракетбол Я думаю, что Джордж я сделал около двух других ребята, они внизу в гардеробной Вы знаете, они думают, что это честно Я хочу, чтобы мы играли в ракетбол что так долго твой академический я не знаю, пожалуйста, почему эти парни такие они были очень медленными, вы знаете, что они будут делать, когда их время перестает сидеть там Неллис говорит, что пометка, на которую вы идете площадка для ракетбола Portuguese: cerca de três semanas para colocá-los juntos e depois quando o seu concerto é as luzes apagam a imagem daqui flutuará em toda a platéia e pelas costas, vá e Jerry Schilling disse ah, essa é uma boa ideia e eu estava pensando se eu estenderia sub estrato ele disse olhar caras apreciam celebrado ser o primeiro, mas nunca usei um truque no meu coração agora usando o sr. queimando o guitarras eu fui atingido artistas sobre ele ele disse que eu vou eu posso pular um show I eles estão dizendo outras perguntas a primeira vez que voltei jogando raquete Acho que George fiz cerca de duas outras caras eles estão lá embaixo no vestiário você sabe que eles acham que é honestidade Eu vou gostar de jogar raquete o que está demorando tanto para o seu acadêmico I não sabia por que esses caras são tão eles foram muito lentos, você sabe que eles serão fazer quando o tempo deles parar de sentar lá em cima Nellis diz que a tag que você usa Chinese: 将它们放置大约三个星期 在一起，然后当你的演唱会是 灯光照到这里的图像 将在观众席上浮动，然后 往后走，杰里·席林(Jerry Schilling)说 哦，那是个好主意，我当时是 想我是否要扩展阶层子 他说，人们欣赏庆祝 首先，但我从未使用过头 现在在我心中 使用喜欢先生。并燃烧 我被吉他当做艺人而战胜了他 他说我来我可以跳过节目我 他们在说其他任何问题 我第一次进入 的背部 打壁球 我想乔治我还做了另外两个 他们在楼下的更衣室里 你知道他们会认为这是诚实的 我会像我们在玩壁球 你的学术我花了这么长时间 不知道为什么这些家伙会这样 他们真的很慢，你知道他们会的 当他们的时间停止坐在那里时 Nellis说，您继续使用的标签是 Spanish: ellos unas tres semanas para ponerlos juntos y luego cuando tu concierto es las luces bajan la imagen de aquí flotará a través de la audiencia y fuera de la parte de atrás y Jerry Schilling dijo oh, esa es una muy buena idea y yo estaba pensando si extendería el estrato sub dijo que los chicos aprecian celebrado ser el primero pero nunca usé un truco en mi corazón ahora utilizando el señor similar. arriba y quemando el guitarras me golpearon artistas sobre él Dijo que vengo, puedo omitir un espectáculo I están diciendo cualquier otra pregunta la primera vez que hice en jugar racquetball Creo que George lo hice con otros dos chicos están abajo del vestidor sabes que pensarían que es honestidad Me va a gustar que estemos jugando racquetball ¿Qué está tomando tanto tiempo tu académico I no sabía por qué estos chicos son tan fueron muy lentos, sabes que lo harán hacer cuando su tiempo deje de sentarse allí Nellis dice que la etiqueta que uno va en un Czech: asi tři týdny je dát společně a poté, když je váš koncert světla jdou dolů obrazem zde se vznáší přímo přes obecenstvo a zezadu a Jerry Schilling řekl ach to je docela dobrý nápad a já jsem byl přemýšlel, jestli bych rozšířil vrstvu stratum sub řekl, že chlapi ocení oslavované být první, ale nikdy jsem nepoužil trik nyní v mém srdci pomocí podobného mr. a vypalování kytary, na které jsem byl zasažen baviči řekl, že přijdu, můžu přeskočit show I oni říkají nějaké další otázky pryč úplně poprvé, co jsem dělal hrající racquetball Myslím, že George udělal asi dva další kluci jsou dole v šatně víte, že by si mysleli, že je to upřímnost Budu rád, když hrajeme racquetball co trvá tak dlouho tvé akademické já nevěděli, prosím, proč jsou tito lidé tak byli opravdu pomalí, víte, že budou dělat, když jejich čas přestane sedět tam Nellis říká, že ta značka, kterou jedete na Swedish: dem ungefär tre veckor för att sätta dem tillsammans och sedan när din konsert är lamporna tappar bilden av här flyter rätt över publiken och på baksidan och Jerry Schilling sa oh det är en ganska bra idé och jag var tänker om jag skulle förlänga stratum sub han sa att look killar uppskattar firade att vara först men jag har aldrig använt en gimmick i mitt hjärta nu med liknande mr. upp och bränna gitarrer Jag träffades underhållare över han han sa att jag kommer jag kan hoppa över en show I de säger bort andra frågor baksidan allra första gången jag gjorde spelar racquetball Jag tror att George jag gjorde om två andra killar de är nere i klädrummet du vet att de skulle tro att det är ärlighet Jag gillar att vi spelar racquetball vad tar så lång tid din akademiska jag visste inte varför de här killarna är så de var riktigt långsamma, du vet att de kommer gör när deras tid slutar sitta där uppe Nellis säger att taggen du går på French: ensemble et puis quand votre concert est les lumières descendent l'image d'ici flottera à travers le public et à l'arrière et Jerry Schilling a dit oh c'est une assez bonne idée et j'étais penser si je voudrais étendre la couche sous il a dit que les gars apprécient les célébrés être le premier mais je n'ai jamais utilisé de gadget dans mon cœur maintenant en utilisant le mr similaire. et brûler le guitares, j'ai été frappé par des artistes sur lui il a dit que je viens, je peux sauter un spectacle I ils disent d'autres questions l'arrière toute première fois que j'ai fait jouer au racquetball Je pense que George j'ai fait environ deux autres les gars, ils sont en bas de la salle de robe vous savez qu'ils penseraient que c'est de l'honnêteté Je vais comme si nous jouions au racquetball qu'est-ce qui prend si longtemps ton universitaire I Je ne savais pas pourquoi ces gars le sont ils étaient vraiment lents tu sais qu'ils le feront faire quand leur temps s'arrête là Nellis dit que le tag one you go on terrain de racquetball Dutch: ongeveer drie weken om ze te plaatsen samen en dan wanneer je concert is de lichten gaan van de afbeelding van hier af zal over het publiek zweven en uit de achterkant gaan en Jerry Schilling zei oh dat is een redelijk goed idee en ik was denkend of ik stratum sub zou verlengen hij zei kijk jongens waarderen gevierd om de eerste te zijn, maar ik heb nooit een gimmick gebruikt in mijn hart nu met behulp van de soortgelijke dhr. op en verbrand de gitaren Ik werd entertainers over hem heen geslagen hij zei dat ik kom ik kan een show overslaan ik ze stellen andere vragen weg de achterkant de allereerste keer dat ik maakte racquetball spelen Ik denk dat George ongeveer twee andere deed jongens ze zijn beneden de kleedkamer je weet dat ze zouden denken dat het eerlijk is Ik ga het leuk vinden dat we racquetball spelen wat duurt er zo lang je academische ik wist niet waarom deze jongens zo zijn ze waren erg traag, je weet dat ze dat zullen doen doen wanneer hun tijd daar niet meer zit Nellis zegt de tag waar je op gaat German: sie etwa drei Wochen, um sie zu setzen zusammen und dann, wenn dein Konzert ist Die Lichter gehen das Bild von hier aus wird direkt über das Publikum schweben und raus nach hinten und Jerry Schilling sagte Oh, das ist eine ziemlich gute Idee und ich war Überlegen, ob ich Stratum Sub erweitern würde er sagte, schau Jungs schätzen gefeiert um der Erste zu sein, aber ich habe nie ein Gimmick benutzt jetzt in meinem Herzen mit dem gleichen mr. auf und verbrennen die Gitarren Ich wurde Entertainer über ihn getroffen Er sagte, ich komme, ich kann eine Show überspringen, die ich sie sagen alle anderen Fragen weg das zurück allererste mal habe ich gemacht in Racquetball spielen Ich denke George, ich habe ungefähr zwei andere gemacht Jungs, sie sind unten in der Umkleidekabine Sie wissen, dass sie denken würden, dass es Ehrlichkeit ist Ich werde gerne Racquetball spielen Was dauert so lange dein akademisches Ich wusste bitte nicht warum diese Jungs so sind Sie waren sehr langsam, Sie wissen, dass sie es tun werden . tun, wenn ihre Zeit dort oben nicht mehr sitzt Nellis sagt das Tag eins, auf das du gehst Japanese: それらを置くために約3週間 一緒に、そしてあなたのコンサートが のとき ライトはここ のイメージを下げます オーディエンス全体に浮かび、 戻って行くとジェリーシリングは言った ああ、それはかなり良い考えで、私は でした stratum sub を拡張するかどうか考えている 彼は見た人は祝われた を感謝するように言った 最初になりましたが、私はギミックを使用したことがありません 今心の中で 同様の氏を使用して。 の起動と書き込み 私は彼を芸能人に襲われました 彼は私がショーをスキップできると私は言った 彼らは他の質問を言っています で初めて作った裏 ラケットボールをする ジョージは他に2つほどやりました 彼らは階下のドレスルーム 彼らはそれが正直だと思っているのを知っています 私たちはラケットボールをしているようです アカデミックI これらの人がなぜそうであるかを知らないでください 彼らは本当に遅いです そこに座って時間が止まったときに行います ネリスはあなたが行ったタグを Swedish: racquetballplan och jag tror att toppsymbolerna här på tid och han säger att du går dit får några bollar med henne okej så jag är där och slog inte att vi måste ha slagit i 35 minuter går inte vart kommer han hur som helst om den tiden var det mest folk skulle ge en racquetball människor som de knackar på dörren säger inte träffa allt som gav det som en boo karate King och hans adiga skrattar och han går som nummer ett och jag menar skrattar bra han sa vad gör du här uppe flyttar jag min flickvän jag får här uppe 30 minuter bara du och henne vad kommer att vänta en minut men han är spelar pranks detta är hans pranksters I du vet så efter att han gjorde allt det vi just lärt mig att spela skämt vi spelar skämt med varandra vilket var mycket roligt du vet att det är andra frågor den medarbetaren var min läkare och jag introducerade att du inte har några armbågar tillsammans så lång historia men ändå skulle jag Czech: racquetball hřiště a myslím, že nejlepší symboly zde na čas a on říká, že jdete tam dostat nějaké koule s ní v pořádku, takže jsem tam a neudělal to, že musíme mít zásah 35 minuty nikam nepřijdou stejně o tom čase to bylo nejvíce lidé dali racquetball lidé, které zaklepali na dveře, říkají ne trefit cokoli, co mu dává jako boo karate King a jeho adiga se smějí a vypadá to jako číslo jedna a myslím dobře se směje, řekl, co děláte nahoru sem přesunu svou přítelkyni, kterou dostanu tady 30 minut jen ty a její co čeká minutu, ale je hraje žerty toto je jeho žertovníci I víš to poté, co udělal všechno, co jsme my právě se naučil hrát vtipy, hrajeme vtipy se sebou, což bylo hodně zábavy víš, že to bude nějaké další otázky ten komplic byl můj doktor a já představil, že nemáš lokty spolu tak dlouhý příběh, ale stejně bych Portuguese: quadra de raquetebol e acho que os principais símbolos aqui no tempo e ele diz: vá, você vai lá, começa algumas bolas com ela tudo bem, então eu estou lá e não bata que devemos ter atingido por 35 minutos não indo para onde ele está vindo de qualquer maneira, naquela época, era mais as pessoas iam dar uma raquete as pessoas que batem na porta dizem que não acertar qualquer coisa que foi dá como um o boo karate King e sua adiga riem e ele vai como aquele número um e eu quero dizer ri bem, ele disse o que você está fazendo aqui em cima eu vou mudar minha namorada que eu tenho aqui em cima 30 minutos só você e ela o que vai esperar um minuto, mas ele é jogando brincadeiras este é seus brincalhões I você sabe disso depois que ele fez tudo o que nós acabei de aprender a brincar, brincamos um com o outro que foi muito divertido você sabe que existem outras perguntas esse cúmplice era meu médico e eu introduziu você não tem cotovelos juntos tanto tempo história, mas mesmo assim eu Dutch: Racquetballbaan en ik denk dat de bovenste symbolen hier bij de tijd en hij zegt: ga jij daarheen halen wat ballen bij haar oke dus ik ben daar en raak niet dat we 35 moeten hebben geraakt minuten gaan niet waar hij komt in ieder geval rond die tijd was het het meest mensen gingen een racquetball geven mensen die op de deur kloppen zeggen niet raakte alles wat het was, geeft het als een boo karate King en zijn adiga lachen en hij gaat als die nummer één en ik bedoel lacht goed hij zei wat ben je aan het doen hier zal ik mijn vriendin verplaatsen die ik krijg hier 30 minuten alleen jij en zij wat wacht even, maar hij is grappen uithalen dit zijn zijn grappenmakers I weet je dat nadat hij alles deed wat wij we hebben net grappen gespeeld, we spelen grappen met elkaar wat erg leuk was je weet dat het een andere vraag is die handlanger was mijn dokter en ik geïntroduceerd je hebt geen ellebogen samen zo lang verhaal maar hoe dan ook zou ik Japanese: と言います ラケットボールコート の一番上のシンボルは 時間と彼は言う 彼女と一緒にいくつかのボールは大丈夫なので私はそこにいます 35ヒットしている必要があることをヒットしない 彼がどこに来るのか分からない とにかくその時くらいでした 人々はラケットボールを与えるつもりでした 彼らがドアをノックした人は、そうではないと言う のようにそれが与えられたものを打つ ブー空手王と彼のアディガは笑う 彼はそのナンバーワンのようになり、私は を意味します 彼はあなたが何をしているのかとよく笑った ここまで来てガールフレンドを動かすよ ここまで30分、あなたと彼女だけ ちょっと待ってますが いたずらをしているこれは彼のいたずら者です私 彼が私たちのすべてを行った後 私たちはジョークをプレイすることを学びました とても面白かった あなたはそれが他の質問であることを知っています その共犯者は私の医者でした 肘がつかないことを紹介した 一緒にとても長い話ですが、とにかく私は German: Racquetballplatz und ich denke die obersten Symbole hier am Zeit und er sagt, geh du gehst dorthin ein paar Bälle mit ihr okay, also bin ich da drin und schlagen Sie nicht, dass wir für 35 getroffen haben müssen Minuten gehen nicht wohin er kommt jedenfalls um diese Zeit war es am meisten Leute wollten einen Racquetball geben Leute, die sie an die Tür klopfen, sagen nicht Schlagen Sie alles, was es gab, wie ein Boo Karate King und seine Adiga lachen und er geht wie diese Nummer eins und ich meine lacht gut er sagte was machst du hier oben werde ich meine Freundin bewegen, die ich bekomme hier oben 30 Minuten nur du und sie was wartet eine Minute, aber er ist Streiche spielen das sind seine Streiche I Sie wissen es, nachdem er alles getan hat, was wir Ich habe gerade gelernt, Witze zu spielen. Wir spielen Witze . miteinander, was sehr viel Spaß gemacht hat Sie wissen, es ist eine andere Frage Dieser Komplize war mein Arzt und ich eingeführt Sie haben keine Ellbogen zusammen so lange Geschichte, aber trotzdem würde ich French: et je pense que les meilleurs symboles ici au temps et il dit allez vous y allez obtenez quelques couilles avec elle d'accord alors je suis là-dedans et ne frappez pas que nous devons avoir frappé pour 35 minutes ne va pas où il vient de toute façon à cette époque, c'était le plus les gens allaient donner un racquetball les gens qu'ils frappent à la porte disent que non frapper tout ce qui était donne comme un boo karaté King et son rire adiga et il va comme ça numéro un et je veux dire rit bien il a dit ce que tu fais ici je vais déplacer ma petite amie que je vais prendre ici 30 minutes juste toi et elle quoi va attendre une minute mais il est jouer des farces c'est ses farceurs I vous savez donc après qu'il ait fait tout ce que nous vient d'apprendre à faire des blagues, nous jouons des blagues les uns avec les autres ce qui était très amusant vous savez que c'est une autre question ce complice était mon médecin et moi vous n'avez pas eu de coudes ensemble si longue histoire mais de toute façon je tiens à le dire à son médecin Italian: e penso che i simboli principali qui al tempo e dice vai vai vai lì prendi alcune palle con lei va bene, quindi sono lì e non colpire il fatto che dobbiamo aver colpito per 35 minuti che non vanno dove sta arrivando comunque a quel tempo era più la gente avrebbe dato una palla da racquet le persone che bussano alla porta dicono di no colpire tutto ciò che è stato dato come un boo karate King e la sua risata adiga e va come quel numero uno e intendo ride bene, ha detto cosa stai facendo quassù sposterò la mia ragazza che riceverò quassù 30 minuti solo tu e lei cosa sta aspettando un minuto ma lui giocare a scherzi questo è il suo burlone I lo sai dopo che ha fatto tutto ciò che abbiamo appena imparato a fare battute facciamo scherzi l'uno con l'altro, il che è stato molto divertente sai che è una qualsiasi altra domanda quel complice eravamo io e il mio medico introdotto che non hai nessun gomito insieme così lunga storia ma comunque avrei piace dire questo al suo medico che hanno Chinese: 壁球场 我认为 的顶部符号 时间，他说你去那里得到 她的球还可以，所以我在那里 不打我们一定要打35 分钟不走，他要去哪里 无论如何，那个时候最多 人们将要进行壁球 他们敲门的人说不要 击中任何给它的东西 嘘空手道金和他的阿迪加笑和 他就像那个第一名，我的意思是 他笑得很好，他说你在做什么 在这里，我将把我的女友搬到我身边 到这里30分钟，只有你和她 正在等待一分钟，但他 玩恶作剧，这是他的恶作剧我 你知道他做完所有事情之后 刚学会玩笑我们玩笑 彼此很有趣 你知道这是任何其他问题 那个同谋是我和我的医生 介绍您没有任何肘部 在一起很长的故事，但无论如何我都会 Spanish: cancha de racquetball y creo que los símbolos principales aquí en el tiempo y él dice ve, ve, ve allí, consigue unas bolas con ella bien, así que estoy ahí y no golpee que debemos haber golpeado por 35 los minutos no van a dónde viene de todos modos en ese momento fue más la gente iba a dar una pelota de racquetball las personas que tocan a la puerta dicen que no golpear todo lo que se le da como un Boo Karate King y su Adiga se ríen y él va como ese número uno y quiero decir se ríe bien, dijo qué estás haciendo Aquí voy a mover a mi novia que voy a conseguir aquí arriba 30 minutos solo tú y ella qué va a esperar un minuto pero él está jugando bromas este es su bromista I lo sabes después de que hizo todo lo que nosotros acabo de aprender a hacer bromas, hacemos bromas entre ellos que fue muy divertido sabes que es cualquier otra pregunta ese cómplice era mi médico y yo introducido no tienes ningún codo juntos tan larga historia pero de todos modos lo haría Russian: и я думаю, что верхние символы здесь время, и он говорит, иди ты иди туда получить некоторые шары с ней хорошо, так что я там и не ударил, что мы должны ударить за 35 минуты не идут, куда он идет во всяком случае о том времени это было больше всего люди собирались дать ракетбол люди, которых они стучат в дверь, говорят, что нет ударить все, что было, дает это как король бу каратэ и его адига смеются и он идет как тот номер один, и я имею в виду хорошо смеется, он сказал, что ты делаешь здесь я перевезу мою девушку, я получу здесь 30 минут только ты и ее что собирается подождать минуту, но он разыгрывать это его проказники I Вы знаете, после того, как он сделал все, что мы только что научились играть в шутки, мы играем в шутки друг с другом, что было очень весело Вы знаете, что это будут любые другие вопросы этот соучастник был мой врач и я представил вас не получил локти вместе длинная история, но все равно я бы хотел бы сказать это у своего врача они Japanese: 彼の医者でこれを言ってみたい ではなく彼の父親を分類して文書化する ニックは苦境に立たされて今日は得られない そのすべてに彼は持っていません 彼が持っていたお金は彼が医者だった 彼は過誤行為としてスクリプトされています それが本当に悲しいことであるすべてのライセンスを取得します 私たちがそれを助けようとしている状況 padegaしかし、私はこれを言い、私は を与える これらの州の人々は に同意する 私はその博士。ニコラス・ゼノは良かった があるので、提供されます 彼は言っていない星への医者 私たちが持っている悪いテニスのフープが欲しい ロサンゼルスの化学者はそれは強烈だった そして博士。博士博士の代わりにニックベンダー。 彼が迷走神経であったものは何もあなたに与えません 彼の名前は今では亡くなっているが、博士。 ジョージ・ドゥカキスのご列席の皆様 あなたは私が良いアヒル博士だったと信じて ニックは良い医者の友人であり、 German: möchte dies bei seinem Arzt sagen, sie haben sortiert und dokumentiert sein Vater nicht die Nick ist in einer Notlage, die er heute nicht bekommen wird in all das, aber er hat nicht die Geld, das er hatte, dass er Arzt war Er wurde als Fehlverhalten geschrieben Lizenz alles, was es wirklich traurig ist Situation versuchen wir das zu helfen Padega, aber ich werde das sagen und ich gebe Diese Leute in Staaten würden zustimmen mit ich, dass dr. Nicholas Zeno war der Gute Sache ist vorgesehen, weil es eine gibt Doktor der Sterne, sagte er nicht, Sie will die schlechten Tennis-Hoppla, die wir haben Chemiker in Los Angeles war es ein Knall und dr. DR. Nick Bender statt Dr. Was auch immer er war, der Vagus wird dir nichts geben Sein Name ist inzwischen verstorben, aber Dr. George Dukakis meine Damen und Herren glauben sie mir war die gute ente dr. Nick war der gute Arzt Freunde und der Grund, warum ich weiß, dass ich mit in Swedish: vill säga detta hos sin läkare som de har sorterade och dokumentera sin far inte den Nick är i svårt hår idag kommer inte att få i allt detta men han har inte pengar som han hade för att han var läkare han har skrivits som malpractice licensera allt att det verkligen är en sorglig situation vi försöker hjälpa till padega men jag kommer att säga detta och jag ger dessa människor i stater skulle hålla med mig att dr. Nicholas Zeno var den goda sak tillhandahålls eftersom det finns en doktor till stjärnorna sa han inte gör du vill ha den dåliga tennis som vi har kemister i Los Angeles var det en paus och dr. dr. Nick bender istället för dr. oavsett vad han var vagus kommer inte att ge dig hans namn han har gått bort nu men dr. George Dukakis damer och herrar tror du mig var den goda anka dr. Nick var de goda läkarnas vänner och anledningen till att jag vet att jag var vän med Dutch: zeggen dit graag tegen zijn dokter sorteer en documenteer zijn vader niet de Nick zit in zware nood vandaag krijgt niet in dat alles, maar hij heeft niet de geld dat hij had dat hij dokter was hij is beschreven als een misstand licentie alles dat het echt triest is situatie die we proberen te helpen padega maar ik zal dit zeggen en ik geef waarmee deze mensen in staten het eens zouden zijn ik dat dr. Nicholas Zeno was de goede ding wordt geleverd omdat er een Doctor to the Stars zei hij niet willen de slechte tennisweeën die we hebben chemici in Los Angeles was het een knaller en dr. dr. Nick Bender in plaats van dr. wat hij ook was, de vagus geeft je niet zijn naam is hij inmiddels overleden maar dr. George Dukakis dames en heren geloof me, ik was de goede eend dr. Nick was de goede dokter vrienden en de reden waarom ik weet dat ik bevriend was met in Chinese: 喜欢在他的医生那里说这个 整理并记录他父亲不是 尼克今天陷入困境 所有这些，但他没有 他曾当过医生的钱 他被描述为渎职 许可所有这一切真的很可悲 情况，我们正在尝试帮助 padega但我会说，我给 这些州的人会同意 我那个博士尼古拉斯·芝诺(Nicholas Zeno)表现出色 提供的东西是因为 他没有对你说星的医生 想要我们得到的糟糕的网球声 洛杉矶的化学家大爆炸 和博士博士尼克·本德(Nick Bender)代替博士 无论他是迷路者，都不会给你 他的名字，他已经去世了，但是博士。 乔治·杜卡基斯(George Dukakis)女士们，先生们 相信你我是好鸭子博士。 尼克是最好的医生朋友，而 我知道我是 Italian: ordinato e documentare suo padre non il Nick è in gravi difficoltà oggi non otterrà in tutto ciò, ma non ha il soldi che aveva che era un dottore è stato scritto come negligenza concedi in licenza tutto ciò che è veramente triste situazione che stiamo cercando di aiutare padega ma lo dirò e do queste persone negli stati sarebbero d'accordo io quel dott. Nicholas Zeno era il buono cosa viene fornita perché c'è un dottore alle stelle che non ha detto tu voglio il brutto tennis che abbiamo chimici a Los Angeles è stato un botto e il dott. dr. Nick bender invece del dott. qualunque cosa fosse il vago non ti darà il suo nome è ormai scomparso ma il dott. Signore e signori George Dukakis credimi, ero il bravo papero dott. Nick era un buon amico medico e il motivo per cui so di essere amico di in gli ultimi sei anni della sua vita e ipotesi Czech: rád to řekl svému lékaři třídil a dokumentoval svého otce Nick je v krutých úžinách, dnes se nedostane do toho všeho, ale nemá peníze, které měl, že byl doktor on byl psán jako zanedbávání povinností udělejte licenci, že je to opravdu smutné situaci, kterou se snažíme pomoci padega, ale řeknu to a dám tito lidé ve státech by s tím souhlasili já, že dr. Nicholas Zeno byl dobrý věc je poskytována, protože existuje doktor Hvězdám, že neřekl, že ano chci špatný tenis, který máme, chemici v Los Angeles to byl třesk a dr. dr. Nick Bender místo dr. ať už to byl vagus, ať vám nedá nic jeho jméno už zemřel, ale dr. Dámy a pánové George Dukakis věřte mi, že jste byl dobrý kachna dr. Nick byl dobrý kamarád doktora a důvod, proč vím, že jsem byl přátelé v French: trié et documenter son père pas le Nick est dans une situation difficile aujourd'hui dans tout cela, mais il n'a pas le l'argent qu'il avait qu'il était médecin il a été décrit comme une faute professionnelle licence tout ça c'est vraiment triste situation que nous essayons d'aider padega mais je vais le dire et je donne ces gens dans les états seraient d'accord avec moi ce dr. Nicholas Zeno était le bon chose est fournie car il y a un docteur aux étoiles, il n'a pas dit de faire veulent les mauvais joueurs de tennis que nous avons les chimistes de Los Angeles c'était un coup et dr. dr. Nick bender au lieu de dr. quoi qu'il soit, le vague ne vous donnera pas son nom, il est décédé maintenant, mais dr. Mesdames et messieurs George Dukakis croyez-moi, j'étais le bon dr canard. Nick était le bon ami du docteur et le raison pour laquelle je sais que j'étais ami avec les six dernières années de sa vie et devinez Portuguese: gostaria de dizer isso no médico dele ordenou e documentou seu pai não o Nick está em apuros hoje, não vai conseguir em tudo isso, mas ele não tem o dinheiro que ele tinha que era médico ele foi roteirizado como imperícia licenciar tudo o que é realmente triste situação que estamos tentando ajudar padega mas vou dizer isso e dou essas pessoas nos estados concordariam com eu que dr. Nicholas Zeno foi o bom coisa é fornecida porque existe um médico para as estrelas, ele não disse você quero os gritos de tênis ruins que temos químicos em Los Angeles foi um estrondo e dr. dr. Nick bender em vez de dr. o que quer que ele fosse o vago não lhe dará seu nome, ele já faleceu, mas dr. George Dukakis, senhoras e senhores acredite em mim foi o bom dr pato. Nick era o bom médico amigo e o razão pela qual eu sei que era amigo de Spanish: quisiera decir esto a su médico que tienen ordenó y documentó a su padre, no el Nick está en una situación desesperada que hoy no tendrá en todo eso pero no tiene el dinero que tenía que era médico ha sido calificado como negligencia licencia todo lo que realmente es triste situación que estamos tratando de ayudar a eso padega pero voy a decir esto y doy estas personas en los estados estarían de acuerdo con yo que dr. Nicholas Zeno fue el bueno Se proporciona una cosa porque hay un doctor a las estrellas que no dijo ¿verdad? quiero los malos gritos de tenis que tenemos químicos en Los Ángeles fue una explosión y el dr. Dr. Nick bender en lugar del dr. lo que sea que fue el vago no te dará su nombre ya falleció pero el dr. George Dukakis damas y caballeros creeme que era el buen pato dr. Nick era el buen doctor amigos y el razón por la que sé que era amigo de Russian: сортировать и документировать его отец не Ник в тяжелом положении сегодня не получит во все это, но у него нет деньги, которые у него были, что он был врачом он был расценен как злоупотребление служебным положением лицензировать все что это действительно грустно ситуация, в которой мы пытаемся помочь но я скажу это и даю эти люди в штатах согласились бы с мне, что доктор. Николай Зено был хорошим вещь предоставляется, потому что есть Доктор Звезд, он не сказал тебе хочу, чтобы у нас был плохой теннисный упс химики в Лос-Анджелесе это был взрыв и др. др. Ник Бендер вместо доктора. кем бы он ни был, блудница не даст тебе его имя он скончался, но доктор. Джордж Дукакис, дамы и господа поверь ты мне была дакой д-р. Ник был хорошим доктором и друзьями почему я знаю, что я дружил с последние шесть лет своей жизни и догадки Swedish: de sex senaste åren av hans liv och gissning vad han fick mig att göra varje gång jag gick Memphis hade han mig när jag kom hem till ring honom och låt honom veta att jag gjorde det hem säkert så dr. Nick visade mig att det var en bra karaktär av honom som han tog hand om människor för att han tog hand om mig och om jag kom hem från Memphis så jag vet det han tog hand om Elvis och gjorde det bästa och hans kraft som han kunde för Elvis Presley och vänner om du tyckte om demon medarbetare berättelser Jag producerade en DVD kallade vad heter hans namn på mina berättelser Memphis med chef där Dean några år sedan och på denna DVD tar jag er platser runt Memphis där Dean har en berättelse med Elvis och vi visar dig plats Jag ska ge dig adressen där du kan ta din egen turné så innan jag gjorde världs-trav med Trey I producerade denna DVD med Dean och du ser berättelserna jag ger er på Italian: cosa doveva farmi fare ogni volta che me ne andavo Memphis mi ha avuto quando sono tornato a casa chiamalo e fagli sapere che ce l'ho fatta a casa in sicurezza così il dott. Nick mi ha mostrato che è stato un grande personaggio di lui a cui teneva persone perché si è preso cura di me e se io è tornato a casa da Memphis, quindi so che si è preso cura di Elvis e ha fatto il meglio e il suo potere che poteva per Elvis Presley e amici se ti è piaciuto il demone complici storie che ho prodotto un DVD chiamato come si chiama le mie storie Memphis con il capo dove Dean qualche anno fa e su questo DVD vi porto a posti attorno a Memphis dove Dean ha un storia con Elvis e vi mostriamo il posto ti darò l'indirizzo dove puoi fare il tuo tour così prima di me stava facendo il trotto con Trey I prodotto questo DVD con Dean e vedi le storie che sto fornendo a voi ragazzi questo spettacolo German: befreundet war die letzten sechs Jahre seines Lebens und Vermutung was er mich jedes Mal tun ließ, wenn ich ging Memphis hatte er mich, als ich nach Hause kam ruf ihn an und lass ihn wissen, dass ich es geschafft habe sicher nach Hause so dr. Nick hat mir gezeigt, dass das großartig war Charakter von ihm, den er betreute Menschen, weil er sich um mich kümmerte und wenn ich habe es von Memphis nach Hause geschafft, also weiß ich das er kümmerte sich um Elvis und tat das Beste und seine Macht, die er für Elvis konnte Presley und Freunde, wenn Sie Dämon genossen Komplizengeschichten Ich habe eine DVD produziert nannte meine Namen meine Geschichten Memphis mit Chef wo Dean ein paar Jahre vor und auf dieser DVD bringe ich euch zu Orte in der Nähe von Memphis, wo Dean eine hat Geschichte mit Elvis und wir zeigen Ihnen die Ort Ich werde Ihnen die Adresse geben, wo Sie können Ihre eigene Tour machen, bevor ich trabte mit Trey I produzierte diese DVD mit Dean und Sie sehen die Geschichten, die ich euch zur Verfügung stelle Japanese: で友達だったことを知っている理由 彼の人生の最後の6年間と推測 私が去るたびに彼が私にしてほしいこと に家に帰ったとき、彼は私を持っていました 彼に電話して、私がそれを作ったことを知らせてください 安全に家に帰る とても博士。ニックは素晴らしいことを私に見せてくれました 彼が世話をした彼の性格 彼は私を世話してくれたので私は メンフィスから家に帰ったので、私はそれを知っています 彼はエルビスの世話をして最善を尽くし、 エルビスにできる彼の力 悪魔を楽しんだらプレスリーと友達 DVDを作成した共犯者 私の話の周りに彼の名前は何ですか メンフィスと上司が数年 前に、このDVDで にあなたを連れて行く ディーンのメンフィス周辺の場所 エルビスとの物語と私たちはあなたに を示します 場所 の住所をお知らせします あなたは私自身の前にあなた自身のツアーを取ることができます Trey I で世界中を駆け巡っていた ディーンと一緒にこのDVDを制作したところ、 私が皆さんに提供しているストーリー Portuguese: os últimos seis anos de sua vida e palpite o que ele me fez fazer toda vez que saí Memphis, ele me teve quando eu cheguei em casa ligue para ele e deixe que ele saiba que eu consegui casa em segurança então dr. Nick me mostrou que isso foi ótimo caráter dele que ele cuidou pessoas porque ele cuidou de mim e se eu cheguei em casa de Memphis, então eu sei que ele cuidou de Elvis e fez o melhor e seu poder que ele podia para Elvis Presley e amigos, se você gostava de demônios cúmplices histórias eu produzi um DVD chamado what-his-name minhas histórias por aí Memphis com o chefe, onde Dean alguns anos atrás e neste DVD eu levo vocês para lugares em torno de Memphis onde Dean tem um história com Elvis e nós mostramos a você lugar eu vou te dar o endereço onde você pode fazer seu próprio tour antes de eu estava viajando com Trey I produziu este DVD com Dean e você vê as histórias que estou contando para vocês Chinese: 的朋友的原因 他的生命和猜测的最后六年 每当我离开时他要我做什么 孟菲斯，当我回到 时，他有了我 打电话给他，让他知道我成功了 安全回家 所以博士尼克向我展示了那很棒 他所照顾的他的性格 人们，因为他照顾我，如果我 是从孟菲斯回家的，所以我知道 他照顾猫王并做到最好，而 对猫王的力量 普雷斯利和朋友，如果你喜欢恶魔 共谋故事我制作了DVD 把我的故事称为 孟菲斯与老板在院长住过几年 以前，在这张DVD上，我带你们去 孟菲斯周围迪恩 的地方 猫王的故事，我们向您展示 我会给你地址的地方 您可以自己游览，以便在我出发之前 和Trey I 一起环游世界 和Dean一起制作了这张DVD，您会看到 我为你们提供的故事 Dutch: de laatste zes jaar van zijn leven en gok wat hij me moest laten doen elke keer dat ik wegging Memphis hij had me toen ik thuis kwam bel hem en laat hem weten dat ik het gehaald heb veilig thuis dus dr. Nick liet me zien dat het geweldig was karakter van hem waar hij om gaf mensen omdat hij om me gaf en of ik kwam uit Memphis, dus dat weet ik hij zorgde voor Elvis en deed het beste en zijn kracht die hij kon voor Elvis Presley en vrienden als je van demon hield handlangers verhalen Ik heb een dvd gemaakt riep What's-his-name mijn verhalen rond Memphis met baas waar Dean een paar jaar geleden en op deze dvd neem ik jullie mee naar plaatsen in Memphis waar Dean een heeft verhaal met Elvis en we laten je de zien plaats Ik geef je het adres waar je kunt je eigen tour nemen dus voordat ik was aan het draven met Trey I produceerde deze dvd met Dean en je ziet de verhalen die ik jullie vertel French: ce qu'il avait à faire à chaque fois que je partais Memphis, il m'avait quand je suis rentré chez moi appelez-le et faites-lui savoir que je l'ai fait à la maison en toute sécurité alors dr. Nick m'a montré que c'était génial caractère de lui qu'il aimait les gens parce qu'il se souciait de moi et si je rentré de Memphis donc je sais que il a pris soin d'Elvis et a fait de son mieux et son pouvoir qu'il pouvait pour Elvis Presley et ses amis si vous avez aimé le démon histoires de complices J'ai produit un DVD a appelé mon nom autour de moi Memphis avec patron où Dean a quelques années il y a et sur ce DVD, je vous emmène les gars endroits autour de Memphis où Dean a un histoire avec Elvis et nous vous montrons le Je vais vous donner l'adresse où vous pouvez faire votre propre tour avant moi faisait du globe-trotter avec Trey I produit ce DVD avec Dean et vous voyez les histoires que je vous propose ce spectacle Spanish: los últimos seis años de su vida y adivinar lo que me tenía que hacer cada vez que me iba Memphis me tuvo cuando llegué a casa llamarlo y hacerle saber que lo logré casa segura entonces dr. Nick me mostró que fue genial personaje de él que le importaba personas porque él se preocupaba por mí y si yo llegué a casa desde Memphis, así que sé que se preocupaba por Elvis e hizo lo mejor y su poder que pudo para Elvis Presley y amigos si disfrutaste demonio cómplices historias produje un DVD llamó cómo se llaman mis historias Memphis con el jefe donde Dean unos años Hace y en este DVD los llevo a lugares alrededor de Memphis donde Dean tiene un historia con Elvis y te mostramos el lugar te daré la dirección donde puedes hacer tu propio recorrido antes de que yo estaba haciendo trotamundos con Trey I produjo este DVD con Dean y ves las historias que les estoy contando chicos Russian: что он заставлял меня делать каждый раз, когда я уходил Мемфис, он взял меня, когда я добрался до дома позвоните ему и дайте ему знать, что я сделал это безопасно дома так доктор Ник показал мне, что это было здорово характер его, который он заботился люди, потому что он заботился обо мне, и если я сделал это домой из Мемфиса, так что я знаю, что он заботился о Элвисе и сделал все возможное и его сила, которую он мог для Элвиса Пресли и друзья, если вам понравился демон соучастники истории я выпустил DVD называется, как его зовут мои истории вокруг Мемфис с боссом, где Дин несколько лет назад и на этом DVD я беру вас, ребята места вокруг Мемфиса, где у Дина есть история с Элвисом и мы покажем вам место я дам вам адрес где Вы можете взять свой собственный тур, прежде чем я делал рысью по всему миру с Треем I выпустил этот DVD с Дином, и вы видите истории, которые я вам предоставляю это шоу Czech: posledních šest let jeho života a hádání co mě musel dělat pokaždé, když jsem odešel Memphis mě měl, když jsem se dostal domů zavolejte mu a dejte mu vědět, že jsem to dokázal bezpečně doma tak dr. Nick mi ukázal, že to bylo skvělé postava, o kterou se staral lidé, protože se o mě staral, a pokud ano udělal to domů z Memphisu, takže vím, že staral se o Elvisa a udělal to nejlepší a jeho síla, kterou mohl pro Elvisa Presley a přátelé, pokud jste si užili démona příběhy kompliců, které jsem vytvořil DVD nazval mé povídky kolem Memphis s šéfem, kde Dean několik let před a na tomto DVD vás vezmu kluci na místa kolem Memphisu, kde má Dean příběh s Elvisem a my vám ukážeme místo dám ti adresu kde můžete se vydat na vlastní prohlídku, takže před I dělal klusání s Trey I produkoval toto DVD s Deanem a vidíte příběhy, které vám poskytuji, kluci Portuguese: esse show todo este DVD é sobre provavelmente um hora e meia de duração e é do mesmo estilo semelhante que estes trotam com a bandeja episódios são assim se você gostaria pegue isso e ouça tudo isso histórias que eles estão todos aqui, mais eu tenho clipes especiais do dr. Nick porque é importante para mim ter dr. Nick Jordan cúmplices de histórias verdadeiras por aí os fãs sempre têm e aprendem sobre porque ao contrário do que oh que os chamados repórter Gerardo Torrado, qualquer que seja o seu nome é Rivera ele começou tudo de ruim coisas em 1978 e praticamente você sabe dr arruinado. A vida de Nick e você e seus amigos engraçados e eu vou deixar nisso mas é engraçado quando pessoas como George Klein quando pessoas como Sam Thompson Billy Smith, que era a pessoa mais próxima French: tout ce DVD est sur le point de regarder probablement un heure et demie et c'est un peu le même style similaire que ces globe-trotter avec plateau les épisodes le sont si vous le souhaitez ramasser ceci et entendre tout cela des histoires qu'ils sont tous ici et j'ai clips spéciaux de dr. Nick parce que c'est important pour moi d'avoir dr. Nick Jordan complices d'histoires vraies pour les fans doivent toujours avoir et apprendre parce que contrairement à ce que oh qu'un soi-disant le reporter Gerardo Torrado quel que soit son le nom est Rivera, il a commencé tout le mal les choses en 1978 et à peu près vous savoir dr ruiné. La vie de Nick et toi et ses drôles d'amis et je vais le laisser à cela mais c'est drôle quand des gens comme George Klein quand des gens comme Sam Thompson Billy Smith qui était la personne la plus proche de Elvis et Diamond Joe Esposito et Jerry Italian: questo intero DVD riguarda probabilmente un un'ora e mezza ed è un po 'dello stesso stile simile che questi trottano con il vassoio gli episodi sono così se vuoi raccogli questo e ascoltali tutti storie sono tutte qui più io ho clip speciali del dott. Nick perché è importante per me avere il dott. Nick Jordan accompagna storie vere là fuori per i fan di avere e conoscere sempre perché a differenza di quello che un cosiddetto reporter Gerardo Torrado qualunque sia il suo il nome è Rivera ha iniziato tutto il male cose nel 1978 e praticamente tu sapere dott. in rovina Nick's life and you and i suoi simpatici amici e lo lascerò a quello ma è divertente quando persone come George Klein quando persone come Sam Thompson Billy Smith che era una persona più vicina a Elvis e Diamond Joe Esposito e Jerry Japanese: このショー このDVD全体はおそらく 1時間半 同じようなスタイルです これらのトレイ付きグローブトロッティング エピソードはそうしたいならそうです これを拾って、これらすべてを聞いてください 彼らがすべてここにいる話と私が持っている話 drの特別なクリップ。ニックだから 私が博士を持っていることが重要です。ニックジョーダン の実話を共犯 について常に知り、学ぶファン なんといっても、いわゆる レポータージェラルドトラード 名前はリベラです彼はすべて悪いことを始めました 1978年に戻って、ほとんどあなた 台無しにされた博士を知っています。ニックの人生とあなたと 彼のおかしい友達と私はそれを残します その時 でもジョージ のような人は面白いです サムトンプソン のような人のクライン Czech: tato show celé toto DVD je asi vypadat pravděpodobně hodina a půl dlouhá a je to podobný styl že tito glóbusové kliky s podnosem epizody jsou tak, pokud chcete vyzvedněte si to a poslouchejte všechny příběhy jsou tady všichni plus já speciální klipy dr. Nick, protože je to pro mě je důležité mít dr. Nick Jordan doplňuje pravdivé příběhy tam pro fanoušci mít vždy a dozvědět se o protože na rozdíl od toho, co oh, takzvaný reportér Gerardo Torrado bez ohledu na jeho jmenuje se Rivera, začal všechny špatné věci zpět v roce 1978 a do značné míry vy znát zničeného dr. Nickův život a ty a jeho vtipné přátele a já to nechám v tom ale je to zábavné, když lidé jako George Klein, když lidé jako Sam Thompson Billy Smith, který byl nejbližší osobou Spanish: este espectáculo todo este DVD trata de parecer probablemente un hora y media de duración y es del mismo estilo similar que estos trotamundos con bandeja los episodios son así si quisieras recoge esto y escucha todo esto todas las historias están aquí y yo tengo clips especiales de dr. Nick porque es importante para mí tener dr. Nick Jordan cómplices de historias reales por ahí para los fanáticos que siempre deben tener y conocer porque a diferencia de lo que oh que un llamado reportero Gerardo Torrado sea cual sea su nombre es Rivera, comenzó todo lo malo cosas en 1978 y más o menos tú saber arruinado dr. La vida de Nick y tú y sus amigos graciosos y lo dejaré en eso pero es divertido cuando a la gente le gusta George Klein cuando a la gente le gusta Sam Thompson Billy Smith, que era una persona más cercana a Dutch: deze show deze hele dvd gaat over kijk waarschijnlijk een anderhalf uur en het is ongeveer dezelfde stijl dat deze wereldreizigers met dienblad afleveringen zijn zo als je zou willen raap dit op en hoor al deze verhalen waar ze allemaal op staan ​​plus ik heb speciale clips van dr. Nick omdat het is belangrijk voor mij om dr. Nick Jordan begeleidt waargebeurde verhalen voor de fans om altijd te hebben en te leren kennen want in tegenstelling tot wat oh dat een zogenaamde verslaggever Gerardo Torrado, ongeacht zijn naam is Rivera hij begon slecht dingen terug in 1978 en vrijwel jij weet geruïneerd dr. Nick's leven en jij en zijn grappige vrienden en ik ga weg bij dat maar het is grappig als mensen zoals George Klein als mensen zoals Sam Thompson Billy Smith die het dichtst bij was Russian: Весь этот DVD примерно выглядит полтора часа и это своего рода похожий стиль что эти земные рыси с подносом эпизоды так, если вы хотите возьми и услышь все это истории, которые они все здесь плюс у меня специальные клипы доктора. Ник, потому что это для меня важно иметь доктора. Ник Джордан соучастники правдивых историй для фанаты, чтобы всегда иметь и узнать о потому что в отличие от того, о, что так называемый репортер Герардо Торрадо, независимо от его зовут Ривера, он начал все плохо вещи еще в 1978 году и в значительной степени вы знать разрушенный доктор. Жизнь Ника и ты и его веселые друзья, и я собираюсь оставить его в этом но смешно, когда людям нравится Джордж Кляйн, когда людям нравится Сэм Томпсон Билли Смит, который был самым близким человеком Элвис и Даймонд Джо Эспозито и Джерри Chinese: 这个节目 整个DVD看起来大概是 一个半小时 有点类似的风格 这些带有托盘的小跑 情节如此，如果您想 捡起来听所有这些 他们都在这里的故事加上我的故事 博士特别剪辑尼克，因为是 对我来说重要的是尼克·乔丹 共谋 的真实故事 球迷永远拥有并了解 因为不像所谓的 记者Gerardo Torrado 名字叫里维拉(Rivera)他开始了所有的坏事 早在1978年的事情就差不多了 知道毁了博士。尼克的一生与你和 他有趣的朋友们，我要离开了 当时 但是当像乔治 这样的人时，这很有趣 当人们喜欢萨姆·汤普森 时，克莱恩(Klein) 比利·史密斯(Billy Smith)与 Swedish: denna show hela DVD-skivan handlar förmodligen om en en och en halv timme lång och det är typ av samma liknande stil att dessa världen-trav med bricka avsnitt är så om du vill plocka upp detta och höra alla dessa berättelser de är alla på här plus jag har speciella klipp av dr. Nick för att det är viktigt för mig att dr. Nick Jordan medarbetare sanna berättelser där ute fansen att alltid ha och lära sig om för till skillnad från vad oh det så kallade reportern Gerardo Torrado oavsett hans heter Rivera han började allt dåligt saker tillbaka 1978 och ganska mycket du vet förstört dr. Nick's life and you and hans roliga vänner och jag ska lämna det vid det men det är roligt när människor gillar George Klein när människor gillar Sam Thompson Billy Smith som var en närmaste person till German: diese Show Diese ganze DVD ist ungefähr ein anderthalb Stunden lang und es ist eine Art ähnlicher Stil dass diese Weltenbummler mit Tablett Episoden sind so, wenn Sie möchten nimm das auf und höre all das Geschichten, die sie alle hier haben und ich habe spezielle clips von dr. Nick, weil es ist wichtig für mich, dr. Nick Jordan Komplizen wahre Geschichten da draußen für die Fans immer zu haben und zu lernen denn anders als was oh das ein sogenannter Reporter Gerardo Torrado was auch immer sein Name ist Rivera, er hat alles schlecht angefangen Dinge im Jahr 1978 und so ziemlich Sie weiß ruiniert dr. Nicks Leben und du und seine lustigen Freunde und ich werde es verlassen dabei aber es ist lustig, wenn Leute wie George Klein, wenn Leute wie Sam Thompson Billy Smith, der German: am nächsten stand Elvis und Diamond Joe Esposito und Jerry Schilling solche Leute Ich werde sagen, Dr. Nick war der gute Arzt, ich glaube ihnen und ich glaube aus meiner eigenen persönlichen erlebt so Freunde, wenn du das magst Ich werde Dean es für Sie signieren lassen und alle mailen uns an Dean's DVD unter gmail.com, damit ich Ihnen die senden kann Informationen zur Bestellung und Freunde, ich denke du würdest wirklich wirklich gerne es aber es ist ysus benennt meine Geschichten herum Memphis würde Boss und wenn Sie die bekommen DVD du wirst verstehen, warum ich es benannt habe Wie heißt er Weil es ein kleiner Witz ist, dass er und Elvis hatte aber Freunde, vielen Dank zum Anschauen und Abonnieren und Kommentar hey wenn du Freunde hast dass Sie denken, interessiert sein könnte Wenn du etwas über Elvis lernst, teile bitte meine zeige mit ihnen, damit sie über uns Bescheid wissen und ich schätze nur Ihre Unterstützung und bis zum nächsten Mal vergessen Freunde nicht Doppel-Dreifach abonnieren Clubs reiten Spanish: Elvis y Diamond Joe Esposito y Jerry Shilling personas así diré dr. Nick fue el buen doctor, les creo y creo desde mi propio personal experiencias tan amigos si te gusta esto Haré que Dean lo firme por ti y todos los correos electrónicos en el DVD de Dean al gmail.com para que pueda enviarle el información sobre cómo ordenar uno y amigos, creo que realmente te gustaría pero es ysus nombra mis historias Memphis sería el jefe y si obtienes el DVD entenderás por qué lo llamé como se llama porque es una pequeña broma que él y Elvis tenía muchos amigos, muchas gracias para ver y suscribirse y comentando oye si tienes amigos que crees que podría estar interesado aprendiendo sobre Elvis por favor comparta mi mostrar con ellos para que sepan de nosotros y agradezco su apoyo y hasta la próxima vez que los amigos no se olviden doble-triple suscribirse a clubes de equitación Russian: шиллинг таких людей я скажу д-р. Ник был хорошим доктором, я им верю и я верю из своего личного опыт, так что друзья, если вам это нравится Я сделаю так, чтобы Дин дал вам автограф и все пишите нам на DVD Дина по адресу gmail.com, чтобы я мог отправить вам информация о том, как заказать один и друзья, я думаю, вы бы действительно хотели это, но это имена мои истории вокруг Мемфис будет боссом, и если вы получите DVD вы поймете, почему я назвал его как его зовут Потому что это маленькая шутка, что он и Элвис был, но друзья большое спасибо для просмотра и подписки и комментируя эй, если у вас есть друзья что вы думаете, может быть интересно узнав об Элвисе, поделитесь пожалуйста показать с ними, чтобы они узнали о нас и я просто ценю вашу поддержку и пока в следующий раз друзья не забудут двойной тройной абонемент на клубы верховой езды с лотком это бесплатно не стоит Italian: Scuotendo le persone così dirò il dott. Nick era il bravo dottore in cui credo e credo dal mio personale sperimenta così amici se ti piace questo Lo farò autografare Dean per te e tutte le e-mail sul DVD di Dean al numero gmail.com così posso inviarti il ​​ informazioni su come ordinare uno e amici, penso che ti piacerebbe davvero ma è ysus che nomina le mie storie Memphis sarebbe il boss e se ottieni il DVD capirai perché l'ho chiamato come si chiama perchè è una piccola battuta che lui e Elvis aveva ma amici grazie mille per guardare e iscriversi e commentando hey se hai amici che ritieni possano essere interessati per saperne di più su Elvis, per favore condividi il mio mostra con loro in modo che possano conoscerci e apprezzo molto il tuo supporto e fino alla prossima volta che gli amici non dimenticano doppio-triplo abbonamento ai club in sella con il vassoio è gratuito non ti costa un Chinese: 最接近 猫王和钻石乔·埃斯波斯托和杰瑞 这样的先令我会说博士。 尼克是我相信他们的好医生 而且我个人认为 如果您喜欢的话，可以和他们一起经历 我将为您准备Dean的亲笔签名 以及所有通过电子邮件发送给Dean DVD 的电子邮件 gmail.com，以便我可以将 发送给您 有关如何订购一和 的信息 我想你真的很喜欢的朋友 但是，是我为我的故事命名的 孟菲斯将首领，如果您获得 DVD将使您理解我为什么命名它 他叫什么名字 因为他和 有点笑话 猫王有，但朋友非常感谢你 用于观看和订阅以及 如果您有任何朋友，请留言 您认为可能会感兴趣的 了解猫王，请分享我的 向他们展示，以便他们了解我们 我很感谢您的支持和 直到下次朋友不要忘记 三倍订阅俱乐部骑马 French: shilling des gens comme ça, je dirai dr. Nick était le bon docteur je les crois et je crois de mon côté expériences si amis si vous aimez ça Je vais le faire dédicacer par Dean et tous les courriels que nous envoyons sur le DVD de Dean au gmail.com pour que je puisse vous envoyer le informations pour en commander un et amis, je pense que vous aimeriez vraiment mais c'est ysus nomme mes histoires Memphis serait le patron et si vous obtenez le DVD, vous comprendrez pourquoi je l'ai nommé quel est son nom cuz c'est c'est une petite blague que lui et Elvis avait des amis mais merci beaucoup pour regarder et s'abonner et commentant hey si vous avez des amis qui pourraient vous intéresser apprendre sur Elvis s'il vous plaît partager mon montrer avec eux pour qu'ils nous connaissent et j'apprécie juste votre soutien et jusqu'à la prochaine fois, les amis n'oublient pas double-triple souscrire aux clubs d'équitation avec plateau c'est gratuit ne vous coûte pas Czech: Elvis a Diamond Joe Esposito a Jerry šilinkům takhle řeknu dr. Nick byl dobrý doktor, kterému věřím a věřím ze své vlastní osobní zkušenosti tak přátelé, pokud se vám to líbí Mám pro vás Dean autogram a veškerý e-mail nám na Deanově DVD na gmail.com, abych vám mohl poslat informace o tom, jak si jednu objednat a přátelé, myslím, že by se vám opravdu líbilo je to ale ysus jména moje příběhy kolem Memphis by šéfa, a pokud dostanete DVD pochopíte, proč jsem to pojmenoval jak se jmenuje cuz je to trochu vtip, že on a Elvis měl, ale přátelé moc děkuji pro sledování a přihlášení k odběru a komentování hej, pokud máte přátele o kterých si myslíte, že by vás mohly zajímat učit se o Elvisovi prosím poděl se o mé ukažte jim, aby o nás věděli a já jen oceňuji vaši podporu a až příště přátelé nezapomenou na double-triple přihlaste se k odběru klubů Dutch: Elvis en Diamond Joe Esposito en Jerry dat soort mensen zal ik zeggen dr. Nick was de goede dokter, ik geloof ze en ik geloof vanuit mijn eigen persoonlijke ervaringen zo vrienden als je dit leuk vindt Ik zal Dean het voor je laten signeren en alle e-mail ons op Dean's DVD op gmail.com zodat ik je de kan sturen informatie over het bestellen van een en vrienden waarvan ik denk dat je ze echt leuk zou vinden maar het is ysus noemt mijn verhalen rond Memphis zou de baas zijn en als je de krijgt DVD je begrijpt waarom ik het noemde wat is zijn naam want het is een grapje dat hij en Elvis had maar vrienden heel erg bedankt voor kijken en abonneren en hé als je vrienden hebt waarvan je denkt dat ze geïnteresseerd zijn leer over Elvis alstublieft mijn toon met hen zodat ze ons zullen kennen en ik waardeer je steun en tot de volgende keer dat vrienden het niet vergeten double-triple abonneren op clubs rijden Japanese: に一番近い人だったビリー・スミス エルビスとダイヤモンドジョーエスポジートとジェリー そのような人をシリングします。 ニックは彼らを信じる良い医者でした そして私は自分の個人から信じています もしあなたがこれを好きなら、友達との経験 ディーンのサインをお願いします にあるディーンのDVDにメールを送ってください。 gmail.com をお送りします 注文方法に関する情報と 友達は本当に好きだと思う それはそれが私の物語の周りの名前をysusです メンフィスは上司になり、もしあなたが を手に入れたら 私がそれに名前を付けた理由を理解できるDVD 彼の名前は何ですか 彼と はちょっとした冗談です エルビスは持っていたが友達は本当にありがとう 視聴および購読および 友達がいればコメントする に興味があると思う エルビスについて知りたい 彼らが私たちについて知っているように彼らと一緒に見せてください そして、私はあなたのサポートに感謝し、 次回は友達も忘れないで ダブルトリプルが乗馬クラブに加入 Portuguese: Elvis e Diamond Joe Esposito e Jerry xelim pessoas assim eu vou dizer dr. Nick era o bom médico que eu acredito neles e acredito por minha própria conta experimenta amigos, se você gosta disso Vou mandar Dean autografar para você e todos os e-mails no DVD de Dean em gmail.com para que eu possa lhe enviar o informações sobre como pedir um e amigos que eu acho que você realmente gostaria mas ysus nomeia minhas histórias Memphis mandaria e se você receber o DVD, você entenderá por que o nomeei qual é o nome dele porque é uma piada que ele e Elvis tinha apenas amigos muito obrigado para assistir e se inscrever e comentando ei se você tiver algum amigo em que você pensa estar interessado Para aprender sobre Elvis, compartilhe meu mostre com eles para que eles saibam sobre nós e agradeço seu apoio e até a próxima vez que os amigos não se esqueçam duplo-triplo inscreva-se em clubes que andam de bicicleta com a bandeja é grátis não custa Swedish: Elvis och Diamond Joe Esposito och Jerry shilling människor som det ska jag säga dr. Nick var den bra läkaren jag tror på dem och jag tror från min egen personliga upplever så vänner om du gillar det här Jag kommer att ha Dean autograf det för dig och all e-post till oss på Dean's DVD på gmail.com så jag kan skicka dig information om hur man beställer en och vänner jag tror att du verkligen skulle vilja det men det heter ysus mina berättelser runt Memphis skulle chefen och om du får DVD förstår du varför jag namngav det vad heter han cuz det är ett litet skämt som han och Elvis hade men vänner tack så mycket för att titta på och prenumerera och kommentera hej om du har några vänner som du tror kan vara intresserad av lära sig om Elvis snälla dela min visa med dem så att de vet om oss och jag uppskattar bara ditt stöd och tills nästa gång vänner inte glömmer på dubbel trippel prenumerera på ridklubbar Swedish: med bricka är det gratis kostar inte dig sak och du håller dig uppdaterad med alla ny video som jag laddar upp som är varje Tisdag fram till dess vänner jag ska fånga du på vägen tack för att du tittade French: chose et vous restez à jour avec chaque nouvelle vidéo que je télécharge qui est tous les Mardi jusque-là, mes amis, j'attraperai vous sur la route merci d'avoir regardé Czech: s podnosem vás to nestojí a věc a vy budete neustále informováni o každém nové video, které nahrávám, které je každé Úterý do té doby přátelé chytím díky dolů za sledování Russian: вещь, и вы остаетесь в курсе каждого новое видео, которое я загружаю, каждое Вторник до тех пор, друзья поймаю Вы вниз по дороге, спасибо за просмотр Italian: cosa e rimani aggiornato con ogni nuovo video che carico, che è ogni Martedì fino ad allora amici che prenderò in fondo alla strada grazie per aver guardato Japanese: トレイがあれば無料です 事とあなたはすべての で更新滞在 毎回アップロードする新しいビデオ それまでの火曜日、私が捕まえる友達 見てくれてありがとう Dutch: met dienblad is het gratis kost je geen ding en je blijft op de hoogte met elke nieuwe video die ik upload en die elke is Dinsdag tot dan vrienden die ik zal vangen je onderweg bedankt voor het kijken Chinese: 带有托盘的免费是免费的 事情，您会每时每刻 保持更新 我上传的每部新影片 星期二直到那时我会抓的朋友 您在路上谢谢您的观看 Spanish: con bandeja es gratis no le cuesta un y te mantienes actualizado con cada nuevo video que subo, que es cada Martes hasta entonces amigos que atraparé Gracias por mirar German: mit Tablett ist es kostenlos kostet Sie keine und Sie bleiben mit jedem auf dem Laufenden neues Video, das ich hochlade, das ist jeder Dienstag bis dahin werde ich Freunde fangen Sie die Straße runter danke fürs Zuschauen Portuguese: coisa e você fica atualizado com cada novo vídeo que eu envio, que é todo Terça-feira até então amigos que eu vou pegar você no caminho obrigado por assistir

Usamos uma câmera de alta velocidade, para filmar balões de hidrogênio explodindo. Gosto de vc, Neil. Esta me dando a resposta, ou quase me dando a resposta, para uma pergunta que esteve me deixando curioso por anos Desde o nosso primeiro vídeo sobre um elemento, usamos um fósforo preso em uma vareta para estourar balões de hidrogênio. E uma coisa que sempre me deixou confuso é que, quando eles explodem a chama tem uma cor avermelhada. E é bem conhecido, que o hidrogênio quando queima, por exemplo em um bico de bunsen, ou algo parecido. Resulta em uma chama quase incolor. Então, pq o balão deveria dar uma chama vermelha ou avermelhada quando explode. E eu tive uma ideia, em um dos nossos vídeos, que era talvez a borracha do balão era o que estava queimando. Recentemente, recebi um mail, de um dos nossos espectadores chamado Paul. Que disse, que achava que eu estava errado. E achava que o hidrogênio no balão e o oxigênio no ar não estavam bem misturados. Então, quando o hidrogênio começa a queimar, tem muito mais hidrogênio do que oxigênio, e o calor da primeira parte da chama, aquece o resto do gás, e o gás hidrogênio libera uma luz vermelha. Estavamos bem interessados em ver se isso era realmente verdade. E a maneira óbvia de fazer é filmar o balão explodindo, em alta velocidade, para ver o que acontece com a borracha. Quando vc queima o balão. Quando olhamos o vídeo, foi extraordinário a borracha desaparece, e voa pelo ar, antes mesmo do gás começar a queimar. E vc pode ver a chama lentamente indo por essa massa de gás uma massa de gás quase da forma do balão. Então a cor avermelhada não pode ter nada a ver com a borracha do balão pq ele voou longe. Em um dos nossos vídeos ela voou para o teto. Então eu estava errado. É sempre bom para um cientista ser provado errado. Mas agora tem que fazer um experimento para ver o que pode ser. E o Paul sugeriu um experimento. Ele disse "Tente queimar um balão com a mistura adequada de duas partes de hidrogênio e uma parte de oxigênio". A água é H2O, entao vc precisa duas vezes mais hidrogênio do que oxigênio. Isto é o que os químicos chamam de uma mistura estequiométrica. É uma mistura bem na proporção certa para dar o produto. O problema é que ele explode com um bang bem alto. E estamos meio assustados, vc sabe, pode ser ruim por diversos motivos. Estando os gases na mistura certa, a reação acontecerá mais rápido e terá uma onda de choque maior. Então, fizemos o experimento e vamos observar o que acontece. Se vc observar cuidadosamente, pode ver que assim que a chama toca o balão a reação ocorre muito rapidamente. O balão brilha como uma lâmpada elétrica. Antes mesmos de perder sua forma. E então, espalha lentamente. A luz brilhante, que é muito mais brilhante que o hidrogênio sozinho. Pq a reação é mais rápido e a temperatura é bem maior. E o que é interessante é que a chama separa-se em duas partes. Do ponto onde foi adicionado o fósforo. Isto é na verdade um efeito bem conhecido. Quando ocorrem explosões de gás nas casas das pessoas, quando elas acendem um fósforo, e tem gás na casa delas, muito frequentemente a pessoa que risca o fósforo fica bem, pq a explosão se espalha para longe dela, e faz um grande estrago. E elas ficam no meio, sentindo-se estúpidas, pq a casa se foi. E parece mesmo que Paul estava certo, que a reação ocorre completamente diferente. Realmente acho que aprendi algo sobre esta reação. Eu estava conversando com um físico , ontem durante o almoço e ele estava maravilhado que o balão iria estourar e a borraca desaparecer antes do hidrogênio pegar fogo. E eu também. Pq tudo acontece tão rápido. Pq normalmente, se não vermos isso, sua intuição é que o hidrogênio explode facilmente e é claro que explodiria antes que o balão. Traduzido por Prof. Dr. Luís Brudna

Epistasis is the phenomenon of the effect of one gene being dependent on the presence of one or more 'modifier genes', the genetic background. Thus, epistatic mutations have different effects in combination than individually. It was originally a concept from genetics but is now used in biochemistry, computational biology and evolutionary biology. It arises due to interactions, either between genes, or within them, leading to non-additive[clarification needed] effects. Epistasis has a large influence on the shape of evolutionary landscapes, which leads to profound consequences for evolution and evolvability of phenotype traits. This can be the case when multiple genes act in parallel to achieve the same effect. For example, when an organism is in need of phosphorus, multiple enzymes that break down different phosphorylated components from the environment may act additively to increase the amount of phosphorus available to the organism. However, there inevitably comes a point where phosphorus is no longer the limiting factor for growth and reproduction and so further improvements in phosphorus metabolism have smaller or no effect (negative epistasis). Some sets of mutations within genes have also been specifically found to be additive.[21] It is now considered that strict additivity is the exception, rather than the rule, since most genes interact with hundreds or thousands of other genes. Epistasis within the genomes of organisms occurs due to interactions between the genes within the genome. This interaction may be direct if the genes encode proteins that, for example, are separate components of a multi-component protein (such as the ribosome), inhibit each other's activity, or if the protein encoded by one gene modifies the other (such as by phosphorylation). Alternatively the interaction may be indirect, where the genes encode components of a metabolic pathway or network, developmental pathway, signalling pathway or transcription factor network. For example, the gene encoding the enzyme that synthesizes penicillin is of no use to a fungus without the enzymes that synthesize the necessary precursors in the metabolic pathway. Just as mutations in two separate genes can be non-additive if those genes interact, mutations in two codons within a gene can be non-additive. In genetics this is sometimes called intragenic complementation when one deleterious mutation can be compensated for by a second mutation within that gene. This occurs when the amino acids within a protein interact. Due to the complexity of protein folding and activity, additive mutations are rare. Proteins are held in their tertiary structure by a distributed, internal network of cooperative interactions (hydrophobic, polar and covalent).[22] Epistatic interactions occur whenever one mutation alters the local environment of another residue (either by directly contacting it, or by inducing changes in the protein structure).[23] For example, in a disulphide bridge, a single cysteine has no effect on protein stability until a second is present at the correct location at which point the two cysteines form a chemical bond which enhances the stability of the protein.[24] This would be observed as positive epistasis where the double-cysteine variant had a much higher stability than either of the single-cysteine variants. Conversely, when deleterious mutations are introduced, proteins often exhibit mutational robustness whereby as stabilising interactions are destroyed the protein still functions until it reaches some stability threshold at which point further destabilising mutations have large, detrimental effects as the protein can no longer fold. This leads to negative epistasis whereby mutations that have little effect alone have a large, deleterious effect together.[25][26] In enzymes, the protein structure orients a few, key amino acids into precise geometries to form an active site to perform chemistry.[27] Since these active site networks frequently require the cooperation of multiple components, mutating any one of these components massively compromises activity, and so mutating a second component has a relatively minor effect on the already inactivated enzyme. For example, removing any member of the catalytic triad of many enzymes will reduce activity to levels low enough that the organism is no longer viable. Diploid organisms contain two copies of each gene. If these are different (heterozygous / heteroallelic), the two different copies of the allele may interact with each other to cause epistasis. This is sometimes called allelic complementation, or interallelic complementation. It may be caused by several mechanisms, for example transvection, where an enhancer from one allele acts in trans to activate transcription from the promoter of the second allele. Alternately, trans-splicing of two non-functional RNA molecules may produce a single, functional RNA. Similarly, at the protein level, proteins that function as dimers may form a heterodimer composed of one protein from each alternate gene and may display different properties to the homodimer of one or both variants.

Here at Seven Wonders cinema, we're working on a visual effects sequence for a project that we're doing. We shot this project in a number of locations downtown Philadelphia. We shot in a stunt studio called Pinnacle Parkour, where we shot the visual effects plates to composite into drone footage that we captured over the Philadelphia skyline. We work on a lot of branded content and we all know as content creators that a music track can completely change the vibe of a scene. Epidemic sound is a music company reimagined and their mission is to provide creators like us quality music. The staff at epidemic really cares about you getting the right feel for your project. Our mission as a company is to create work that emotionally engages people and having music that can do that on its own, enhances our ability to produce videos that engage people on an emotional level.

Hi everybody my name is doris cooler Buttocks we are two years old about 30 people raised about 22 million dollars We build AI technology in the field of cognitive computing to turn digital assistant type systems into proactive systems We turn interaction models into a brand new interaction models between humans and machines, and we deploy that in our first product called leq To help older adults stay connected and engaged to avoid loneliness and social isolation Won a bunch of awards including best of innovation at CES this year, and maybe we'll start with a short video So if the AV team can play the video that would be great Mary Megan sent a new photo, would you like to look at it? Yes? Would you like to respond to Megan's post sure recording in three two Before I like you my grandma didn't really get social media, but now she's on all the time, and she's hilarious besides all that Leq reminds me to take my meds arranges rides for me She even reminds me of all my appointments Mary. Don't forget bridge with the Golden Girls and 1 p.m.. Would you like to practice? Mary you wanted to Skype with Liz would you like to do that now? Oh sure that sounds great? Hey, honey this Worries too much. She's always been that way, so I let her check in on me through laq every now and then hey I just noticed is it a little cool in the house. Oh, it feels great. I'm doing my Tai. Chi now. Yeah, I can see Ok mom just checking in you take care. I'm fine sweetie chat later There's a new TED talk waiting for you. If you'd like to watch it or perhaps. You could go for a walk That's a good idea laq Great, Mary. I'll be right here when you get back great Right so you can see this is a brand new experience a well designed product from a hardware perspective on one side But a brand new interaction model using body language Using multi modality and using a field in academia called HRI human robotics interaction now Why did we choose the first use case to be in the elderly space? Well as you all know the world population is aging in a record pace But about 40 to 60 percent of older adults feel lonely in socially isolated There's no direct causality proven from the CDC that this state causes directly acceleration of dementia heart disease depression and mortality And a huge amount of stress for the family as well Actually in the US alone. There is a recent study that 6.7. Billion dollars worth of spend on medicare medicaid every year is directly attributed to loneliness and social isolation of older adults It's so extreme that the UK actually nominated a minister of loneliness two months ago What is interesting though for us is it's also now proven that when older adults stay active and engaged Which means learning something new every day? Being a little bleep physically active a little bit mentally active being connected to what's going on They push out they mention almost half of the time they recover much faster from illness and disease They're happier, and there's less stress on the family So how do you do that well we can't get people to be less busy or to live with their parents? Even though they live far away, and so on we're just a small start-up out of Ramat Gan Israel, but we can do two things The first is help with the digital divide You know these products were built for people that are 25 to 35 years old all right. That's the demographic everybody's after surprise surprise It's not always easy to use to people that aren't in that demographic in fact as we age our Ability to learn new things is on a decline and the rate of change of things around us is ever increasing So we make it super simple and intuitive to use technology to gain the benefit of Technology without necessarily learning how to master the tool The other thing we found out Is that older adults need to the stick your routine? That's very repetitive So to influence change according to their own goals on how they want to live their lives You actually need to create nudges you need to create interventions Which means you need to build a system that as opposed to an Alexa which waits for you to say Alexa play some music actually needs to understand the context around it actually needs to understand the scene in front of it actually needs to weigh multiple goals and then at the right time interject in a highly personalized matter to motivate people to act and That's the core of the intellectual property that we developed in the company So this is leq designed by yves behar Doesn't look like a robot at all We use body language as a means of expression because subconsciously we understand body language It's a big part of communication between humans. That's why you're here in person and not watching this on the web Together with lights and sound effects and content on the screen Creates a very very compelling system or very compelling experience and of course we're always learning and we're personalized using reinforcement learning mechanisms In our first product, which is now in beta in the United States. We do four key things we make communications easy We leverage tools like facebook Messenger So the grandkids will easily send pictures and messages and communicate the way they're used to and allow the older adults to participate in that in a way that they're used to without needing to figure out how to use the tools plus videoconferencing and so on We bring content both proactively by suggesting it But of course it works reactively whether it's videos and music and podcasts and audio books and games and so on We have assistant tools that help older adults remain independent longer in their own home schedules or during rides Information services etc and Then we also provide on an opt-in basis the ability for families to check in on their family See mom woke up on time see if she's active this week and in case of an emergency if you had a permission You can log into the system turn on the microphones turn on the speakers So that's really what we're about There are three key differentiators of this product from other assistants You might find the first is this multi-modality this new interaction model of the motion the personality the endearment and the humor together with delights and and sound effects etc There is this new to the world Changing the way we interact with digital assistants from a reactive State that you approach the assistant to a proactive State that it approaches you at the right time with the right goal to help you meet your own goals and Then there's the hyper focus on this first use case for the company which is older adults we've worked with over 150 older adults and the design and development of this first product and There are many reasons why it's fine-tuned to them You You

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English: Hong Kong~~ Japanese: ホンコン Japanese: what's up ホンコン! Ready~ ホンコン scream!! English: what's up Hong Kong! Ready~ Hong Kong scream!! Japanese: ホンコン! make some noise! English: Hong Kong! make some noise!

♪ ♪ ♪ FIRST YOU GET THE MONEY ♪ ♪ THEN YOU GET THE POWER ♪ ♪ RESPECT ♪ ♪ HOES COME LAST OMG RONNY ♪ ♪ AY GET IT GET IT GET IT GET IT GET IT GET IT GET IT ♪ ♪ AY GET IT GET IT GET IT GET IT GET IT GET IT GET IT ♪ ♪ AY GET IT GET IT GET IT GET IT GET IT GET IT GET IT ♪ ♪ GET IT GET IT GET IT ♪ ♪ (CASH RULES EVERYTHING AROUND ME) ♪ ♪ UH OPEN UP THE SAFE BITCHES GOT A LOT TO SAY ♪ ♪ PUSSY IN YOUR FACE THAT'LL PUT YOU IN YOUR PLACE (BOOM) ♪ ♪ SEVEN LETTERS ON THE PLATE FUCK YOU IN THE BRAIN (BITCH) ♪ ♪ I GOT CARS I GOT BAGS I GOT REAL ESTATE (CASH RULES) ♪ ♪ FOREPLAY I AIN'T COME TO PLAY ♪ ♪ I GOT BIG FISH MONEY HE GON' BITE THE BAIT ♪ ♪ CAN YOU DROP IT DOWN MAKE THAT ASS TALK TO ME? ♪ ♪ KEEP THAT ENERGY GON' UP THAT HENNESSY (ASS) ♪ ♪ I NEED MY BAG QUICKLY ♪ ♪ SEPARATE 6 DEGREES BITCHES SAID THEY KNOW ME ♪ ♪ SEX PISTOLS SID VICIOUS WET YOU WHEN IT'S HORNY ♪ ♪ HIT ME ON MY CASH APP CHECK IT IN THE MORNING ♪ ♪ CASH IN THIS BITCH SHININ' ♪ ♪ DRESSED IN DESIGNER SHE COULD GET HEIGHTENING ♪ ♪ AND IT'S PERFECT TIMING DREAM WITH THE TANNY ♪ ♪ BELLA HADID HOMIE COULD GET IT ♪ ♪ ASS ♪ ♪ CASH CASH ♪ ♪ ASS BAGS ♪ ♪ BAD ♪ ♪ CASH RULES EVERYTHING AROUND ME ♪ ♪ AY ASS GET IT GET IT GET IT GET IT GET IT CASH GET IT ♪ ♪ AY CASH GET IT GET IT GET IT GET IT GET IT ASS GET IT GET IT ♪ ♪ AY BAGS GET IT GET IT GET IT GET IT GET IT BAD GET IT GET IT ♪ ♪ GET IT GET IT GET IT ♪ ♪ (CASH RULES EVERYTHING AROUND ME) ♪ ♪ ASS RULES EVERYTHING AROUND ME ♪ ♪ DEEP IN THAT PUSSY YA I'M DROWNING ♪ ♪ A SHARK IN A WATER HOW YOU FOUND ME? ♪ ♪ BEST GIFT FROM 'ROUND ME (I'MA DOG) ♪ ♪ I GO HUNTING LIKE A BOUNTY (WOOF) ♪ ♪ (CASH RULES) YA MAKE MY OWN RULES ♪ ♪ TATTOOS ON THAT ASS SHE DO NIGHT SCHOOL ♪ ♪ WELCOME TO THE PLAYERS CLUB ICE CUBE ♪ ♪ DIAMONDS MIGHT MAKE THE NEWS ♪ ♪ BITCH THAT'S PHOTOSHOP LIKE RAPPERS WITH THAT AUTOTUNE (CASH) ♪ ♪ UH YOUR CHEQUES IS NOT A PROOF ♪ ♪ RM 52 ANOSCOPE WATER PROOF ♪ ♪ NIGGAS TALK A LOT OF BOOF TILL THEY OUTSIDE THE BOOTH ♪ ♪ MY NIGGAS LIKE GOLDEN STATE INBOUND PULL UP AND SHOOT ♪ ♪ CASH (SWISH) ♪ ♪ CASH ASS ♪ ♪ ASS BAGS ♪ ♪ BAG ♪ ♪ CASH RULES EVERYTHING AROUND ME ♪ ♪ ASS GET IT GET IT GET IT GET IT GET IT CASH GET IT GET IT ♪ ♪ CASH GET IT GET IT GET IT GET IT GET IT ASS GET IT GET IT ♪ ♪ BAGS GET IT GET IT GET IT GET IT BAD GET IT GET IT GET IT ♪ ♪ GET IT GET IT GET IT ♪ ♪ CASH RULES EVERYTHING AROUND ME ♪ ♪ ASS RULES EVERYTHING AROUND ME ♪ ♪ DEEP IN THAT PUSSY GOT HIM DROWNING (DROWNIN' DROWNIN') ♪ ♪ CASH RULES EVERYTHING AROUND ME ♪ ♪ A SHARK IN THE WATER HOW YOU FOUND ME? (FOUND ME FOUND ME) ♪ ♪ CASH RULES (GET THE MONEY) ♪ ♪ CASH RULES ♪ ♪ DOLLAR DOLLAR BILL Y'ALL ♪

Stalin telefona baktımı? onunla konuşmak istiyorum. Evet efendim,ama bunun hakkında içimde kötü bir his var. Efendim,sizi gerçekten dinleyeceğini düşünmüyorum. O bana "savaşı kaybettiniz ve çıkışınız yok"dedi. "Şimdi teslim olmalısınız"dedi. Teslim omayacağım lanet olası. Efendim,Stalin ile konuşsanız daha iyi olur. Peki,bana telefonu ver. Merhaba. Ben seninle bu savaşı bitirmek istiyorum. Savaş bitti ve sen yenildin. Şimdi teslim olmalısın. Asla pes etmeyeceğim ve teslim olmayacağım. Çok az bir seçeneğin var. Kızıl Ordum etrafını çevreledi,hiç bir yere kaçışın yok Hitler Biliyorum bu yüzden savaşı bitirmek istiyorum. Sadece teslim olmanı kabul edeceğim. Bana ihanet etmenin bedelini ödeyeceksin seni aptal. Molotov-Ribbentrop Paktını sonlandırdınız. Benim güçlerimi yenmenin kolay olacağını düşündün ama şimdi yenilmiş olan sensin. Sana söylemem gereken bir şey var. sen benim kıçımı öpersin. Sana savaşın biteceği fırsatını teklif ettim. Sen bu fırsatı reddettin. Güçlerim seni sığınağında kuşatırken gülen ben olacağım seni pislik herif! İnanılmaz. Aptal Stalin. Ona savaşı bitirme fırsatını teklif ettim. Teslim olmamı istiyor çünkü güçleri beni kuşattı. Efendim, belkide teslim olmayı düşünmelisiniz. Hiçbir şansımız yok;bu savaş artık ne yaparsanız yapın kaybedildi. DEFOLUN!(emeğe saygı beğenirseniz sevinirim-Orhun Eser)

Portuguese: Sim É na verdade.. É na verdade sobre mim Eu sei que fiz uma música sobre outra pessoa na primeira vez. Esta música é sobre mim, como eu quero ser meu próprio artista, e fazer músicas com as quais as pessoas possam se identificar Isso significa mais para você agora que está aqui neste palco? Tem tido tantos talentos aqui E tem sido tão único Eu estou realmente nervoso Eu acho que você é um ótimo compositor, eu realmente espero que hoje seja tão bom quanto a primeira vez Obrigado Boa sorte Eu fora para ser o melhor que posso ser Trabalhando na minhas habilidades dentro e fora Você sabe que isso é o que eu faço Eu não busco ser famoso Eu só quero tocar e cantar isso A única competição que vejo sou eu mesmo Eu tenho a visão do túnel E eu tenho como um telescópio E eu estou vendo E eu estou escolhendo ...tudo que posso fazer para me tornar melhor Eu vejo muitas pessoas Eu escuto muitas coisas Elas estão falando sobre de anéis de diamante, coisas de dinheiro English: Yeah, it's really it's really about me. I know I did a song about somebody else.. Simon: Yeah. the first time but this song is about me cause I really just want to be my own artist and make music that people can relate to. Simon: Does this mean more to you now, you're here in this middle stage? There's been so much talent here, and it's been so unique and I'm actually really nervous. I think you're a great songwriter, so I really hope today's as good as the first. Chase: Thank you. Simon: And good luck. I'm out to be the best me that I can be Workin' on my craft day in and out  You know that's what I'm about No I'm not aimin' to become famous. I just want to play and sing this The only competition I see is myself. I gotta tunnel vision kinda like a telescope And I'm lookin' at And I'm picking at everything that I can do to become better I see a lot of people. I hear a lot of things they're talkin' about diamond rings, money things Spanish: Sí, realmente es sobre mí Sé que hice una canción sobre alguien más Sí la primera vez, pero esta canción es acerca de mí es realmente sólo quiero ser mi propio artista y Hacer música que la gente puede relacionarse con esto significa más para usted ahora. Estás aquí en esta etapa intermedia Ha habido tanto talento aquí, y ha sido tan único y realmente estoy muy nervioso Creo que eres un gran compositor, así que espero que hoy sea tan bueno como el primero. Gracias y buena suerte Estoy fuera para ser el mejor yo que puedo estar Trabajando en mi día de artesanía dentro y fuera Usted sabe que eso es lo que estoy sobre No quiero ser famoso. Solo quiero jugar y cantar esto Sólo la competencia que veo es yo mismo. Tengo una visión de túnel un poco como un telescopio Y estoy mirando y estoy recogiendo en todo lo que puedo hacer para ser mejor Veo a mucha gente. Escucho muchas cosas hablando de anillos de diamantes dinero cosas English: I guess that happens when you hit the top, become unsatisfied with everything that you've already got. You say it's all about the music But you don't even live it Yeah, you lie to your fans. singing from my shadow you can call that shade I don't sing for a backtrack I write songs in my SnapBack I don't care what they say I'm keepin' it real Kinda like an a Capella. A capella a-a capella A capella a-a capella A capella a-a capella keeping it real Kinda like an acapella sometimes, I need to focus on myself and what I need Sometimes I feel like my mind is on it's own kind of speed. [rapping] But I guess it's the way that it goes when you try to write like a beast This is my feast. Don't ever classify me as a rapper. I spit a little bit and I can talk fast but that's it. It ain't about the gold chains  Ain't about the fake girls Ain't about the high life Ain't about the money Spanish: Supongo que eso sucede cuando usted golpea la tapa. No te sientas satisfecho con todo lo que ya tienes Usted dice que es todo sobre la música Pero ni siquiera vives esto Sí, mientes a tus fans. Estoy cantando desde mi sombra puedes llamar esa sombra No canto para un backtrack Escribo canciones en mi SnapBack No me importa lo que dicen Estoy manteniéndolo real Un poco como un a Capella. A capella a-a capella A capella a-a capella A capella a-a capella lo mantiene real Un poco como una acapella a veces, necesito concentrarme en lo que necesito A veces siento que mi mente está en su propio tipo de velocidad. Pero supongo que es la forma en que va cuando se intenta escribir como una bestia esta es mi fiesta No me clasifique nunca como un rapero. Escupí un poco y puedo hablar rápido pero eso es todo. No estoy sobre las cadenas de oro No es sobre las chicas falsas No es sobre la vida alta No es sobre el dinero Portuguese: Eu acho que isso acontece quando você chega no topo Você se torna insatisfeito com tudo que você já tem Você diz que tudo sobre a música Mas você nem vive isso Sim, você mente para seus fãs Cantando das sombras, você pode chamar isso de desrespeito Eu não canto para isso Eu escrevo músicas no meu (snapback?) Eu não ligo para o que dizem Me mantendo verdadeiro Eu meio que gosto de A Capella A Capella Me mantendo verdadeiro Eu meio que gosto de A Capella As vezes eu preciso focar em mim mesmo e no que eu preciso As vezes eu acho que minha mente precisa de certa velocidade Mas acho que é assim que as coisas acontecem quando você tenta escrever como um monstro Esta é minha diversão Nunca me classifique como um rapper Eu cuspo um pouco e consigo falar rápido mas é só isso Não é sobre correntes de ouro Não é sobre garotas superficiais Não é sobre a vida no auge Não é sobre o dinheiro Portuguese: Repare, minhas letras são diferentes Elas ganham vida assim que começo a cantar Eu diria que eu coloco minha alma nelas.. Mas eu sou ruivo, e você sabe como é Eu não procuro por estranhos Eu tenho classe e respeito, sim Eu não ligo para o que dizem Me mantendo verdadeiro Eu meio que gosto de A Capella A Capella... A A Capella A capella... A A Capella A capella... A A Capella Me mantendo verdadeiro Eu meio que gosto de A Capella English: See my lyrics are different. They come alive the minute I start to sing them. I would say that I put my soul all up in them. But I am a ginger you know how that goes I don't hook up with strangers. NO. I've got class and respect. Yeah I don't care what they say. Keepin' it real kinda like an acapella Acapella ah-Acapella. acapella ah-Acapella. Acapella ah-capella. Keeping it real kinda like an acapella. I think that song was original.. I think it was. I never heard it. Thank you. Good Chase! Mel. Your voice is good. You play guitar good, the lyrics, everything! I actually felt like I was just at your private concert [Heidi:Yeah] just then. Spanish: Ver mis letras son diferentes. Ellos cobran vida cuando empiezo a cantarlos. Yo diría que puse todo mi alma en ellos. Pero soy un jengibre sabes como va eso No me relaciono con extraños. NO. Tengo clase y respeto. Sí No me importa lo que digan. manteniéndolo real como una acapella Acapella a_Acapella acapella a_Acapella Acapella a_capella keeping it real like a kind an Acapella Puedo llevarme bien con un indio en medio. Nunca lo oí Bueno Mel Tu voz es buena Spanish: Tocas los productos de la guitarra como la letra todo lo que sentí como si estuviera en tu concierto privado De verdad te di las gracias Pensé que eras fantástico la última vez que estuviste Fantástico hoy una cosa. Quiero saber cuando dijiste que sabes, soy jengibre. ¿Sabes cómo va a explicar? ¿UH Huh? Sí, así que hay un Hay esta broma tipo de cosa sobre cómo gingers no tienen almas ¿qué tienes alma? Y dicen que por cada peca que tenemos todavía ¿qué? Nunca escuché esto antes. pero de todos modos eres fantástico realmente eres muy especial Muchas gracias haidie Esta noche me recordó una vez más. Por qué disfruté haciendo lo que hago por dinero Gracias, y el mejor cumplido. Puedo darle comercio si usted pide cualquier consejo de mí Yo diría que no hay nada que pueda decirte porque lo tienes todo sucediendo Oh, Dios, me gusta tu energía Vamos a DJ English: I really did. Chase: Thank you. I thought you were fantastic the last time you were Fantastic today, one thing. I want to know..when you said you know, I'm ginger, you know how that goes, will you explain that to us? *crowd laughter* Yeah, so there's um There's this joke kind of thing about how gingers don't have souls... Mel B: But you do have soul! And they say for every freckle we have we steal a soul. Mel B.: What?! Never heard this before! But anyway I think you're fantastic. You really are. You're very special. Thank you, so much Heidi. Tonight reminded me once again, why I enjoy doing what I do so much. Thank you. Simon: And the best compliment I can give you, Chase, if you ask for any advice of me I would say there's nothing I can tell you. Man: What? Woman: Wow/ Simon: Because you've got it all happening. You're a good guy. I like your energy. Let me go to DJ. Spanish: Sabes que hago esta cosa de la música para la verdad que estableces un montón de registros de éxito y déjame decirte algo La letra ellos tan Real y auténtico como una acapella La forma en que lo estaba rompiendo Y yo estaba escuchando las palabras y la forma en que se involucró a la gente y luego llegó a la propia canción no alguien otra canción Estás en camino de ser una estrella este espectáculo y esta etapa es va a hacerte entrar Superestrella tú Jake está en la lista English: You know I do this music thing for real. You see? And I put out a lot of hit records.. And let me tell you somethin'.. The lyrics they so Real and authentic like an acapella The way you was breaking it down And I was listening to the words and the way you got the crowd involved and then you came with your own song not somebody else's song You're on your way to be a star this show and this stage is going to make you into a.. Superstar. Man: Oh, man! You kiddin' me? Oh, my gosh. I'm tearing up. Chase: Thank you so much. You have no idea! DJ: You've got it. Chase: You're amazing. Thank you. DJ: We've got to work together. Chase: Yes! We've got to do something together. Chase: Please! That'd be so- Congrats. Make some noise! Make some noise.

Poznałem Cię jako stand-upera i scenarzystę. Ale stałeś się aktorem! Jesteś całkiem dobry. Dostałeś te wszystkie nominacje do nagrody Emmy za swój serial, jesteś w bardzo dobrym filmie Woody'ego Allena, jesteś tam świetny A teraz jesteś w filmie Davida O. Russella. To prawda. - Więc te aktorskie sprawy... Jak się z tym czujesz? - Tak... Teraz wiem już jak to robić. Rozgryzłem to. Podstawowa rzecz to... Wychodzi to z Twojego wnętrza. Teraz wiem jak wywołać każdą emocję. Po prostu to łapie. - Naprawdę? - Formalność. Banalne. - Rozmawiałem z wieloma ludźmi, nie wiedziałem, że tak po prostu... - Taaa...W każdą emocję mogę tchnąć życie. Ok. Możesz pokazać smutek? - Chcesz żebym Ci pokazał? - Tak. Okey, pokażę jak wywołać smutek. - Chcesz smutek? - Tak. Co jeszcze? - Radość? - Ok, oto radość. Pozwól, że Cię nauczę jak to robić. Spróbujesz. Po prostu poczuj emocje, nie przesiewaj ich przez swoje sito... Po prostu to wyrzuć z siebie. - Nie dopuszczać do tego swoich myśli... - Nie, nie, nie. Po prostu wydobądź... - Co zrobić? - Gniew. Zzzzz... ZZzzz... Zły... Zły ty... Jestem zły na Ciebie! Widzisz, to wszystko. 3 nagrody Emmy. Nie możesz tego zmarnować. Powinieneś sprzedawać jakieś DVD... To jest całkiem fajne. Porozmawiajmy o twoim HBO Special "Oh My God". Tak, tak się nazywa. Tak dla jasności. Chcesz coś o nim powiedzieć... Możesz powiedzieć: "Porozmawiajmy o twoim nowym specialu... O mój Boże." Masz rację, to może mylić. Jest to special, który zrobiłem dla HBO, dostałem za niego Emmy. Sprzedaję go na mojej stronie. Za 5 dolarów, jak poprzednim razem. Tyle. Wchodzisz na stronę, ściągasz, oglądasz. Prościutkie. Tylko 5$. To special, nagrałem go w Pheonix, robię na nim stand-up, opowiadam żarty przez godzinę. Całkiem zabawne. Nie wiem co jeszcze powiedzieć. Jeszcze nie wiedziałem, żeby ktoś tak reklamował swój produkt. "A czego byś chciał? Jest śmieszne. Tylko 5$." Dostępny na całym świecie. "Taaa... Sprawdź to."

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THIS FRIDAY. THERE ARE SOME EXEMPTIONS FOR CHILDREN UNDER THE AGE OF 5 AND FOR PEOPLE WHO ARE DEAF OR HAVE HEARING LOSS. PEOPLE DOING RECREATIONAL ACTIVITIES ALONE OR WITH HOUSEHOLD MEMBERS ALSO WON'T HAVE TO WEAR MASKS. VIOLATING THE STATE-WIDE ORDER IS A MISDEMEANOUR, PUBLISHABLE BUT UP TO -- PUNISHABLE BY UP TO 90 DAYS IN JAIL AND UP TO A SPECIFIC FINE AMOUNT. >> Mike: A DISTURBING VIDEO SHOWING A KELOWNA RCMP OFFICER DRAGGING A UNIVERSITY STUDENT ON THE FLOOR AND STEPPING ON HER HEAD AFTER A WELLNESS CHECK. >> Lien: THAT VIDEO IS PART OF A CIVIL LAWSUIT AGAINST THE MOUNTIE. THE OFFICER CLAIMS SHE USED NO MORE FORCE THAN NECESSARY TO SUBDUE THE SUICIDAL STUDENT. >> THIS IS THE VIDEO THAT HAS KELOWNA AND THE REST OF THE COUNTRY TALKING TODAY AND QUESTIONING POLICE OFFICERS' INVOLVEMENT IN WELLNESS CHECKS. THE INCIDENT HAPPENED HERE AT THIS APARTMENT BUILDING FOR UBC OKANAGAN STUDENTS. IT INVOLVED CORPORAL LACY BROWNING AND A NURSING STUDENT, 20-YEAR-OLD MOANA WANG. IT RESULTED IN BROWNING DRAGGING WANG ACROSS THE BUILDING'S LOBBY IN FRONT OF OTHER STUDENTS AND THEN STEPPING ON HER HEAD, ACTIONS ALL CAUGHT ON SURVEILLANCE CAMERAS. IN A CIVIL LAWSUIT. WANG SAYS SHE WAS IN MENTAL DISTRESS AND HER BOYFRIEND CALLED THE RCMP TO CHECK IN ON HER. WANG CLAIMS BROWNING FOUND HER LYING IN A SEMICONSCIOUS STATE IN HER BATHROOM BUT INSTEAD OF PROVIDING HELP, SHE SAID THE OFFICER YELLED AT HER TO GET UP AND KICKED HER IN THE STOMACH WHEN SHE DIDN'T. THE SURVEILLANCE VIDEO SHOWS BROWNING PULLING WANG, WHO WAS LYING ON HER STOMACH AND NOT MOVING, DOWN A CARPETED HALLWAY AND LATER INTO THE LOBBY. WANG IS HANDCUFFED AND ONLY WEARING PANTS AND A BRA. AS OTHER STUDENTS COME AND GO, SOME STOPPING TO STARE AT HER LYING ON THE GROUND. WHEN WANG LIFTS HER HEAD SLIGHTLY, BROWNING FORCES IT BACK DOWN TO THE FLOOR WITH HER FOOT. NONE OF THE CLAIMS IN THE LAWSUIT HAVE BEEN PROVEN IN COURT. HOWEVER, THE VIDEO COMES IN THE WAKE OF ANOTHER DISTURBING ARREST VIDEO FOR THE KELOWNA RCMP, WHERE AN OFFICER PUNCHES A SUSPECT REPEATEDLY IN THE HEAD, AND IT'S ALSO ON THE HEELS OF OTHER INCIDENTS INVOLVING POLICE AND WELLNESS CHECKS IN CANADA, INCLUDING CASES THAT RESULTED IN DEATHS IN NEW BRUNSWICK AND ONTARIO. HERE IN KELOWNA, MAYOR COLIN BASRAN SAYS WHAT HE SAW WHEN HE REACHED THIS RECENT ARREST VIDEO LAST NIGHT IS DISAPPOINTING. >> REALLY DISTURBING, AND I THINK IT JUST HIGHLIGHTS THE NEED FOR SYSTEMIC CHANGES. YOU KNOW, OBVIOUSLY, DEALING WITH MENTAL HEALTH AND -- AND ADDICTION ISSUES IS NOT EASY, BUT WHAT I SAW IN THAT VIDEO WAS INCREDIBLY DISAPPOINTING. >> Reporter: IN A LEGAL RESPONSE, CORPORAL BROWNING SAYS WANG WAS COMBATIVE AND SHE ONLY USED ENOUGH FORCE TO TAKE HER INTO CUSTODY UNDER THE MENTAL HEALTH ACT. AN RCMP SPOKESPERSON SAYS IT'S REVIEWING THE VIDEO AND THE ALLEGATIONS AND WILL DETERMINE THE NEXT STEPS TO TAKE. BRADY STRACHAN, CBC NEWS, KELOWNA. >> Mike: LATE DEVELOPMENTS ON THAT STORY TONIGHT. AN RCMP SPOKESPERSON NOW TELLS US CORPORAL BROWNING HAS BEEN PLACED ON ADMINISTRATIVE DUTIES. AN INTERNAL CODE OF CONDUCT REVIEW AND A CRIMINAL INVESTIGATION ARE UNDERWAY. ONCE THAT'S COMPLETED, AN OUTSIDE POLICE DEPARTMENT WILL BE ASKED TO INDEPENDENTLY REVIEW THE INVESTIGATION'S FINDINGS. >> Lien: TODAY MARKS TWO YEARS SINCE 47-YEAR-OLD MINOR HOCKEY COACH WAS GUNNED DOWN. >> Mike: PAUL BENNETT WAS SHOT DEAD IN A CASE OF MISTAKEN IDENTITY ACCORDING TO INVESTIGATORS. AS RAFFERTY BAKER REPORTS, THE KILLER REMAINS AT LARGE ZERS IT WAS A BAFFLING DAYTIME SHOOTING IN JUNE 2018. A MAN'S LIFE TAKEN IN HIS QUIET NEIGHBOURHOOD. PAUL BENNETT WAS A NURSE, A FATHER, A HUSBAND, A MINOR HOCKEY VOLUNTEER, AND COACH. >> HE LOVED OUR BOYS AND ENCOURAGED THEM IN SPORTS AND SUPPORTED THEIR DREAMS. HE WAS PAUL. ONE OF THOSE EXCEPTIONAL PEOPLE NOT EVERYONE IS LUCKY TO MEET IN THEIR LIFE. >> Reporter: IN THE DAYS FOLLOWING THE KILLING, INVESTIGATORS ASKED FOR INFORMATION ABOUT BENNETT'S LAST FEW HOURS. POLICE CALLED IT A TARGETED SHOOTING, AND THEY TRIED TO PIECE TOGETHER HOW THIS CARING MEMBER OF THE COMMUNITY COULD BE TIED TO THE CRIMINAL WORLD. THOSE WHO KNEW HIM NEVER DOUBTED HIS INNOCENCE. >> IT WAS STILL HARD FOR OUR MEMBERS TO GO THROUGH THAT AND SEE THAT IN THE NEWS AND PEOPLE TALKING, WELL, PAUL, MIGHT HAVE BEEN INVOLVED AND EVERYBODY KNEW THERE'S NO CHANCE THAT COULD HAVE BEEN THE CASE. >> THE VICTIM WASN'T THE INTENDED VICTIM. PAUL BENNETT -- WE SAID MANY TIMES -- WAS TRULY AN INNOCENT VICTIM, UNINTENDED TARGET OF A TARGETED SHOOTING. >> Reporter: TODAY BENNETT IS REMEMBERED FONDLY BY THE MINOR HOCKEY COMMUNITY IN CLOVERDALE. >> WAS ALWAYS THE ONE WORKING WITH THE KIDS WHO ARE THE MOST SCARED TO BE ON THE ICE AND THE MOST TIMID AND MAKING SURE THEY HAD FUN AND CAME BACK EVERY WEEK. >> Reporter: TWO YEARS ON, BENNETT'S KILLER STILL HASN'T BEEN BROUGHT TO JUSTICE. CHANG SAYS INVESTIGATORS HAVE SPOKEN TO MORE THAN 100 PEOPLE IN THE CASE AND HE SAYS THE CASE IS A PRIORITY AND STILL ACTIVE. POLICE RELEASED FOOTAGE OF A SILVER HONDA CAR THEY WERE LOOKING FOR AFTER THE KILLING. HE SAYS THEY STILL WANT TO HEAR FROM ANYONE WHO COULD HELP MAKE A CASE AGAINST BENNETT'S KILLER, BUT THAT THEY ARE MAKING PROGRESS ON THE CASE. >> I'M HOPING THAT THERE WILL BE A DAY HOPEFULLY VERY SHORTLY WHERE THOSE RESPONSIBLE WILL BE IN CUSTODY, WILL BE HELD TO ACCOUNT IN A COURT OF LAW AND WILL BE ABLE TO SHARE THOSE DETAILS. UNFORTUNATELY TODAY IS NOT THAT DAY. >> Reporter: BUT FOR THOSE WHO KNEW BENNETT, TODAY IS A DAY TO REMEMBER THE CARING MEMBER OF THE COMMUNITY THAT HE WAS. RAFFERTY BAKER, CBC NEWS, VANCOUVER. >> Lien: NEARLY 20 FIREFIGHTERS WERE SENT RUSHING TO AN AGGRESSIVE HOUSE FIRE IN SURREY'S GUILDFORD NEIGHBOURHOOD THIS AFTERNOON. >> MY NEXT-DOOR NEIGHBOUR'S HOUSE IS ON FIRE. >> Lien: CREWS RESPONDED TO THE FIRE AT 103RD AVENUE AND 143RD STREET IN SURREY AROUND 1:30 THIS AFTERNOON. A NEIGHBOUR REPORTED HEARING AN EXPLOSION BEFORE RUSHING OUT TO SEE THE FLAMES. NO INJURIES HAVE BEEN REPORTED. NO WORD YET ON THE CAUSE. >> Mike: WELL, THEIR BAGS WERE PACKED, FARES FULLY PAID AND SEATS CONFIRMED. >> Lien: BUT NEARLY 150 CANADIANS STUCK IN INDIA WERE DENIED BOARDING AT THE LAST MINUTE THIS WEEKEND. >> Mike: MANY FROM BC ARE STILL STRUGGLING TO GET HOME SINCE INDIA SHUT DOWN ITS AIRPORTS THREE MONTHS AGO. >> Lien: AS BELLE PURI OF CBC'S IMPACT TEAM REPORTS, THEY SAY IT'S ANOTHER EXAMPLE OF WHY THE FEDERAL GOVERNMENT NEED TO SEND HELP. >> REPORTER: IT'S A CHAOTIC SCENE AT THE AIRPORT. [ Yelling ] >> Reporter: AIR INDIA REFUSES TO BOARD APPROXIMATELY 150 CANADIAN CITIZENS AND PERMANENT RESIDENTS ON A FLIGHT TO TOKYO. DELTA RESIDENT SOLNAD SHARMA WAS ONE OF THEM ALONG WITH HER 5-YEAR-OLD SON. >> KIDS IN DISTRESS. ELDERLIES WERE BEING BADLY HANDLED BY THE AIR INDIA OFFICIALS. THEY WERE ILL TREATED. THEY WERE NOT -- THEY WERE NOT GIVEN PROPER RESPONSES. >> Reporter: AIR INDIA STAFF MAINTAIN THE TRAVELLERS COULDN'T BOARD BECAUSE THE AIRLINE DIDN'T HAVE A CANADIAN EMBASSY LIST WITH THEIR NAMES ON IT. A CALL BY SHARMA TO THE ISTANBUL PROVED THE AIRLINE WRONG. THEN AIR INDIA TOLD THEM THEY COULDN'T FLY BECAUSE AN ENTRY BAN IN JAPAN, WHERE THE CANADIANS WOULD TRANSFER TO AIR CANADA TO VANCOUVER. BUT THE BAN DOESN'T APPLY TO PASSENGERS IN TRANSIT. >> THE MANAGER OF AIR INDIA AND NOW HE IS SAYING I'M CALLING -- GOING TO MOVE YOU GUYS. >> Reporter: THE FLIGHT LEFT WITHOUT THE CANADIANS. THE ADVOCATE FOR CANADIANS STUCK IN INDIA BLAMES THE AIRLINE FOR WHAT HAPPENED TO THE PASSENGERS, BUT ALSO CANADA'S GOVERNMENT. >> HAD WE BEEN MORE ORGANIZED, HAD WE IMPLEMENTED FLIGHTS FOR OUR TAXPAYERS THAT CONTRIBUTE TO OUR ECONOMY, THIS WOULDN'T HAVE HAPPENED. PEOPLE WOULDN'T BE IN A PANIC. >> Reporter: GLOBAL AFFAIRS CANADA REPORTS TO DATE, 92 REPATRIATION FLIGHTS HAVE BROUGHT HOME JUST OVER 15,000 CANADIANS FROM INDIA. THE CANADIAN HIGH COMMISSION IN INDIA SAYS IT'S ASKED IN WRITING FOR THE INDIAN GOVERNMENT TO HELP MAKE IT EASIER FOR CANADIANS TO COME HOME. IT HOPES FOR INCREASING OPTIONS FOR TRAVELLERS, BUT CAN'T OFFER ANY ADDITIONAL INFORMATION. MEANWHILE, A REPRESENTATIVE FOR FOREIGN AFFAIRS IN CANADA SAYS SIMPLY, UNFORTUNATELY, THE MINISTER IS NOT AVAILABLE. VARIOUS ATTEMPTS TO REACH AIR INDIA WERE UNSUCCESSFUL. IN THE MEANTIME, SHARMA IS BACK WITH HER FAMILY DEALING WITH TEMPERATURES IN THE MID 40s AND PANDEMIC RESTRICTIONS. >> PLEASE WAKE UP, PLEASE LISTEN TO OUR CALLS. >> Reporter: BELLE PURI, CBC NEWS, VANCOUVER. >> Lien: THE BC GOVERNMENT IS TAKING STEPS TO ADDRESS SKY-HIGH INSURANCE COSTS FOR CONDO OWNERS. >> Mike: THE PROPOSED LEGISLATION LOOKS TO BRING MORE TRANSPARENCY TO THAT INDUSTRY. >> Lien: BUT AS ANDREA ROSS REPORTS, HOMEOWNERS ARE STILL IN FOR A LONG AND EXPENSIVE ROAD AHEAD. >> Reporter: THE CURRENT SITUATION IS UNACCEPTABLE, AND THERE IS NO QUICK FIX FOR THIS PROBLEM. >> Reporter: THE BC GOVERNMENT IS TAKING ITS FIRST STEPS TO ADDRESS RISING COSTS OF STRATA INSURANCE, A REPORT FROM THE BC FINANCIAL SERVICES AUTHORITY SAYS PREMIUMS ARE GOING UP IN BC. IN METRO VANCOUVER, IT'S EVERYONE HIGHER, 50% YEARLY. IT'S A COMPLEX ISSUE. RISING CLAIMS COSTS ARE PART OF IT, BUT BC HAS OTHER UNIQUE FACTORS. >> BC AND CERTAINLY IN VANCOUVER IS ALSO AT AN EARTHQUAKE RISK WHERE YOU DON'T SEE THAT IN OTHER JURISDICTIONS ACROSS THE COUNTRY. >> Reporter: NOW THE GOVERNMENT HAS TABLED LEGISLATION TO AMEND THE STRATA PROPERTY AND FINANCIAL INSTITUTIONS ACTS. >> ONE OF THE STEPS WE ARE TAKING IS TO PROHIBIT REFERRAL FEES. THIS MEANS THAT INSURERS AND INSURANCE BROKERS WILL NO LONGER BE ABLE TO OFFER REFERRAL FEES AS AN INCENTIVE TO A STRATA PROPERTY MANAGER. >> Reporter: OTHER CHANGES INCLUDE SETTING CLEAR GUIDELINES FOR WHAT STRATAS NEED TO ENSURE AND ENSURING OWNERS ARE KEPT IN THE LOOP ON CHANGE TO POLICIES, LIKE WHEN DEDUCTIBLES GO UP. SOME SAY IT'S A POSITIVE FIRST STEP. >> I THINK WHAT WE SAW THIS MORNING WERE SOME SMALL STEPS IN THE RIGHT DIRECTION WITH THE EMPHASIS ON SMALL. >> Reporter: DUBOIS SAYS SHE IS GLAD TO SEE PLANS TO END REFERRAL FEES AND REQUIRE DISCLOSURE OF COMMISSIONS, SOMETHING SHE SAYS CAN HAVE A BIG IMPACT ON INSURANCE COSTS. THEIRS WENT UP ALMOST 120% THIS YEAR. >> OUR INSURANCE THIS YEAR IS ALMOST $900,000. SO A 20% COMMISSION WOULD BE QUITE SIGNIFICANT TO A BROKER. >> Reporter: OTHERS ARE RELIEVED TO SEE MORE TRANSPARENCY. >> I THINK THE ANNOUNCEMENT IS GOOD NEWS FOR THE PUBLIC IN THE SENSE THAT THE GOVERNMENT IS PAYING ATTENTION. DOING WHAT CAN BE DONE RIGHT NOW TO MAKE SOME CHANGES. >> Reporter: BUT HE WANTS TO SEE MORE PUBLIC CONSULTATION. >> THIS IS STILL A ROUGH YEAR OR TWO AHEAD OF US, WHEN IT COMES TO INSURANCE LIABILITIES AND RISKS. >> Reporter: NO QUICK FIXES BUT A SIGN FOR OWNERS THAT INSURANCE COSTS MAY HAVE HIT THEIR PEAK. ANDREA ROSS, CBC NEWS, VANCOUVER. >> Lien: VANCOUVER'S DOWNTOWN EASTSIDE ACTIVISTS AND SUPPORTERS RALLIED FOR THE SAFE SUPPLY OF DRUGS IN BC. THE GROUP GATHERED AT THE OFFICE OF THE VANCOUVER-AREA NETWORK OF DRUG USERS. THEY SAY IT'S CRUCIAL TO STOPPING THE LARGE NUMBER OF OVERDOSE DEATHS WE SEE EACH MONTH. SINCE THE CLOSURE OF INTERNATIONAL BORDERS DUE TO THE PANDEMIC, THE STREET DRUG SUPPLY HAS GROWN INCREASINGLY TOXIC. MAY WAS THE DEADLIEST MONTH IN PROVINCIAL HISTORY IN TERMS OF DRUG POISONING DEATHS. >> Mike: WELL, IT WAS 35 YEARS AGO, BUT FOR FAMILIES OF THE VICTIMS OF THE AIR INDIA DISASTER, THE PAIN AND ANGUISH IS STILL THERE. >> Lien: 329 PEOPLE WERE KILLED WHEN FLIGHT 182 EXPLODED OFF THE COAST OF IRELAND, MAKING IT THE WORST MASS MURDER IN CANADIAN MAGNIFICENT. >> Mike: AS MEERA BAINS REPORTS TONIGHT, THE GLOBAL PANDEMIC HAS FORCED ORGANIZERS TO ALTER MEMORIAL PLANS FOR THE ANNIVERSARY. >> Reporter: IN SOME WAYS, AS IF IT HAPPENED YESTERDAY. >> Reporter: HER UNCLE AND AUNT WERE KILLED ON THE FLIGHT. SHE VISITED THE AIR INDIA MEMORIAL IN STANLEY PARK TO MOURN THEM PRIVATELY. A PUBLIC COMMEMORATION CAN'T BE HELD THIS YEAR DUE TO COVID-19 RESTRICTIONS PREVENTING GATHERINGS OF MORE THAN 50 PEOPLE. >> THAT'S THE TERRIBLE THINGS ABOUT THESE SORTS OF TRAUMAS. I THINK ANYONE WHO LOSES SOMEONE TO MURDER, PARTICULAR A HORRIFIC VIOLENT MURDER, THERE IS A SENSE OF TIMELESSNESS. >> Reporter: RELATIVES AND FRIENDS ARE REMEMBERING THOSE KILLED INCLUDING 280 CANADIANS AND 86 CHILDREN WHEN A BOMB EXPLODED ON BOARD THE AIRPLANE OFF THE COAST OF IRELAND. TWO BAGGAGE HANDLERS WERE KILLED AT TOKYO'S AIRPORT ON THE SAME DAY WHEN A SUITCASE EXPLODED BEFORE IT WAS LOADED ONTO ANOTHER AIR INDIA PLANE. GUPTA WAS 12 YEARS OLD WHEN HIS MOTHER DIED ON THE FLIGHT. HE IS BEHIND AN ONLINE MEMORIAL TO REMEMBER THOSE WHO WERE KILLED. FOR PEOPLE WHO CAN'T VISIT ONE OF THE MEMORIAL SITES. >> WHAT WE HAVE DONE INSTEAD IS CREATE A -- CREATED A YOUTUBE CHANNEL WHERE WE WILL BE POSTING STATEMENTS OR MESSAGES FROM VICTIMS' FAMILY MEMBERS, SOME OFFICIALS. >> Reporter: AUTHORITIES HAVE SUSPECTED THE TWO BOMBINGS WERE AN ACT OF REVENGE BY BC SIKH SEPARATISTS. ONLY ONE MAN, A MECHANIC FROM DUNCAN, BC, HAS BEEN CONVICTED IN THE ATTACK. HE WAS RELEASED AFTER SPENDING THREE DECADES IN PRISON. TWO OTHER BC MEN WERE ACQUITTED OF MURDER AND CONSPIRACY CHARGES. MESSAGES POINT FOR THE NEED FOR JUSTICE AND TO NEVER FORGET THE TRAGEDY. >> IT IS OUR LOVING RESPONSIBILITY TO REMEMBER HOW THE LOSS OF MY FATHER AND EVERY OTHER FAMILY MEMBER ON AIR INDIA 182 WAS SO GROSSLY UNNECESSARY. >> WE MISS THEM TERRIBLY, AND THEY WILL ALWAYS BE ETCHED IN OUR HEARTS. >> Reporter: PRIME MINISTER JUSTIN TRUDEAU DELIVERED THIS MESSAGE. >> Rt. Hon. Justin Trudeau: I OFFER MY DEEPEST CONDOLENCES TO ALL CANADIANS WHO HAVE LOST THE LOVED ONE TO TERRORISM. YOU ARE IN MY THOUGHTS TODAY. >> Reporter: HERE AT THE AIR INDIA MEMORIAL IN STANLEY PARK, THERE ARE SIGNS THAT PEOPLE HAVE COME BY TO PAY THEIR RESPECTS. FAMILY MEMBERS OF VICTIMS ARE HOPING THAT THEY'LL BE ABLE TO GET TOGETHER TO MOURN AND TO HEAL IN THE FUTURE. MEERA BAINS, CBC NEWS, VANCOUVER. [♪♪♪] >> Lien: SO BRETT, NOT FEELING SO SUMMERY OUTSIDE. WHAT'S GOING ON HERE? A BIT OF A ROLLER COASTER TODAY IN TERMS OF THE WEATHER. [ Laughter ] ROLLER COASTER, AND I THINK EVEN MORE SO NOW BECAUSE IT LOOKS LIKE THE SUN IS JUST TRYING TO PEAK OUT BEHIND THESE CLOUDS, BUT WE HAVE JUST BEEN DEALING WITH A LOT OF LOW CLOUD AND A LITTLE BIT OF HUMIDITY TO BOOT. LET'S LOOK AT WHAT IT LOOKED LIKE THIS MORNING. TIME LAPSE FOR YOU, SHOWING WHAT IT LOOKED LIKE OVER SCIENCE WORLD AND BC PLACE. FAST-MOVING CLOUDS, AND A FEW BITS OF DRIZZLE HERE AND THERE, IF YOU WERE AWAKE TO SEE IT, AND THAT TREND CARRIED ON THROUGHOUT THE DAY. AND CERTAINLY BY THE AFTERNOON, HUMIDITY REALLY ONE OF THE STORIES AND IF WE LOOK AT SOME OF THE CURRENT TEMPERATURES, RIGHT AT ABOUT SEASONAL, 19, 20º BUT EARLIER THIS AFTERNOON, VANCOUVER INTERNATIONAL AIRPORT FEELING CLOSER TO ABOUT 27º WHEN YOU CONSIDER THE HUMIDITY THAT WAS THERE. NOW, THE REASON FOR THIS BECAUSE WE ARE DEALING WITH SHOWERS JUST IN OUR VICINITY. KIND OF ALL AROUND US. YOU CAN SEE ON THE SUNSHINE COAST THERE. OUT INTO THE FRASER VALLEY. THAT'S GOT A LOT OF MOISTURE INTO THE ATMOSPHERE. FOR THE NEXT FEW HOURS, THE RISK IS CERTAINLY THERE FOR A FEW MORE SHOWERS, BUT THERE IS A SORT OF LIGHT AT THE END OF THE TUNNEL. TOMORROW IS LOOKING TO BE A MUCH SUNNIER DAY BY TOMORROW AFTERNOON AND THAT TREND WILL CONTINUE RIGHT THROUGH THE WEEK. >> Mike: THANKS, BRETT. TALK TO YOU IN A BUILT.AS BEEN A YOU CAN WATCH THIS NEWSCAST LIVE ON CBC GEM. >> Lien: AND CBC VANCOUVER IS ALSO ON FACEBOOK, YOUTUBE, AND INSTAGRAM, AND YOU CAN FIND BOTH MIKE AND I THERE AS WELL. [♪♪♪] >> Mike: U.S. PRESIDENT DONALD TRUMP HAS ANNOUNCED NEW RESTRICTIONS ON IMMIGRATION. THEY INCLUDE A FREEZE ON VISAS USED BY SKILLED WORKERS. COMING UP, WHY THE MOVE HAS MANY CANADIANS WORRIED. [♪♪♪] >> Lien: WELL, THANK YOU FOR WATCHING OUR AD-FREE LIVE STREAM DURING THE REGULAR TV COMMERCIAL BREAK. >> Mike: SOME CANADIAN MEDICAL STUDENTS ARE REPORTING SERIOUS TECHNICAL ISSUES WITH THEIR FINAL QUALIFYING EXAM. PROBLEMS THEY SAY MAKE THE TEST UNFAIR. MEDICAL COUNCIL OF CANADA BEGAN OFFERING THE OPTION OF TAKING ITS EXAM REMOTELY AS IT RESPONDS TO COVID-19. >> Lien: BUT STUDENTS SAY THE PROCESS HAS BEEN PLAGUED WITH SYSTEM CRASHES AND OTHER COMPLICATIONS. >> Reporter: MEDICAL STUDENTS ACROSS CANADA ARE REPORTING FRUSTRATION, STRESS, AND EVEN AGONY OVER TECHNICAL PROBLEMS WITH THE MEDICAL COUNCIL OF CANADA'S QUALIFYING EXAM PART I. THE MCC HAS REPORTED IT'S HAD ABOUT 300 COMPLAINTS FOR THE APPROXIMATELY 1,200 TESTS THAT HAVE BEEN TAKEN SO FAR. CBC NEWS HAS SPOKEN TO STUDENTS WHO SAY THEY HAVE HAD PROBLEMS WITH REGISTRATION, CONTACTING TEST SUPERVISORS, AND BEING KICKED OFF THE ONLINE EXAM MULTIPLE TIMES. THE STANDARDIZED TEST IS THE CULMINATION OF MED SCHOOL, WITH MANY YOUNG DOCTORS TRYING TO TAKE IT BEFORE THEY BEGIN THEIR RESIDENCIES. >> WE HAD A HUGE ISSUE ON FRIDAY WHERE THE SYSTEM ITSELF JUST CRASHED AND FAILED, AND MANY, MANY STUDENTS -- I WOULD SAY MORE THAN TWO-THIRDS OF THE STUDENTS WRITING ON THAT FRIDAY -- WERE UNABLE TO COMPLETE THEIR EXAMINATIONS, AND MANY OF THEM WERE ABOUT 80 TO 90% THROUGH THE EXAMINATION. THIS EXAM LASTS EIGHT TO NINE HOURS. HAVING GONE THROUGH THAT MUCH TIME AND EFFORT TO HAVE ALL THAT CRASH AND TO HAVE TO RESCHEDULE THE EXAM IS QUITE UNFAIR. >> Reporter: THE MEDICAL COUNCIL OF CANADA SAYS THE TESTING EXPERIENCE HAS BEEN UNACCEPTABLE IN TOO MANY CASES. THE MCC SAYS THEY ARE WORKING TO IMPROVE THAT EXPERIENCE WITH A U.S.-BASED TESTING COMPANY THAT RUNS THE EXAM. FOR THEIR PART, PROMETRICS SAYS THIS IS THE FIRST TIME A MAJOR PROFESSIONAL EXAM IS BEING OFFERED WITH REMOTE SUPERVISION. THEY SAY MANY OF THE ISSUES STEM FROM UNRELIABLE WIFI CONNECTIONS. BOTH THE MCC AND PRO METRIC SAY THEY ARE WORKING TO OPEN MORE IN-PERSON TEST CENTRES AS PUBLIC HEALTH REGULATIONS ALLOW. CBC NEWS, OTTAWA. >> Mike: THE BRITISH PRIME MINISTER HAS REVEALED PLANS TO BEGIN A MAJOR LOOSENING OF THE NATIONWIDE LOCKDOWN. >> Lien: STARTING JULY 4RE, MILLIONS OF PEOPLE ACROSS ENGLAND WILL BE ABLE TO GET A HAIR CUT, HEAD TO THE PUB, OR VISIT A MOVIE THEATRE. >> TODAY WE CAN SAY THAT OUR LONG, NATIONAL HIBERNATION IS BEGINNING TO COME TO AN END AND LIFE IS RETURNING TO OUR STREETS AND TO OUR SHOPS. >> Lien: IN ANOTHER UPDATE TO PANDEMIC RULES, SOME PEOPLE IN BRITAIN NEED TO KEEP ONE METRE APART NOW RATHER THAN TWO SO LONG AS THEY TAKE PRECAUTIONS AND WEAR A MASK. THE CHANGE IS ONLY FOR ENGLAND, AS SCOTLAND, WALES, AND NORTHERN IRELAND HAVE INDEPENDENT PLANS TO EASE RESTRICTIONS. EXPERTS WORRY THE GOVERNMENT IS REOPENING THE ECONOMY TOO FAST. >> Mike: WHILE THERE HAS BEEN A SIGNIFICANT DROP SINCE APRIL, THE COUNTRY STILL HAS AT LEAST A THOUSAND NEW CASES EVERY DAY. THE U.K. HAS RECORDED MORE THAN 300,000 CORONAVIRUS CASES OVERALL WITH MORE THAN 42,000 DEATHS. VERY, VERY HARD-HIT AREA OF EUROPE. >> Lien: STAY WITH US. WE WILL BE RIGHT BACK IN A COUPLE MINUTES. SECONDS. SECONDS. [♪♪♪] >> Lien: DONALD TRUMP TOOK HIS FIRST TRIP OF 2020 TO THE U.S.-MEXICO BORDER AFTER ANNOUNCING FRESH IMMIGRATION RESTRICTIONS INCLUDING A FREEZE ON VAOEZS USED BY SKILLED WORKERS, ESPECIALLY IN THE TECH INDUSTRY. AS STEVEN D'SOUZA TELLS US, THAT HAS MANY CANADIANS WORRIED. >> Reporter: UNDER PRESSURE, POLLS SAGGING, DONALD TRUMP WENT TO A PLACE HE FEELS COMFORTABLE, SHOWING OFF THE BORDER WALL AND MAKING THE CASE -- [ NO AUDIO ] >> Reporter: UNDER PRESSURE, POLLS SAGGING, DONALD TRUMP WENT TO A PLACE HE FEELS COMFOABLE. SHOWING OFF THE BORDER WALL AND MAKING THE CASE FOR KEEPING FOREIGN WORKERS OUT OF THE U.S. >> President Donald Trump: SO WE WANT TO GIVE JOBS TO AMERICANS RIGHT NOW. >> Reporter: ON MONDAY THE ADMINISTRATION EXTENDED A BAN ON GREEN CARDS AND TEMPORARILY FROZE THE NEW WORK VISAS. AMONG THE CATEGORIES TARGETED: THE COVETED VISA USED BY SILICON VALLEY TO ATTRACT FOREIGN TALENT. THE ADMINISTRATION SAYS THE GOAL IS TO OPEN UP MORE THAN 500,000 JOBS FOR AMERICANS, BUT IT MAY BE CANADIANS CAUGHT IN THE CROSSFIRE. >> PEOPLE ARE VERY NERVOUS. THERE IS A LOT OF ANXIETY. THERE IS A LOT OF QUESTIONS THAT ARE COMING OUT. >> Reporter: IMMIGRATION LAWYERS ARE SCRAMBLING, TRYING TO FIGURE OUT IF CANADIANS MAY BE EXEMPT. >> I TEND TO TELL CLIENTS THAT WE SHOULD TAKE A WAIT-AND-SEE APPROACH. THEY ARE GOING TO ISSUE GUIDANCE, AND WHEN THAT HAPPENS, WE'LL HAVE TO ADJUST OUR PLANS ACCORDINGLY. >> OUR INTERPRETATION IS THAT CANADIANS DO NOT FALL UNDER IT. WE ARE CONCERNED THAT THE TRUMP ADMINISTRATION WILL TAKE ANOTHER VIEWPOINT AND TRY TO ARGUE THAT CANADIANS DO FALL UNDER IT IN SOME WAY. >> Reporter: FOR SOME CANADIANS, THE VISA FREEZE IS A GIFT. IRFAAN HAS TECH WORKERS EMIGRATING AND SETTLES THEM IN CANADA, WORKING REMOTELY FOR AMERICAN COMPANIES. >> AS LONG AS CANADA CAN USE THIS OPPORTUNITY AND OTHER OPPORTUNITIES TO ATTRACT AND RETAIN THE BEST LABOUR FROM AROUND THE WORLD, IT WILL ABSOLUTELY HELP US ECONOMICALLY SHORT TERM AND LONG TERM. >> Reporter: CANADA'S TECH SECTOR HAS ALREADY SEEN RECORD GROWTH IN RECENT YEARS, IN PART DUE TO U.S. EMIGRATION TURMOIL, A TREND MANY SEE CONTINUING IF BARRIERS IN THE U.S. KEEP GOING UP. STEVEN D'SOUZA, CBC NEWS, NEW YORK. >> Mike: OF COURSE, THE PANDEMIC HAS FORCED CANADA TO STOP MOST TRAFFIC COMING ACROSS THE U.S. BORDER. BUT THERE IS PRESSURE TO GET THINGS MOVING AGAIN. EVAN DYER LOOKS AT HOW THE GOVERNMENT HAS MANAGED THE BORDER AND WHAT IT MIGHT TAKE TO REOPEN. >> CANADIANS THINK THAT WE CAN STOP THIS AT THE BORDER. >> Reporter: THAT WAS ONE OF THE LAST TIMES THE TRUDEAU GOVERNMENT WOULD INSIST BORDER CLOSURES DON'T WORK. THREE DAYS LATER, THE FLIGHTS STOPPED AS GROWING EVIDENCE PROVED CANADA WAS WRONG. >> THE TIMING -- LIKE, THE MOST IMPORTANT PART. >> Reporter: THIS RESEARCHER HELPED ADVISE THE AUSTRALIAN GOVERNMENT TO CLOSE ON FEBRUARY 1ST. HER SUBSEQUENT ANALYSIS FOUND IT REDUCED AUSTRALIA'S EARLY CASE LOAD BY 86%. >> WE PREVENTED MUCH BIGGER EPIDEMIC JUST CLOSING TO CHINA. IT WAS THE BEST THING WE COULD DO AT THE MOMENT. >> Reporter: CANADA'S COVID DEATH RATE IS MORE THAN 50 TIMES AUSTRALIA'S, BUT CANADA HAS SOME ISSUES AUSTRALIA DOESN'T. OF COURSE, CANADA HAS A LAND BORDER AND ITS CLOSURE IS NOT COMPLETE. IN APRIL, MORE THAN 10,000 PEOPLE A DAY WERE STILL CROSSING OVER. CANADIANS LIVING IN THE U.S. WOULD LIKE TO VISIT FAMILY HERE. THE QUARANTINE REQUIREMENTS MAKE IT IMPRACTICAL. >> I HAVEN'T BEEN ABLE TO SEE THEM IN MONTHS. MY GRANDSON HAS LEARNED TO RIDE A BIKE. ONE OF MY GRANDDAUGHTERS HAS LEARNED TO WALK. AND THE OTHER ONE HAS LEARNED TO CRAWL. AND THEY HAVE DONE ALL OF THAT WITHOUT ME BEING THERE. >> Reporter: EPIDEMIOLOGISTS SAY THE BORDER MAKES CANADA VALUABLE. PEOPLE ARE STILL FREE TO TRAVEL BETWEEN ALASKA AND THE LOWER 48, POTENTIALLY THREATENING CANADA'S EFFORTS TO KEEP COVID OUT OF THE NORTH. WHILE THE CURVE IS BENDING DOWN IN CANADA, THE U.S. IS TRENDING BACK UP AGAIN. >> STRONGER EFFORTS TO, FOR EXAMPLE, TEST TRUCKERS. >> Rt. Hon. Justin Trudeau: WE ARE GOING TO BE VERY, VERY CAREFUL ABOUT WHEN AND HOW WE START REOPENING INTERNATIONAL BORDERS. >> Reporter: THE GOVERNMENT IS STILL NOWHERE NEAR BEING ABLE TO TEST THE 6,000 PEOPLE THAT ENTER CANADA ON AN AVERAGE DAY. IN NORMAL TIMES, THE FLOW OF PEOPLE IS ABOUT A QUARTER OF A MILLION AND WOULD REQUIRE FAR MORE DAILY TESTS THAN CANADA HAS YET BEEN ABLE TO CARRY OUT WITHIN ITS BORDERS. THAT'S HOW FAR CANADA IS FROM BEING ABLE TO REOPEN SAFELY. EVAN DYER, CBC NEWS, CHELSEA, QUEBEC. >> Lien: WALMART IS FACING OUTRAGE OVER INSENSITIVE EVEN RACIST T-SHIRTS AND OTHER PRODUCTS AVAILABLE OP ITS WEBSITE, OFTEN FEATURED BESIDE BLACK LIVES MATTER APPAREL. A REPORT ON WHY COMPANIES HAVE TO CATCH UP WITH THE TIMES. >> Reporter: POLICE LIVES MATTER STICKERS. ONESIES FOR BABIES. T-SHIRTS DECLARE HOMELESS LIVES, IRISH LIVES, RED, ANIMAL, AND ALL LIVES MATTER ALL FOR SALE BY THIRD-PARTY SELLERS ON WALMART.CA. >> YOU HAVE GOT TO BE KIDDING ME. THIS IS -- THIS CAN'T BE HAPPENING. IT'S A MISTAKE. >> Reporter: SHARON ROCHESTER WAS SHOPPING ONLINE FOR T-SHIRTS FOR HER AND HER HUSBAND BUT ENDED UP ON FACEBOOK, CALLING OUT WALMART. >> I WAS DISGUSTED. THIS IS NOT SOMETHING A COMPANY SHOULD BE PROFITING OFF OF. >> Reporter: BUT WALMART HAS BEEN SELLING SOME OF THE ITEMS SINCE AT LEAST 2016. THAT'S WHEN POLICE IN THE U.S. COMPLAINED A T-SHIRT WAS STOKING RACIAL DIVISION. THE COMPANY REMOVED THAT ONE, BUT NOT THE OTHERS. >> WALMART, ALL MAJOR BRANDS, THEY ARE IN A TOUGH SPOT RIGHT NOW BECAUSE THEY -- THEY KNOW THEY HAVE TO RESPOND TO THE TONE AND THE TENOR, RIGHT, OF OUR TIMES. >> Reporter: WALMART SAYS IT STANDS AGAINST ANY FORM OF RACISM OR DISCRIMINATION AND THAT IT WILL CONTINUE TO REVIEW ITEMS ON ITS THIRD-PARTY MARKETPLACE TO MAKE SURE THEY COMPLY WITH THE COMPANY'S TERMS AND CONDITIONS. >> THE MORE RECOGNIZED YOU ARE AS A BRAND, THE HARDER IT IS TO CHANGE. BECAUSE THEN THEY'LL HAVE A WHOLE SEGMENT OF THE POPULATION WHERE THEY FEEL LIKE, OH, THEY ARE JUST CAVING INTO THE PRESSURE. >> Reporter: AMAZON IS ALSO UNDER FIRE, FOR SELLING A BLUE LIVES MURDER T-SHIRT. A PETITION TO REMOVE IT HAS MORE THAN 40,000 SIGNATURES TO REMOVE IT. >> THE NOTION OF BLACK LIVES MATTER IS LIFE AND DEATH FOR THE BLACK COMMUNITY. >> I FEEL SAD AND ANGRY AND THEN I GO INTO ACTION. I GO INTO ACTION. >> Reporter: THE DEAN OF DESIGN AT A CANADIAN UNIVERSITY TEACHES HER ADVERTISING STUDENTS TO CONSIDER THIS ... >> YES, WE HAVE A WIDE RANGE OF CUSTOMERS, BUT WHO IS THE MOST VULNERABLE? WHO IS THE ONE WHO IS MOST LIKELY TO BE HURT BY THESE MESSAGES? >> Reporter: IT'S A LESSON SHE SUGGESTS ALL COMPANIES ALSO CONSIDER. JACQUELINE HANSEN, CBC NEWS, TORONTO. >> Lien: BC DIT. WE FLATTEN THE CURVE. BUT HOW DID THE PROVINCE BECOME THE ANOMALY? WAS IT LUCK OR JUST SMART HANDLING? WE TAKE AN IN-DEPTH LOOK AFTER THE BREAK. [♪♪♪] [♪♪♪] >> Reporter: FOR 22 YEARS, THEY HAVE GATHERED TO REMEMBER THEIR LOVED ONES, BUT FOR RELATIVES OF THE AIR INDIA VICTIMS, TOMORROW'S ANNIVERSARY WILL BE DIFFERENT. THIS YEAR, THEY'LL MEET AT A NEW MEMORIAL ON THE EDGE OF LAKE ONTARIO. AS THE CBC'S JOAN LEISAN REPORTS, IT'S THE RESULT OF ONE WOMAN'S TIRELESS EFFORTS TO HONOUR THE DEAD. >> Reporter: THE FINISHING TOUCHES BEFORE TOMORROW'S DEDICATION IN A PUBLIC PARK ON TORONTO'S WATERFRONT. THE FIRST OF FOUR NATIONAL MONUMENTS TO THE 329 PEOPLE MURDERED IN THE AIR INDIA BOMBING. JAY HAS ENDURED MORE THAN TWO DECADES OF UNSPEAKABLE PAIN. DEEP WITHIN THAT IMMENSE SORROW GREW A FIERCE DETERMINATION, DETERMINATION THAT IF THERE COULD NOT BE JUSTICE, AT LEAST THERE WOULD BE A MEMORIAL TO ALL THOSE WHO WERE LOST. >> I'M HOPING THAT PEOPLE WILL BE ABLE TO GO THERE, SIT, CONTEMPLATE, REFLECT, AND AT LEAST COME TO TERMS AND MANY OF US COULD PUT A CLOSURE TO THIS, AND HOPEFULLY WE'LL BE ABLE TO DO IT BETTER. >> THANK YOU VERY MUCH. >> Reporter: IT'S TAKEN TAMPI TWO YEARS, NEGOTIATING WITH THREE LAYERS OF GOVERNMENT AND ALL THE AIR INDIA FAMILIES, OVERSEEING EVERY DETAIL. TODAY, SHE INSPECTS THE SITE WITH DESIGNER PETER CLANBAUER. >> THEY HAVE TO ... >> Reporter: AT THE HEART OF THE MEMORIAL LIES A SUN DIAL MADE OF STONE DONATED BY EACH PROVINCE AND BY INDIA, THE UNITED STATES, IRELAND, AND JAPAN WHERE ANOTHER BOMB, THOUGHT TO BE LINKED TO AIR INDIA, WENT OFF THE SAME DAY. BEYOND THE SUN DIAL, A GRANITE WALL BEARS THE NAMES OF EACH PERSON WHO DIED, INCLUDING TAMPI'S HUSBAND AND 7-YEAR-OLD DAUGHTER. >> HAVING THEIR NAME THERE, YOU KNOW, FOR FUTURE GENERATIONS TO -- TO COME THERE AND SEE THAT THIS PERSON LOST HIS OR HER LIFE SO THAT CANADA WILL WAKE UP TO THE REALITY OF TERRORISM. >> Reporter: DOWN A SHORT PATHWAY, CONSTRUCTION IS ALMOST FINISHED AT RECONCILIATION POINT, WITH ITS VIEW OF LAKE ONTARIO. A SIMILAR WATER'S EDGE TO THE COAST OF IRELAND, WHERE SO MANY WAITED FOR SO LONG IN VAIN 22 YEARS AGO. THIS EVENING, TAMPI VISITS WITH HER NEW FAMILY. HER HUSBAND, WHO LOST HIS WIFE ON AIR INDIA, AND THEIR DAUGHTER. LIKE THE OTHER FAMILIES OF THIS STILL UNSOLVED CRIME, SHE SEES THE MEMORIAL AS A BEACON OF HOPE AND JUSTICE. FOR ALL OF THOSE WHO COME HERE TO REMEMBER AND ALL OF THOSE WHO SIMPLY PASS BY ON THEIR WAY TO SOMEWHERE ELSE. >> I AM HOPING, LOOKING AT THEM WILL TEACH THEM TO STAND UP FOR THEIR RIGHTS, NOT TO GIVE UP, AND TO FIGHT FOR THE TRUTH AND BE BRAVE AND COURAGEOUS ABOUT IT AND NOT TO JUST GIVE UP. >> Reporter: JOAN LEISHMAN, CBC NEWS, TORONTO. >> Lien: HERE ARE SOME OF THE STORIES WE'RE FOLLOWING TONIGHT ON CBC VANCOUVER NEWS. >> YOU KNOW, OBVIOUSLY, DEALING WITH MENTAL HEALTH AND ADDICTION ISSUES IS NOT EASY BUT WHAT I SAW IN THAT VIDEO WAS INCREDIBLY DISAPPOINTING. >> Lien: KELOWNA'S MAYORAL COLIN BASRAN WANTS TO SEE SYSTEMIC CHANGES TO POLICING AFTER A NURSING STUDENT RELEASED SURVEILLANCE VIDEO OF HER GETTING DRAGGED AND STEPPED ON BY AN RCMP OFFICER DURING A WELLNESS CHECK. WANG IS SUING CORPORAL BROWNING FOR ALLEGEDLY ASSAULTING HER. NONE OF THE CLAIMS HAVE BEEN PROVEN IN COURT. >> OUR KIDS WERE, YOU KNOW, COMPLETELY -- IN COMPLETE DISTRESS MODE. OUR ELDERLY WERE BEING BADLY HANDLED BY THE AIR INDIA OFFICIALS. >> Mike: NEARLY 150 CANADIANS STUCK IN INDIA WERE TURNED AWAY AT THE AIRPORT JUST BEFORE BOARDING THIS WEEKEND. AIR INDIA OFFICIALS SAY THEIR NAMES WEREN'T ON AN EMBASSY LIST. WELL, THE CANADIANS HAVE PROOF THEY WERE. IT'S BEEN THREE MONTHS SINCE INDIA CLOSED ITS AIRPORTS TO COMMERCIAL FLIGHTS BECAUSE OF THE PANDEMIC. THOSE STRANDED ARE PLEADING WITH THE GOVERNMENT TO SEND HELP TO GET THEM HOME. >> WE NEED TO STAY WHERE WE ARE, WHERE WE'RE HAVING SAFE CONTACTS AND WE'RE NOT SEEING DRAMATIC INCREASES IN THE NUMBER OF CASES. >> Lien: AS BC PREPARES TO FURTHER EASE RESTRICTIONS, WE RUN RISK OF INCREASED COVID-19 CASES IF OUR CONTACTS EXCEED 65% OF NORMAL. Dr. BONNIE HENRY SAYS THE PROVINCE IS MAINTAINING A FINE BALANCE INCREASING THE NUMBER OF CONNECTIONS WITHOUT SEEING A DRAMATIC INCREASE IN NEW CASES. SHE REPORTED 13 NEW CASES AND ONE NEW DEATH TODAY. >> Mike: AND YOU MAY RECALL BC WAS ONE OF THE FIRST PROVINCES TO GET A CASE OF COVID-19 AND THE FIRST TO RECORD A DEATH, AND WITH THOUSANDS OF TRAVELLERS ARRIVING FROM CHINA AND A SPIRALLING SITUATION IN WASHINGTON STATE NEXT DOOR, THERE WAS EVERY REASON TO THINK OUR PROVINCE WAS GOING TO TURN INTO A HOT SPOT. >> Lien: BUT IT WAS ANYTHING BUT. SO WHAT DID THE PROVINCE DO RIGHT? HOW DO WE EXPLAIN THE SUCCESS? >> Mike: CBC'S BRIAR STEWART BREAKS DOWN SOME POSSIBLE ANSWERS. [♪♪♪] >> I SHOULDN'T HAVE BEEN A HIGH RISK, AND I GOT IT. I GOT A SEVERE CASE. SO IT COULD HAPPEN TO ANYBODY. >> Reporter: KATHY NOVAK HAD ONE OF BC'S EARLY CASES OF COVID-19. DURING THE FIRST WEEKEND OF MARCH, SHE WAS AT A DENTAL CONFERENCE IN VANCOUVER. TWO WEEKS LATER, SHE WAS ON HER WAY TO THE HOSPITAL. >> SO WHAT WAS THAT LIKE, WHEN YOU GOT IN THE BACK OF THE AMBULANCE? >> WELL, UM, THE WHOLE THING WAS REALLY SCARY BECAUSE, AGAIN, I THOUGHT, THERE IS REALLY NO CURE FOR THIS. SO AT THAT POINT I WAS FEELING A BIT HOPELESS THAT I DON'T KNOW IF I'M COMING BACK HOME. SORRY. OR IN WHAT CAPACITY, LIKE, IF MY BRAIN IS GOING TO BE WORKING OR, YOU KNOW, WHAT'S GOING TO BE -- SO THAT WAS SCARY. >> Reporter: A FEW HOURS AFTER BEING ADMITTED, HER HUSBAND CALLED TO TRY AND GET AN UPDATE. THE 60-YEAR-OLD WAS ALREADY IN THE ICU ON A VENTILATOR. >> THAT WAS WHEN THE DOCTOR TOLD ME IF WE HAD WAITED ANY LONGER, EVEN ONE MORE DAY, SHE MIGHT NOT HAVE MADE IT. MIGHT NOT HAVE EVEN GOT HER ON THE VENTILATOR. IT WAS AWFUL. YOU DON'T REALIZE HOW MUCH YOU MISS SOMEONE UNTIL IT ACTUALLY HAPPENS, AND YOU DON'T KNOW IF YOU ARE GOING TO SEE THEM AGAIN. >> Reporter: THAT DENTAL CONFERENCE ATTENDED BY 15,000 WAS EVENTUALLY CONNECTED TO MORE THAN 80 CASES AND AT LEAST ONE DEATH. BUT EVEN BEFORE THAT WAS ON PUBLIC HEALTH'S RADAR, BC APPEARED POISED TO BE HIT PARTICULARLY HARD BY THE GLOBAL PANDEMIC. ITS AIRPORT IS A HUB FOR FLIGHTS TO AND FROM ASIA. [ Beeping ] >> Reporter: BY LATE JANUARY, THERE WERE MULTIPLE OUTBREAKS TO THE SOUTH IN WASHINGTON STATE. COVID-19 ARRIVED IN BC SOON AFTER. >> LATE YESTERDAY, WE HAD OUR FIRST CASE OF NOVEL CORONAVIRUS. >> Reporter: BC RECORDED THE FIRST DEATH IN CANADA AFTER AN OUTBREAK AT THE LYNN VALLEY CARE CENTRE IN EARLY MARCH. IT WAS WHAT Dr. BONNIE HENRY FEARED. >> TAKE A MOMENT. >> Reporter: AND IT LEFT HER SHAKEN. >> I'M VERY CONCERNED ABOUT -- I WENT THROUGH SARS. I HAVE BEEN THROUGH EBOLA. I HAVE BEEN THROUGH THE -- THE PANDEMICS IN 2009. AND I JUST KNOW HOW STRESSFUL IT IS FOR OUR HEALTH CARE SYSTEM, FOR MY COLLEAGUES, AND FOR FAMILIES THAT ARE DEALING WITH THIS. >> Reporter: BUT WHAT HAS EMERGED IS THAT BC'S DEATH RATE IS AMONG THE LOWEST WHEN COMPARED TO MANY OTHER LARGE JURISDICTIONS ACROSS NORTH AMERICA AND WESTERN EUROPE. IT'S SUBSTANTIALLY LESS THAN ONTARIO AND QUEBEC, AND SOME HEALTH EXPERTS BELIEVE IT'S A COMBINATION OF GOOD FORTUNE AND SOUND DECISIONS. >> I THINK A LOT OF WHAT WE DID EARLY ON WAS VERY HELPFUL. PART OF IT WAS TIMING, PART OF IT WAS LUCK, PART OF IT WAS PEOPLE REALLY EMBRACING WHAT WE NEED IT TO DO AND DOING IT TOGETHER. >> Reporter: BY TIMING, SHE MEANS MARCH BREAK. QUEBEC HAD ITS HOLIDAY EARLIER SO PEOPLE TRAVELLED AND CAME BACK HOME. BY THE TIME SCHOOLS WERE OUT IN BC, PROVINCIAL AND FEDERAL HEALTH OFFICIALS WERE ALREADY ADVISING AGAINST INTERNATIONAL TRAVEL. AT THAT POINT, BC WAS PREPARING FOR THE WORST. IT WAS BRINGING IN MILLIONS OF PIECES OF PPE INCLUDING BY CHARTERED FLIGHTS FROM CHINA. VANCOUVER CONVENTION CENTRE WAS TURNED INTO AN OVER FLOW HOSPITAL BUT TODAY IT SITS EMPTY. OF ALL OF THE DISCUSSION AROUND BC'S HANDLING OF THE PANDEMIC, MUCH OF THE FOCUS HAS BEEN ON ITS MANAGEMENT OF LONG-TERM CARE FACILITIES. >> INITIALLY THERE WAS SOME FEAR EXPERIENCED BY THE STAFF, BY THE RESIDENTS AND FAMILIES THERE. >> Reporter: IN THE VANCOUVER AREA, Dr. MICHAEL SCHWANT LED THE RESPONSE ON THE GROUND. HE SAID AT FIRST THEY WERE TESTING RESIDENTS WHO HAD TYPICAL COVID SYMPTOMS LIKE FEVER AND COUGH, BUT THAT CHANGED. >> BY MID MARCH, WE WERE LOOKING FOR A BROAD ARRAY OF SYMPTOMS AND FOUND CASES WHO MIGHT HAVE FLOWN BELOW THE RADAR OTHERWISE. >> Reporter: STILL IN THE WEEKS THAT FOLLOWED THERE WERE SEVERAL NEW OUTBREAKS AT OTHER HOMES. ON MARCH 27TH, THE GOVERNMENT ORDERED STAFF TO WORK AT ONLY ONE FACILITY, BUT THE MOVE TOOK TIME TO IMPLEMENT. IT WAS JUST LAST WEEK THAT ALL OF THE NEARLY 9,000 WORKERS WHO DID SHIFTS AT MULTIPLE HOMES WERE ASSIGNED TO A SINGLE SITE. >> THIS IS WHERE CLEARLY PUBLIC HEALTH EXPERTISE WAS BROUGHT TO BEAR IN A WAY THAT IT WAS NOT IN ONTARIO. >> Reporter: ONTARIO DIDN'T FOLLOW SUIT WITH ITS CARE HOMES UNTIL THREE WEEKS AFTER BC FIRST MADE ITS ANNOUNCEMENT, AND THIS EPIDEMIOLOGIST SAYS THAT'S NOT THE ONLY DIFFERENCE. >> IF I DID PUT US IN A TIME MACHINE AND I COULD SEND ONTARIO BACK TO EARLY MARCH, I WOULD HAVE AN EFFECTIVE EXPERT ON THE PODIUM AND DOING THAT COMMUNICATION. >> Reporter: BY THAT HE MEANS BECAUSE WHILE PREMIER DOUG FORD HANDLED THE UPDATES THERE, IN BC IT IS Dr. BONNIE HENRY. HE BELIEVES HER VAST EXPERIENCE INSTILLED CREDIBILITY. EVEN THOUGH BC MAY HAVE AVOIDED THE WORST OF IT, HENRY SAYS IT'S STILL NOT TIME TO TAKE A BREATH. THERE ARE STILL ACTIVE OUTBREAKS IN CARE HOMES IN MORE THAN 165 PEOPLE HAVE DIED FROM THE VIRUS. IS THERE ANYTHING THAT YOU WOULD DO DIFFERENTLY? >> YEAH. YOU KNOW, UM, I THINK ABOUT THAT -- I THINK WE CAN NEVER GET IT PERFECTLY RIGHT, BUT IT'S REALLY HARD TO THINK ABOUT LOOKING BACK RIGHT NOW. WE STILL HAVE A LOT OF WAYS TO GO BEFORE OUT OF THE THIS CRISIS. >> I ALMOST DIED. >> Reporter: BACK ON VANCOUVER ISLAND, KATHY NOVAK IS STILL RECOVERING. SHE SPENT NEARLY TWO WEEKS ON A VENTILATOR AND A MONTH IN THE HOSPITAL. >> I DID A LOT OF REFLECTING AND FEELING LUCKY, YEAH, TO BE ALIVE. >> Reporter: SHE IS STILL FATIGUED BUT HAS SLOWLY BEEN REGAINING HER STRENGTH. THE VIRUS CAUSED A BRIGHT RED RASH TO BREAK OUT OVER HER BODY. IT'S GRADUALLY FADING, BUT THE ANXIETY ISN'T. >> I'M STILL NERVOUS ABOUT IT. I'M NERVOUS ABOUT PEOPLE PUTTING THEIR GUARD DOWN AND BEING A LITTLE MORE CARELESS. BECAUSE EVEN THOUGH, HOPEFULLY, I'LL NEVER GET IT AGAIN, BUT THERE ARE OTHER PEOPLE THAT YOU COULD PASS IT ON TO. SO THAT'S STILL A DANGER. [♪♪♪] >> Reporter: SHE DOESN'T KNOW IF HER HUSBAND EVER GOT IT, SO EVEN THOUGH HEALTH OFFICIALS SAY THEY CAN NOW EXPAND THEIR BUBBLE AND HAVE CONTACT WITH MORE PEOPLE, THEY ARE STICKING AS A PARTY OF TWO, WHICH THEY ARE GRATEFUL FOR, CONSIDERING HOW CLOSE THEY CAME TO LOSING THAT. BRIAR STEWART, CBC NEWS, VICTORIA. [♪♪♪] >> Mike: PAIN, ANGUISH, AND FRUSTRATION. IN ANOTHER CBC NEWS EXCLUSIVE, WE HEAR FROM THE PARENTS OF MICHAEL KOVRIG ON WHY CANADA NEEDS TO DO MORE TO RESCUE THE TWO MICHAELS FROM CHINA. >> Lien: AND IT'S 6:43. YOU ARE LOOKING AT A LIVE SHOT OF CAMBIE STREET BRIDGE THERE AND HEADING UP INTO THE CITY. UNSETTLED CONDITIONS ON THE SOUTH COAST TODAY. WILL WE EVER SEE SOME SUMMER WEATHER? WELL, WE'LL FIND OUT FROM BRETT. THAT'S NEXT. [♪♪♪] [♪♪♪] [ Singing ] [♪♪♪] [♪♪♪] >> REALLY WHAT THE PIECE REPRESENTS IS TRANSFORMATION. TRANSFORMATION OF THE EDUCATION SPACE OF THE CARVING PROCESS, AND OURSELVES WITHIN THAT PROCESS. [ Singing ] >> IT'S REALLY NICE HOW PEOPLE CAN COME TOGETHER, EVEN THROUGH SOMETHING LIKE A PANDEMIC AND CREATE SOMETHING BEAUTIFUL AND PUT INTO IT. I FELT REALLY PROUD. [♪♪♪] [♪♪♪] [♪♪♪] [♪♪♪] [♪♪♪] [♪♪♪] [♪♪♪] >> I'M NON-BINARY. WHAT EXACTLY DOES THAT MEAN? WE'LL ANSWER SOME OF THE GENDER QUESTIONS YOU ALWAYS WANTED TO ASK IN OUR NEW PODCAST. LISTEN NOW. [♪♪♪] >> Announcer: THE WEATHER UPDATE IS BROUGHT TO YOU BY WORKSAFEBC. VISIT THEIR SITE ONLINE FOR HEALTH AND RESOURCES INCLUDING COVID-19 PREVENTION. >> Lien: ALL RIGHT. METEOROLOGIST BRETT SODERHOLM JOINS US NOW. VERY UNUSUAL WEATHER HALF A WORLD AWAY. WHAT'S GOING ON? >> Brett: YEAH, WELL, WE'RE OFFICIALLY INTO OUR SUMMER MONTHS NOW, AND IT'S PRETTY COMMON TO GET TEMPERATURE RECORDS THAT ARE BROKEN HERE IN CANADA AND ACROSS THE WORLD. BUT THERE IS ONE SUCH RECORD THAT WAS BROKEN THIS PAST WEEKEND IN RUSSIA THAT DESERVES A SPECIAL MENTION. I WANT TO SHOW YOU THAT RIGHT NOW. WE'RE GOING TO BE LEAVING CANADA AND TRAVELLING WEST OVER THE PACIFIC, AND I'M GOING TO SHOW YOU THIS COMMUNITY. THIS IS IN SIBERIA, WHERE ON SATURDAY, IT IS BELIEVED THAT THIS COMMUNITY HERE HIT 38º IN TERMS OF TEMPERATURE ON A THERMOMETER. IF THIS IS CONFIRMED, THIS WOULD BE THE HOTTEST TEMPERATURE EVER TO BE RECORDED IN THE ARCTIC, WHICH IS ANYWHERE NORTH OF 66.5º NORTH. THIS COMMUNITY SITS AT ABOUT 67.5, AND IT HAS NOT SEEN A TEMPERATURE LIKE THIS IN ITS HISTORY. FOREST FIRES, OF COURSE, A CONCERN AND THIS WHOLE AREA IS JUST GOING THROUGH AN UNPRECEDENTED HEAT WAVE. AND IT IS A LITTLE BIT WORRYING WHEN WE THINK OF ONLY GETTING INTO THE SUMMER RIGHT NOW AND HOW THAT'S GOING TO BE TRANSLATING OVER THE NEXT COUPLE OF MONTHS AHEAD. BUT OVER HERE, BACK IN CANADA, WE SHOULD BE GRATEFUL WE DO HAVE A LITTLE BIT OF RAIN COMING WHICH IS GOING TO KEEP OUR FIRE DANGER LOW, AND IT IS GOING TO BE BRINGING A LITTLE BIT OF SHOWER ACTIVITY, ANYWHERE BETWEEN 5 AND 10 MILLIMETRES OR SO THROUGHOUT THE OVERNIGHT PERIOD AND THEN FINALLY CLEARING OUT SOMETIME TOMORROW IN THE EARLY AFTERNOON TO MAYBE JUST ABOUT THIS TIME TOMORROW. THAT SAID, PLACES INTO THE INTERIOR, LIKELY KOOTENAYS AND OKANAGAN, ARE GOING TO BE DEALING WITH A FEW ISOLATED THUNDERSHOWERS AS WELL BUT DRIER CONDITIONS PREVAILING FARTHER TO THE NORTH, PLACES LIKE HAIDA GWAII AND PRINCE RUPERT LOOKING FOR DRY FOR THE NEXT FORESEEABLE FUTURE. TEMPERATURES IN THE NORTH MUCH MORE SEASONAL TEMPERATURES AS COMPARED TO RUSSIA AND FOR THE SOUTH AS WELL, A NOTICEABLE INCREASE, THOUGH, IN TEMPERATURES WHEN WE GET TO THURSDAY. AND THERE IS A REASON FOR THIS. WE HAVE BEEN GOING THROUGH THIS AREA OF UNSETTLED CONDITIONS, THIS AREA OF LOW PRESSURE. THAT'S GOING TO BE EASING OVER THE NEXT 24 HOURS, AND RIGHT IN BEHIND IT, WE'RE GOING TO GET A LITTLE PROTECTIVE BARRIER OF HIGH PRESSURE. THAT'S GOING TO BE BRINGING UP SOME WARMTH FROM THE STATE OF WASHINGTON, AND IT'S ALSO GOING TO BE CLEARING UP OUR SKIES AND THAT'S GOINGTO STICKING AROUND RIGHT UNTIL FRIDAY AT THIS POINT. IT DOES LOOK AT THAT POINT WE MAY BE DEALING WITH A FEW MORE SHOWERS, BUT IF WE LOOK AT A FIVE-DAY FORECAST HERE, WE'RE GOING TO GET A NICE MIX OF EVERYTHING. TEMPERATURES SLIGHTLY ABOVE SEASONAL BUT NOT TOO MUCH. A FEW SHOWERS HERE AND THERE, AND MIKE THINKING OF YOU ESPECIALLY, FOR THE FIRST TIME IN I DON'T KNOW HOW LONG, IT LOOKS LIKE SATURDAY RIGHT NOW MAY ACTUALLY BE RAIN-FREE. SO DON'T HOLD ME TO IT JUST YET, BUT FINGERS ARE CROSSED THAT THIS PANS OUT. >> Mike: WOW. WHAT A BREAKTHROUGH.EEN TRACKING ALMOST LIKE SUMMER. THANKS, BRETT. >>> WELL, LAST NIGHT, WE HEARD FROM THE WIFE OF DETAINED CANADIAN MICHAEL KOVRIG, VINA NADJIBULLA. >> Lien: NOW KOVRIG'S PARENTS ARE SPEAKING OUT, SAYING CANADA SHOULD DO EVERYTHING IT CAN TO RESCUE BOTH OF THE MEN FROM A CHINESE PRISON. >> Mike: ADRIENNE ARSENAULT HAS THIS EXCLUSIVE INTERVIEW WITH KOVRIG'S FATHER AND MOTHER, BOTH THEIR PAIN AND FRUSTRATION. >> Reporter: IN AN ERA OF THE CORONAVIRUS, THIS IS THE KOVRIG FAMILY BUBBLE. THERE IS VINA, MICHAEL'S WIFE, HIS SISTER, ARIANA, HIS FATHER, BENNETT. UNSEEN, UNHEARD FOR KOVRIG'S ENTIRE DETENTION UNTIL NOW. >> I WOULD LIKE TO SEE MY SON AGAIN. >> Reporter: THE STRAIN OF IT, THE SILENCE, THE TIME APART, IT'S ALL RAW. >> SORRY. >> Reporter: BENNETT'S FRAGILE HEALTH IS THE REASON THE FAMILY GOT A PHONE CALL BACK IN MARCH. IT HAS A COST. >> TO PUT IT BLUNTLY, WE KEPT OUR MOUTH SHUT IN THE PUBLIC FOR A YEAR AND A HALF. SO I THINK THAT, YOU KNOW, WE HAVE REACHED THE END OF THE ROAD IN PLAYING, YOU KNOW, THE -- THE BE QUIET AND EVERYTHING WILL BE ALL RIGHT GAME. >> Reporter: THE ATTENTION FROM THE GOVERNMENT THEY SAY HAS BEEN KIND AND PERSONAL, BUT THE WORDS SEEM TO HAVE NO WAIT. >> IT GETS TO A POINT WHERE RHETORIC CAN ONLY GET US SO FAR, AND I'M SCARED I'M NEVER GOING TO SEE MY BROTHER AGAIN, AND I DON'T KNOW WHY THOSE IN POWER ARE SO SCARED OF DOING THE RIGHT THING. >> Reporter: AND THE RIGHT THING, IN THEIR VIEW, IS TO LOOK AGAIN AT LEGAL OPTIONS. IS THERE ANYTHING THE GOVERNMENT CAN DO NOW TO STOP THE EXTRADITION PROCESS OF MENG WANZHOU, WHICH COULD BE THE KEY TO FREEDOM FOR MICHAEL SPAVOR AND MICHAEL KOVRIG. >> IT IS UNREVIEWABLE ... >> Reporter: THE FAMILY ASKED THIS LAWYER TO EXAMINE THE EXTRADITION ACT. HE SAYS A 1999 CHANGE IN THE ACT MEANS THE JUSTICE MINISTER CAN LEGALLY STEP IN AND STILL PRESERVE JUDICIAL INDEPENDENCE. >> THE MINISTER HAS THE RIGHT TO WITHDRAW THE AUTHORITY TO PROCEED AND TO END THE EXTRADITION PROCEEDING AND IT'S TOTALLY AT THE DISCRETION OF THE MINISTER OF JUSTICE. >> Reporter: THE CANADIAN GOVERNMENT, THOUGH, CONTINUES TO SAY IT WON'T GET INVOLVED. >> WE IN CANADA ARE USED TO AND PROUD OF THE INDEPENDENCE AND THE INTEGRITY AND THE RESPECT FOR OUR JUDICIAL SYSTEM AND WE'LL CONTINUE TO DO THAT. >> Reporter: HAS THE GOVERNMENT MISINTERPRETED THE LAW TO THIS POINT? >> I THINK THEY HAVE IGNORED THE APPROPRIATE INTERPRETATION. >> STOP SAYING WE CAN'T WHEN ACCORDING TO THE LAW, ACCORDING TO THE EXTRADITION ACT, ACCORDING TO LEGAL OPINIONS OFFERED BY VERY BRIGHT LEGAL EXPERTS, WE CAN. >> Reporter: VINA NADJIBULLA SOUGHT THE LEGAL OPINION PRESENTED IT TO THE GOVERNMENT WEEKS AGO AND DIDN'T GET A REPLY. BUT THE OFFICE OF THE JUSTICE MINISTER AND ATTORNEY GENERAL RELEASED A STATEMENT TO CBC NEWS TODAY IN PART SAYING "WE'RE WELL AWARE OF THE LAWS AND PROCESSES AND IT WOULD NOT BE APPROPRIATE TO COMMENT FURTHER". >> I THINK IT SHOULD HAVE BEEN STOPPED EARLIER ... >> Reporter: FORMER SUPREME COURT JUSTICE LOUISE ARBOUR SAYS SHE BELIEVES NOT ONLY COULD CANADA STOP MENG'S EXTRADITION, IT SHOULD, AND SHOULD HAVE DONE SO A LONG TIME AGO. >> IN CANADA'S NATIONAL INTEREST, INCLUDING THE PROTECTION OF THE SECURITY AND LIFE OF TWO CANADIANS, I WOULD SAY THIS HAS TO STOP. >> BUT I CAN SEE THERE ARE PEOPLE WHO WOULD MAKE THE ARGUMENT THAT THIS WOULD SOUND AN AWFUL LOT LIKE NEGOTIATING WITH HOSTAGE TAKERS AND TARGETS ON THE BACKS OF OTHER CANADIANS IN CHINA. >> THAT'S TRUE. ONE OF THE ARGUMENTS. UNFORTUNATELY WE NEVER REALLY REACHED THAT LEVEL OF CONVERSATION OR THINKING BECAUSE WE WERE TOLD BY THE GOVERNMENT FROM THE OUTSET WE DON'T EVEN GO THERE. THE MATTER IS BEFORE THE COURTS, YOU KNOW, DEFERENCE TO JUDICIAL INDEPENDENCE IN THIS COUNTRY. WE CAN'T DO ANYTHING. THIS IS NOT CORRECT. WE CAN. >> Reporter: FOR THE SAKE OF THE TWO MICHAELS, JUST HAVE THE CONVERSATION IS THE PLEA, AND MAYBE ANGERING THE AMERICANS IS NOT A RISK CANADA IS WILLING TO TAKE, BUT THE FAMILY ASKS JUST TALK IT OUT. >> DO THE RIGHT THING. THIS IS ABOUT PEOPLE'S LIVES. NOT POLITICS. THERE ARE THINGS THAT CAN BE DONE THAT DON'T TAKE PEOPLE AWAY FROM THEIR FAMILY. AND THEIR LIVES. [♪♪♪] >> Lien: HIS NAME MIGHT BE A BIT ON THE SILLY SIDE, BUT THE INJURIES INFLICTED ON FRASER CRANE ARE ANYTHING BUT. [♪♪♪] >> Lien: KELSEY GRAMMER FANS MIGHT DO A DOUBLE TAKE WHEN THEY LEARN THAT FRASER CRANE WAS HIT BY A GOLF BALL. >> Mike: YES, BUT IT'S ACTUALLY NOT THE ACTOR BUT A RECENTLY RESCUED SANDHILL CRANE. FRASER IS ONE OF 35 SANDHILL CRANES LEFT IN THE FRASER VALLEY. THEY ARE STRUGGLING WITH HABITAT LOSS BECAUSE OF DEVELOPMENT THERE. THEY MAKE DO BY NESTING IN GOLF COURSES AND OTHER WATERING HOLES THAT AREN'T A PUB IN BOSTON. >> Lien: FRASER WAS STRUCK IN THE LEG AND REQUIRED COMPLICATED SURGERY TO HELP MEND HIS HOLLOW BIRD BONES. AT LEAST TEN CRANES HAVE BEEN HIT BY GOLF BALLS IN THE LAST SIX YEARS. HE IS NOW RECOVERING IN ELIZABETH WILDLIFE CENTRE IN ABBOTSFORD AND WILL HOPEFULLY BE BACK ON THE LINKS IN A FEW MONTHS. >> Mike: YEAH. >> Lien: YEAH. >> Mike: SPEEDY RECOVERY. YEAH, THEY DO HANG OUT ON GOLF COURSES BECAUSE MOST OF THE GOLF COURSES HAVE, YOU KNOW, SOME KIND OF WATERWAY THERE. SO THEY HANG OUT JUST ON THE -- ON THE EDGE AND IT'S NOT SURPRISING THEY GET HIT. >> Lien: YEAH, IT'S TOO BAD. AND IT'S INTERESTING, BECAUSE THE NAME IS FRASER CRANE AND I THOUGHT IT WAS IN REFERENCE TO FRASER, BUT I THINK IT'S, LIKE -- >> Mike: FRASER VALLEY. >> Lien: FRASER VALLEY, FRASER RIVER ALSO. >> Mike: AND IT WAS -- WE HAD THIS DISCUSSION EARLIER. ISN'T IT FRASER. >> Lien: IT IS. I HAD TO GOOGLE IT. I'M SORRY TO ALL THE FANS OUT THERE. >> Mike: RIGHT. AND BEFORE THAT, OF COURSE, CHEERS, HENCE THE BOSTON PUB REFERENCE AND THAT'S BEEN OFF THE AIR OF TELEVISION SINCE 1993. SO THERE YOU GO. >> Lien: RIGHT. JUST A LITTLE WHILE AGO. >> Mike: WE'RE GOING OFF THE AIR HERE, BUT DAN HERE AT 11 AFTER "THE NATIONAL." >> Lien: M'MM-HMM. TUNE IN. THANKS, EVERYONE. >> Mike: GOOD NIGHT. [♪♪♪] [♪♪♪]

Arabic: حسنا لقد شارفنا على الإنتهاء سنقوم بتوصيل مصابيح ال LED أعين الروبوت حتى تضئ و ساستخدم مفتاح أحادي القطب ثنائي المسار منزلق سأستخدم الكماشة المدببة لصنع حلقة صغيرة للسلك الأبيض الذي تبقى و الذي ركبناه باكرا في التسجيلات السابقة و سنلف السلك على إحدى التلامسات المتبقية على المفتاح المنزلق الجزء الصعب هو أن تصنع حلقة متينة و تدفع به حول التلامس و ما إن تدخله هناك بإمكانك استعمال الكماشة المدببة للتأكد من أنها مثبتة جيدا حول النهاية الظاهرة على المفتاح هناك English: All right. So we're almost there. Now, what we're going to do is we're going to wire our LEDs, so our eyes, so that they light up. And we're going to use the other sliding single-pull, double-throw switch to do that. So we're going to take our needle nose, and again, we'll put a little loop in the white wire that we had remaining from our previous that we made earlier in the videos. And we're going to loop that around one of our remaining contacts on our single-pull, double-throw switch. And again, it's a little tricky. You want to make sure that you get a pretty tight loop. And then, you'll push it around that contact. And once you've got it on there, you can take your needle-nose pliers and just make sure that it's crimped tightly against the terminal that's exposed from the switch there. And again, you want to make sure that it's not touching any of the other terminals. So if it is, the switch will always stay on, Arabic: أيضا تأكد من عدم لمس اي من النهايات الأخرى و إلا فإن المفتاح سيكون على حالة التشغبل دوما و لن يعمل جيدا حسنا، إني أثنيها بإحكام هنا الآن ما نريد عمله هو توصيل سلك آخر آت من المقاومات التي ركبناها سابقا و سأقوم بثني هذه النهايات التي لا تلزم و هي تلك التي على الطرف البعيد على المفتاح المنزلق الآن لدينا السلك القادم من البطاريات و الذي يمثل القطب السالب و سنقوم بتوصيل المقاومات و سنقوم بتعرية قطعة صغيرة من السلك الأبيض مرة أخرى سنعري حوالى ربع إنش من كلا الطرفين English: and it won't work properly. I'm just twisting it very tightly here to make sure that it's very firmly connected. So now what we need to do is we need to connect another wire to our resistor leads from our LEDs that we created earlier in the previous videos. And I'm going to go ahead and bend this other terminal on the switch out of the way that we don't need. And again, that's the one that's on the far side of the sliding switch there. So now we have our wire from our battery, which is our negative wire. And we're going to connect back to our resistors. And we're just stripping off a little piece of-- we're using the white wire again. We're going to strip off a little piece of the white wire there. And again, we'll take off about a quarter Arabic: 3/8 الإنش جيد أيضا و من الأسهل إزالة عازل أكثر لكن يعني ذلك انه هناك المزيد من السلك الواجب تغطيته ما إن تنتهي إذا هذا الجزء صعب نوعا ما لكن 1/4 الإنش جيد كذلك على أي حال يمكنك استعمال معرية السلك و هز السلك جيئة و ذهابا كي يعرى السلك مرة أخرى سنستخدم الكماشة المدببة و لف الأطراف على شكل حلقة هنا حول النهاية أو التلامس بعد عمل الحلقة نستعمل الكماشة لنضغطها في مكانها ما إن تضغط مكانها سنقوم بتصميغها و من الأمور التي كان علي فعلها هو إختبار موصلية الوصلات قبل تصميغها English: of an inch on both sides, and 3/8 of an inch will work too. Generally speaking, if you take just a little bit more insulation off, it's a little easier because you have a little bit more wire to loop around. But it also means that you have more that you have to cover up once you're done. It's kind of tricky, but a quarter of an inch works for me. In any case, you can just use the wire strippers there and pull the wire. If you wiggle it around a little bit, it'll come out and strip off the wire there. And again, we're going to take our needle-nose pliers, and we're going to loop these around and create the loop to go over the terminal there. Once we have the loop done, we'll use our needle-nose pliers to crimp it in place. OK. So once it's crimped in place, we can hot glue it. And one of the things I should have done is I should have tested to make sure these contacts were in fact tightly connected before I hot glued it. But I was pretty sure they were, so I went ahead English: and hot glued it in the interest of time. But when you're making this, you're going to want to test that switch. And you can use the LEDs there to make sure that everything is connected properly before you hot glue it. Because again, if it's not, it's more of a pain to take the hot glue out and redo everything. OK. So now we're going to connect our LEDs to the remaining wire that we have on our switch. And that's going to allow us to complete the circuit and turn on the eyes of our spout bot. So we can take the two leads from our resistors and touch them there, and make sure that all the power is flowing how it should be. And so you can see how the switch will allow us to turn that on and off. And so we're going to twist those resistor leads together. And then, we're going to wrap them around the white wire-- the exposed part of the white wire. And that'll allow us to complete the circuit and light up the LED lights, or the eyes of our spout bot. Arabic: لكني متأكد تماما منها و لكن إختصرت لتوفير الوقت لكن في حال صنع ذلك يجب عليك اختبارها قبل وضع الصمغ المذاب و يمكنني استعمال ال LED للتأكد من أن كل شئ على ما يرام قبل التصميغ لأنه من الصعب إزالة الصمغ و تصميغ الأجزاء من جديد حسنا، الآن سنقوم بتثبيت ال LED على بقية السلك المرتبط بال مفتاح لإكمال الدارة و تشغيل أعين الروبوت نأخذ بطرفي المقاومات و ملامستها هنا للتأكد من أن الطاقة تتدفق كما يجب و كما نرى هذا المفتاح يمكننا من التشغبل و الإطفاء سأقوم بلف طرفي المقاومات معا و نلفها حول الطرف العاري من السلك الأبيض مما يمكننا من إكمال الدارة تشغيل أضواء ال LED التي تشكل أعين الروبوت Arabic: ما إن يتم وصل الأعين و لف أسلاك المقاومات معا و نتأكد من انها مرتبطة جيدا نجعل الاسلاك العارية متباعدة حتى لا تحدث قصر في الدارة و سنقوم بتشغيل و إطفاء المفتاح لرؤية ما إن كانت الأعين تعمل و ها هي تعمل نأخذ القليل من الشريط الاصق الكهربي لتغطية السلكين العاريين الذين قمنا بليهما معا و نحرص على انهما مرتبطين و معزولين English: OK. So once the eyes have been connected and the wires are twisted together, we want to make sure they're twisted very tightly together. We'll make sure the wires that are exposed are separated, so they don't short. And then, we're going to turn the switch on and off and see if our eyes light up. And they do. So we cut a little piece of electrical tape, about a half of an inch square. And we're going to use that electrical tape to basically cover over the exposed wire that we just twisted together, to ensure that it stays connected and that it's insulated.

- Hi guys, this is Karina, and today I'm gonna show you how to make your own snow in just a few seconds. I am super excited, 'cause this snow is gonna feel like real snow! I never knew you could make snow at home. This snow also does not melt, and it's super fun to play with, anyway, let's just get to the video! To make snow, I have this Snow in Seconds bag. It says, four plus years, feels real, instantly grows 100 times, non-toxic, which is good, and the last ingredient is, to just add water. I'm super excited to do this, so let's just do it right now! The bag says, it instantly grows a hundred times, so for now, I'm gonna add seven spoons and see what happens. (upbeat music) Now it's time to add in the water, it's so heavy. (sound of water pouring) It's making snow! It's still making snow, I can. Feels so cool! It didn't get all the water. Feels so cool! It didn't get all the water. Now it is. Let's mix it. (scraping sound) I think it's all done. It feels so cool! (upbeat music) It doesn't really feel like real snow, but it feels even better. I really like squishing it out of my hands, like this. Feels so awesome! Let's add another seven spoons, and more water. (upbeat music) Now for the water. (sound of water pouring) Let's start mixing a bit, shall we? (sound of scraping) It looks bigger already! (upbeat music) Watch what happens. (sound of water pouring) (upbeat music) It's overflowing! That's a lot of snow! It's still overflowing! I think there's more making inside it. (laughing) (upbeat music) (sound of object banging) I can't, it's so crowded in there, I can't fit my fingers. (laughing) (upbeat music) Okay guys, this is the end of my video. If you like this, give it a big thumbs-up, and I'll see you in the next video. Good-bye! (upbeat music)

- Thank you. Thank you all for being here. I have to tell you, I'm looking around and I don't see any empty seats, and so we appreciate all of you're being here. I'm sure you will enjoy the presentation from standing in the back of the room. We really appreciate you're being here. My name is Juan Zabala, I'm Vice President for University Advancement at Lamar, and it's my pleasure to welcome y'all to this presentation today. Welcome to Lamar University to one of most important programs of the year in the brand new Center for Innovation, Commercialization and Entrepreneurship. And this program is sponsored by the brand new Center for Advances in Port Management. We have many, many Lamar University executives, deans and academic leaders, and I want all of you to know that we appreciate your presence here. We have a very large number of students and faculty joining us, and we're grateful for your presence here also. I also look around and see a lot of leaders from our business community and from the Beaumont community, and again we appreciate your presence here. I do want to recognize the members of the advisory council for the Center for Advances in Port Management. They met this morning and then they've stayed. One of their members is doing our presentation this afternoon, so we appreciate all of you being here. Right before we get moving to the program I want to take just a moment to recognize only two individuals in the audience. It's always nice for for us to have a regent of the Texas State University System with us at our meetings. We're especially happy today to have the Vice Chair of the board, Bill Scott, to joining us today. (audience applauds) Bill Scott is an alumnus of Lamar, arguably one of the most ardent supporters of Lamar. When we talk about new or renovated or improved or enhanced, you can guarantee that Bill Scott had a hand in that. So we're grateful for you being here. We're also really fortunate to have with us State Representative Joe Deshotel. (audience applauds) Another Lamar University alumnus and an ardent support of Lamar and we appreciate your being here. And now to begin our program, I'd like to introduce to you Erik Stromberg. Erik is Director for the Center for Advances in Port Management. (audience applauds) - Thank you all very much. Well, I'm happy to talk about my favorite topic, the Center for Advances in Port Management. But let me start by saying how honored we are to have as our inaugural speaker for the Center's symposium series, Senor Jorge Quijano (speaks foreign language). I will not steal the President's thunder as he will soon be introducing our most distinguished guest, but we are indeed setting a high bar for subsequent symposia speakers. The Center for Advances in Port Management was set in motion through an appropriation by the Texas legislature and signed into law by our governor in late 2015. The mission of the center is simple, focused and sublime. Preparing the port and marine terminal operating industries for the challenges and opportunities that lie ahead through education and research. Our mission will be achieved through the engagement of the entire university led by the colleges of business and engineering. Partnering and collaboration are our bywords. The center has established a memorandum of understanding with the American Association of Port Authorities to further our mutual interests in the training and education of the next generation of port leaders. We are working with the General Stevedoring Council, the training arm of private marine terminal operators in North America and internationally. Of course, we are closely affiliated with the ports, marine terminals, and transportation interests in southeast Texas and throughout our state. Through our digital remote learning platform, we can reach students, adjunct faculty, and research opportunities anywhere in the world. Ours is after all a global industry. Please go to our web site to learn more about our program, and let me know how we can add value to your enterprise. I have been so incredibly impressed with the faculty here at Lamar University, and with the commitment of the university and the state of Texas to this center and its mission, which brings me to my next responsibility. It is now my great pleasure to introduce the President of Lamar University, Dr. Kenneth Evans. It's my great pleasure partly because it is because of Dr. Evans that I am here as the Center's first executive director. Dr. Evans, with empathy and far-sightedness, realized the importance of waterborne commerce to southeast Texas, and the importance of the ports and marine terminals that serve our region's connections to world markets. He asked questions, which is his won, and surmised one of the ways his university could connect with community would be to provide educational and research opportunities for the port industry. He tested the market and found his idea was well received by industry as well as in Austin. But perhaps even Dr. Evans couldn't anticipate the overwhelmingly positive reception his idea would receive in the port industry. The establishment of the center has been truly a landmark occasion in an industry that throughout my career has bemoaned the lack of an advanced degree in port management. Now we have one. Thanks to you, Dr. Evans. I welcome you to the podium to introduce our distinguished guest. (audience applauds) Well, thank you Erik, and clearly it takes a village to do all this stuff, so there's a tremendous team that made all of this possible. I want to thank you all for being here today. This is most likely probably the most interesting timely and vital programs that you're gonna hear regarding global trade logistics. It's an amazing moment in time we're able to make this confluence possible for you. I continue to be intrigued by the complexity and I'm just absolutely fascinated by the port system. Not only in the role it plays in national defense. I think you know that. We're the largest volume port player in the country here in Beaumont. But also in terms of its impact in global trade and certainly on bulk movement of freight, which we're also known for here in the port system. But beyond that, there are within stone's throw around this area somewhere in the vicinity of 50 private ports, and then all the modalities that interface with the ports that also obviously have to understand the port system and the dynamics that make that possible. I mean in short, really, ports need to be understood. And the truth of the matter is today the way in which you moved into advancing in a leadership role in the port industry is you hitched your pants up and you walked around and you talked to a lot of folks, and hoped to god you got the information you needed to be able to do your job. That's changing, and it's changing because of the commitments we're making here at Lamar University. I'm gonna turn now to introduce to you Lamar University's own Jorge Quijano. He sits atop one of the major enterprises that dictates the fate of global freight movement and he has done so for quite some time. He reports to the President of Panama. He reports to a variety of investors all over the world, but the truth of the matter is the most important person he reports to is sitting right here, and that is Marcia, his wife, and we're so pleased that you are here with us today. And Jorge would admit that immediately. In fact, he knew who I was talking about when I was mentioning it. He is CEO of the Panama Canal Authority as well as an alumnus of the University, graduating with his bachelors degree in Industrial Engineering in 1973, and earning his masters in engineering the following year. Jorge has worked with what he proclaimed eighth wonder of the world for 41 years, having begun as an engineer and product forecaster at Panama's Texaco oil refinery before joining the Panama Canal in late 1975. After progressing through several important engineering and managerial positions within the organization, he became the maritime operations director of the canal, and then moved to head the expansion program as Executive Vice President for Engineering and Programs Management. In 2012, he was promoted to Chief Executive Officer of the Panama Canal Authority, bringing the expansion project to conclusion with its first commercial Neo-Panamax. Try that one on for size, transit in June 2016. I might add that he has been an amazing host to students, faculty, and friends of Lamar many times in Panama over the past few years of which we're greatly appreciative. This expansion is already greatly influencing how the world conducts maritime trade. He currently manages an organization with 10,000 employees with different backgrounds performing a myriad of operations. And the expansion involved at its peak an additional 14,000 workers from 36 different nationalities. Jorge came to Lamar University from Panama City on a tight budget allotted by his father. He chose our institution out of four schools to which he had been accepted because of its diverse curriculum. In addition to his bachelors and masters degrees earned at LU, he is a graduate of executive management programs from the Federal Executive Institute and Northwestern University. He is a member of Lamar University's civil engineering advisory council and he has often returned to campus to lecture to the college of engineering and to share with business, industry and government representatives from across the state and neighboring states on Panama Canal expansion and its impact on trade, as he is again doing so today. In 2013, he received the Lamar University Industrial Engineering Lifetime Achievement Award in recognition of his dedication and professional excellence as an engineer. Jorge has conducted tours as I mentioned earlier on a variety of different occasions for Lamar University students and faculty, has received many awards and distinctions throughout his successful career, and if I tried to go through his extensive list I'd have to start serving you all dinner and potentially even breakfast, and our budget is tight. It's a tight legislative session. Come on, guys. So just to highlight a few, he was named Honorary Citizen of Texas by the Texas Senate and received the Texas Industrial Engineering Lifetime Achievement Award by the University of Texas Arlington, the University of Texas El Paso, Texas A & M University, Texas Tech University, and the University of Houston, 2013. Of course, that all happened after Lamar did it. (audience laughs) And this past December, he was included on Lloyd's list of 100 Most Influential People in the World in Shipping. Jorge and his wife, Marcia, live in Panama City where their son, a graduate from Cardiff University in Wales, has practiced maritime law for more than 15 years and their daughter a Purdue University graduate in industrial engineering works in marketing for a multi-national company in Panama. Jorge loves his diverse career in Panama Canal and now drives a diversification strategy with promoting the development of his local logistics activities to reap the most benefits from Panama's enviable geographic position so that it can further evolve as a hub for the hub of the Americas. I look forward to hearing, as I know you do, his comments about the canal's overall expansion and we're so excited that you were able to finally get here. Since I arrived, I couldn't wait to meet this man. I am so stoked. So, welcome. (audience applauds) - Let me get the technical aspects of this going first. Oops. What happened? Oh. (men mumble) Hopefully. (computer beeps) Gotta wait there. I think it's booting up. Well, while we get this thing going. First of all, thank you for the introduction. Thank you for the invitation to be here. It's really a pleasure to be back. It's not the first time I come back to Lamar. I've been here a couple of times. I've been here a couple of times since I graduated. At least three times. And I enjoy coming back, and not finding my way around. (audience laughs) It's either my Alzheimer's or the fact that you have changed it so much for the good. To me it's a thrill being back here, bringing my wife. As you said, the lady in charge. Just a little bit of history. I graduated, like you said, in 1974 final with a masters of engineering degree in industrial engineering and went back to work. My wife was also studying here in Texas Women's University, a little bit further up in Denton, Texas during the same period of time that I was here. So we have known each other for a long, long time and we enjoyed also coming to Texas and spend some time in our studies. And I thank you for giving us the opportunity actually on a tight budget to make it through Lamar. That in itself was a big challenge. My father was one that was very strict on money and he said, "Here's a check "for the whole semester. "Don't call me, I won't call you. (audience laughs) "I'll send you the airplane ticket "at the end of the semester." But it was that in itself was also a learning experience. And I think I have done well in that sense. But it's a great opportunity for today because I was here back in 2013 and I talked about what would be the expansion. We're working on it. It's coming along. It's not done yet, but it's coming along. So finally I get to come here and talk about what we have done. So that's what I'll try to do. And also I'll try to connect it to the ports because there's no point in having a canal if there are no ports to take the ships to, right? So the first thing that you need is the ports and then canals. We recognize that and that's why we have a very, very close relationship with most ports of the world. We have very close relationship with the port of Houston, of course, because you have the big ships actually coming in from Panama to the port of Houston and we actually do marketing trips together to talk to the owners of the cargo. Not just the line, but to owners of the cargo. And that's very important that we continue to do that. And those of you that are in ports, you have to look at that. So I'll talk a little bit about why the expansion. Why did we want to get into such a mess because it can get really messy on a project. One off project. If you're in civil engineering, anybody in civil engineering here? Well, if you do a repetitious project one that you have done before, it's, yeah, do it better, a little better each time. But when you have to do a one off project, that's really something. And I tell you, we lived through a lot in nine years. It was gonna be a seven year program and it ended up being almost a two year, a nine year program. I'll talk about the expansion itself, then about the impact that it has had in general on us and also in the area, some of the ports here and some of the business here have been very important to us. I just came this morning. I went to Sabine Pass to the Cheniere plant who is a major user of the Panama canal. I was yesterday with Shell, who is also a major user of the expanded Panama canal, so for us it's real thrill to talk a little bit about the impact on the area. The diversification strategy, we the canal, everybody looks at the canal and says, "Well, you better just stick "to just transiting vessels." But there's more than that. The business is almost like a vertical integration. You've got a lot of land on both sides and you need to put it to work. And that's what the diversification strategy is. And finally, what have we done since June 26 of last year when we started our operations. So how do we see Panama? Panama right now, and this is not just because of the expansion project, because Panama has always been growing in achieving or dealing with different ports of the world. 144 trade routes we touch base with. We have 1,700 ports around the world in 160 different countries. But Panama has also grown. If you're in logistics, which is more of a military term, now somehow commoditized and made more domestic. It also ties in with air and land transportation. So Panama has also evolved into an air hub, and together with the canal, we have what we would like to call the Transportation and Logistic Hub of the Americas. And with that, of course, it entails a lot of free zones that we have within Panama so that we can import and export. Panama is a very small country, only 4 million people. We don't have much manufacturing, basically almost nothing. So we export what we import and distribute. It's a place where you can consolidate cargo. It's a place where you can distribute cargo from. And because we are a very central location, it's very, very efficient. So we found that from both the maritime aspects but also from the air cargo aspects. To give you a perspective of transits and tonnage, we have basically not moved from 1965. Basically we have the same number of transits that we have had until last year. We've never gone over 15,000 any more since the 1960s, but the reason is because of the size of vessels. Tonnage for us, which is why we charge by, and that's why it's important, has actually continued to grow. And we see, like in any business you will see dips, and the dips you probably can all relate to if you look at what's happening in this area. That's 2008 and '09 and '10. Then we pick up. And normally what happens is if you see our trend we always pick up and do better after about two, three years. So the canal has always had a positive trend and we expect that to be even more so now that we have expanded it. And the reason for that was how vessels have actually grown. And that then forced us to go into what we would have to do is an expansion to be able to accommodate them. Here, so you look at the segments because the canal doesn't only tend to one segment. It tends to container trade, dry bulk, tankers, vehicle carriers, refrigerated cargo, which is a little bit on the down trend now, general cargo, passengers, and others, including yachts that go through on a regular basis. Some people in our area call them nuisance boats, because they take up a lot of space, a lot of resources, and they don't pay much. So, $700 and they take up the locks for it. So for us, we'd rather handle all of these others especially the containers. As you've seen, since China joined the World Trade Organization back in 2000-2001, they picked up as the main segment of the Panama canal. And today, so to give you an idea, it represents 50% of the revenue of the canal is in the container segment. And it has dipped, like you saw there, 2007-08. Sorry, '08, '09, and '10. But it has picked up and came down again,. But then it picked up again in 2015 breaking all kinds of records. In 2016, we had a small dip. What I want to point out here is that dry bulk was forever the strongest segment of the canal prior to 1998-99 when it started to come down. A lot of stuff is now being shipped in containers which was not shipped before. Now in 1995, Maersk decided they were gonna build their first post-Panamax vessel, a container vessel. And that created a slow wave, which then took off in the late 90s, early 2000, which then was the main prompter of us involving ourself in an expansion. Another thing that you see a little bit highlighted at the bottom is when we started to study the expansion programs. So it wasn't something that we came up with in one or two years. We started studying in 1997. We even had an inter-oceanic canal conference in Panama, where people from all over the world participated. From there on to about 2005 is when we concentrated all of our efforts coming out with a proposal that it's different than it is here. Our proposal for an expansion of this size had to go to a referendum, a national referendum, which means that you have everybody having and opinion about whether you should expand or not your activity. So how can you convince people to do this without educating them in the business that you're in? So we had to go out there for a whole six months, all of our managers, all the people who had worked on the studies, go out and talk to everybody they could all over the nation. Because everybody had one vote. And at the end, on October 22, 2006, we had the go ahead by 77% vote of the people. But it was only because we talked to them personally to each one of them and convinced them that this was something we needed to do. So it was a project that entailed a lot of planning and then the execution started with a promotion with the people. Just so you have an idea what the canal serves, it serves primarily the Asia - U.S. east coast, and that's vice versa both ways, west coast South America, that's our second strongest route. South America to U.S. east coast. West coast of South America again to Europe and west coast central America to east coast of United States with a little bit from Europe to U.S. and west Canada coast. One important thing is that you see here in tonnage. And this is actually just weight. This is how much merchandise is moved in weight through the Panama canal. 51.2% actually comes or goes to the east coast of the United States. In essence, when you add everything up, it's 77%, I'm sorry, 68.8% of what goes through the Panama canal either comes or goes from the US. So US is our primary customer. China is our number two customer. Chile, who wasn't in the ranks back in the '90s is now number three. Peru has recently come up the ranks with a lot of exports and imports as well. And Japan, which was our number two back in the late '90s, have become now number five. And South Korea is our number six customer. So the importance of the United States to the Panama canal is overwhelming. People say well, what happens if too much protectionism? Is it gonna affect the Panama canal? I says, if it happens, yes, it's not gonna affect only the Panama canal, it's gonna affect everybody's pocket in some way because people will transfer the cost. And the people I've talked to in Europe, I just came back from talking to our customers, they are all concerned about what's gonna happen. They feel that if things are more or less the way they are right now, the shipping industry have seen the bottom of it and we should start seeing in 2018 a better year. The United States I think will do better this year than they did last year. And I think, I'm an optimist, so I think it will actually do better next year, of course. We'll see what happens with the more, with the political aspects of how to handle the debate of how much protectionism is good for the country. But let me tell you, if it affects you, it will affect us as well. Going back to how the size of vessels impacted on our decisions, and you started analyzing here. The green line is the largest container vessel in the world fleet. That means the largest size of vessel. And as you see, the jump starts in 1995. Everything else was staying within four to 5,000 TEU vessels, and slowly began to come up, and then you see some jumps. And the major jump was in 2005 when they started building 8,000 TEU vessels. Eight to 10,000 TEU vessels. And then the next jump was when Maersk decided to go with a big 14,000 TEU vessels later on in 2013, they went again with the Triple E With 18,000 TEU vessels. There have been some others closer to 20,000 TEU vessels that have been also built, but the numbers as you see now on the average size of vessels being delivered, it went up all the way up to 2015 and is now starting to creep back. So that's a good indication. That means there will be some that will continue to be built of those very large container carriers, but we feel that most will stay within 14,000 TEU, which is what we built the expansion for. I think that the building of the expansion actually put a mark on what the right size was for flexibility. That way you could put it anywhere you want. These others, they can only serve the long, long route from Asia through Suez Canal to Europe, and maybe east coast, but the east coast it not ready to handle that size of vessel. Even the west coast, I was talking to the CEO of CMA CGM and he says, "You know "we tried bringing in the Benjamin Franklin "18,000 TEU vessel to the west coast, "and we did have to reconsider because we couldn't "continue to have it full and go back full as well." That in essence is making people think again about the right size of vessel. It's like in the oil business if you recall you had the ULCCs and then all of a sudden the ULCCs disappeared. And now what you really have is really the VLCC. So from a 450,000 dead weight ton vessel, 440,000 dead weight ton vessel carrying crude oil we went down back to 300 to 320 and that's now the work horse of the industry because that's the right size. So we feel that eventually we'll see the right size as well being more around the 14,000 at the peak. For now, the canal we're looking mostly 8,000 to 8,500 TEU vessels going through the expanded canal. So why did we do this? Not only because of the size of vessels but we wanted to add more tonnage. We have projections of demand that would take us to 508 PCUMS tons for us. That's actually a volumetric measurement. And that's what we charge by. One volumetric ton, a PCUMS ton, is equivalent to 100 cubic feet of revenue earning space on a vessel. So for us to get to 508 with the present or the original canal, we would have never made it. We would have stayed at a bout 340. We actually did that in 2015. We got to 340.8 and it was unsustainable. We had vessels waiting 11 days out there before transiting. So the number, the magic number is really not 340. It's around 330, 325. That's what we would have been able to have without the expansion. So we knew there was demand. The demand was growing and it was also growing in a different package. And we had to do both. We needed to have an additional lane but also offer a new product. And that was the largest lock so that we could then take on that additional tonnage with the expansion. We also saw Latin America would grow. And it will grow and it will grow in the way that they can actually acquire more. So the middle class will have more power, more buying power in the next years. It's no longer just the US. We are looking at region and what we can sell to a region. Well, we don't sell it, but get it through to our region both coming from the United States or coming from Europe to the west coast or from the east coast of South America going to west coast of US or west coast of Central America, or even west coast of South America. We saw the potential and by 2030, the population will be probably around 700 million. That's a 19% growth in population, and you know very well that trade is driven by population. There's no population, nobody buys anything. And that's why the concentration of the population in the eastern part of the United States, when I say eastern, it's like from Texas then it goes down a little bit and goes up, all the way to the east coast, that's where 68% of the population of the United States is, and that's what our market is focused in tending to. And when we look at some of the markets that we serve, Ecuador depends heavily on the seaborne trade and 30.7% of the seaborne trade has to go through the Panama canal in either direction. And you look at Peru with 28.4% and Chile 26.7%. The United States is only 11.9. So it is important for the countries around the region, the fact that we have a canal and the fact that we have now an expanded canal. And we've seen how other ports have been developed around the mouth of our canal be it Buena Ventura Santa Marta and Cartagena on the Atlantic and they have both gained significant cargo from the expansion of the Panama canal without investing a single cent. That's the best way to do business, isn't it? (laughs) Just to give you a little bit of background and remember a little bit, this is the country of Panama. This is really the heart, and you see here this is our manmade lake, Gatun Lake, which is where the vessels travel through. And the program, the expansion program contemplated a lot of efforts, significant efforts. We had to build, of course, we had to dredge the Atlantic entrance. We had to dredge the Pacific entrances. We had to build two neo-Panamax locks. The largest and the most difficult project of the whole lot. We also had to build a channel totally through hills, and that's why you see here down on the left, you see all those hills? We eliminated those hills. We actually, the original plan of the United States was to go around and build another lock behind that big hill, and we decided that that wasn't going to be too effective. We wanted a direct connection to the Culebra cut. So the new locks on the Pacific was connected directly to the lake by cutting through two majors hills in the middle of that channel. And it has worked very well. We also had to dredge the channels in the lake and that we did mostly ourselves. We have a dredging operation with four dredgers. And we have also drilling and blasting platforms, so we dedicated about 1,100 employees of ours dedicated only to doing that part of the work. We complemented it with other contractors, but we did 2/3 of all of the dredging at the lake level. And especially in the Culebra Cut, which is this section here, which is the hardest rock in the canal. So we also increased that we had to fix a lot of the existing property or existing infrastructure to be able to raise Gatun Lake another foot and a half so that we would then have enough draft to get down to the 50 foot fresh water draft that we promised. Altogether, this is what this project entailed. And primarily looking at what we had, was a locks that could only accommodate 4,400 TEU vessel. Now we can accommodate vessels that go all the way to 14,000 TEUs. We haven't seen the 13,000 or the 14,000 TEU but they will surely cascade down in the next few years. Right now, as I mentioned earlier, we are running 8,000 to 10,500 TEU vessels regularly. Just a short video if it works. Let me see. Is it paying? Oh, no audio. It is playing. You have the audio there? It's just music, but I can explain. This is the construction on the Pacific lock on the Pacific end. Would it be this one here? And this is over five years ago. And as you see, slowly coming up, but most of that area was rock. Basalt, that had to be blown up and then dug up, and then start to build. Now this is on the Atlantic side. The is the lock on the Atlantic side. So we had to build two identical structures. They only difference between them was the geology where they were sitting on. So the design had to be a little bit different because of the difference of that different site conditions. This is looking onto Atlantic, as well. The sea that you see on the far end is the Atlantic. And the one that you see here, this is also still on the Atlantic. But interestingly, you will see here very soon, the gates were built in Italy. They were shipped as one piece each, and they had to be brought in into the locks and crawled in. Actually crawled in very slowly into a very tight fit into the lock heads. So each one, each of the two locks has a total of eight gates to isolate the three chambers. And here you see how it was being filled up. And that's the connection to the lake. And that's the first trial on the Pacific. And then you'll see the inaugural transit just went through. So that's a little bit faster than the nine years that we spent on it, but it was a good day on the 26th to see that first ship go through and see that everything came together rather well for getting some of the frustrations that we had in the background. But I think that in the end what is important is that we made it and that it works and is now serving not only Panama, but it also serving the world. Important to know is that the volumes of excavation and dredging. They were very close, 78% of what the original canal entailed. So there's a lot. It wasn't just a minor expansion. It was a major expansion from the standpoint of volumes of excavation and dredging. But from the concrete side, it was 132% of what the original construction was. 3.4 million cubic meters of concrete were poured in the original construction. And that was a dual lane lock. This is only a single lane lock. And we had 4.5 million cubic meters of concrete poured on rainforest as well in the new locks. So it's a major undertaking, not to be taken lightly. $5.5 5.6 billion. We've got still some claims remaining with one of the contractors. The rest have all been cleared. Everything was on budget except the major contractor of the locks, which we will not know exactly what that's going to be until all of the claims have been resolved with our arbitration, which is probably where we're gonna end up because the differences are substantial. But we had estimated that, yeah it would take about seven years to do it. We took a little bit longer than that. We had several work stoppages, but we recovered. The important part of it is that we got up again and we continued working. Never give up. Keep on pushing, and you'll get it done. And we had a great team that pulled it all together. Important how many people actually worked in the expansion. A total of about 41-42,000 people worked at any given time. Some of them moved from project to project so they were working for one contractor at one time. They moved to another contractor at another time. But at the peak of all of the contracting, we had 14,000 workers working concurrently. So that was like one year of the whole project. One and half years of the whole project we had 14,000 people working. And these were all of the countries that actually participated. Some of them had maybe one or two people in there, but some of them had even more that came from all over the world, including the US. A lot of the heavy equipment came from the United States as well. And so that you have an idea, I mentioned this. The canal when it was built originally, it connected two oceans. And as I said in my speech on the 26th of June, I said now we're connecting the present with the future. And what I mean is the opportunities that open up now. Because the canal has already been connected to two oceans. And I think this is what we're seeing now, what we're seeing with China using the Panama canal, some of the ports that will very soon here be receiving very large vessels. And you see a picture here, very similar pictures. These are actually the same place these pictures were taken, one in 1914 with the Ancon going through, and this is the inaugural transit of the Cosco Shipping Panama going through the same area. That hill in the back here, that is Gold Hill, that's the name of the hill. Of course and you see the channel was only 300 feet. Now you're looking at 715 foot channel, and you see this hill in itself has been cut back several times, not just during this expansion, but several times. So we've come a long way from 102 years ago. And this is how it looks on a nice day for us. You have the old locks pushing really two vessels plus one that's coming in on the back. And these other two that you see in the lake are ready to go in. And we have a full Neo-Panamax container vessel coming, I don't know whether it was coming to Houston or it was coming to Miami or New York, but full. So that was coming rom Asia. And you see an LPG tanker in the back. And that LPG tanker in the locks on the left on the back, that is coming right here. So we have a lot of LPG coming out of Houston, coming out of the area here, Sabine Pass, and also in Lake Charles. Actually it's the second largest user of the expanded canal right now, the LPG coming from the Texas-Louisiana area. So we're making your day. Let's talk a little bit about the impact. Of course, the impact of the Panama canal expansion, number one it actually impacts, the Panama canal it impacts Panama more than just the Panama canal, it strengthens its service offering by improving route competitiveness. The economies of scale are now working in favor of our customers. And you see this large MOL vessel going through the expanded canal right in the center. And it also works for the liners. It increases the flexibility and productivity of now their Neo-Panamax fleet. All of these vessels were before in Suez. Now they cascaded into the Panama Canal. It allows them also to negotiate better with both canals. That actually takes place quite a bit. Local and regional ports. It has a major impact, especially around the mouth of the canal, we've seen the emergence of new ports and very strong ports operated by important foreign companies that are major players in this area. But we also see the impact that it had on the east coast and some of the dredging that was done, Miami was one of them. Savannah is trying to work on it. Norfolk already had enough depth so that was not a problem. Baltimore did some dredging. Of course all of those ports on the east coast some of them are at a different stage of progress, but eventually they will all have to accommodate some of these vessels with deeper drafts. And the supply chain. Now we're trying to change the more you move through Panama, we have 77% of all of the vessels the container vessels that transit through the Panama canal stop at ports on either on the Atlantic or the Pacific. Discharge containers and pick up containers that are fed into those ports. Some of these containers are opened up and some accessorization takes place, so it adds value and it goes into different containers and then goes somewhere else. We want to push that. So the supply chain should actually enhance further by doing that. And we're counting that with some of the other things that we've been doing in the canal we will actually be able to have a better distribution and added value to the cargo that goes through Panama. And that will then lead us into what I said originally, that Panama is the logistic hub of the Americas, headed by our diversification strategy, which I will talk to you in a second. So the way it's happening now is that this big ship comes through the canal, it stops on either the Pacific or Atlantic and then it goes to ports like Savannah, Charleston, Norfolk, Houston. And from there the brown routes that you see are really the feeder routes. You do this with a smaller vessel. You don't have to bring in a 10,500 TEU vessel all the way from China and have them go all the way to the end of the world in Chile, and San Antonio and then come back half-loaded. This way you can optimize. You keep those vessels loaded to the highest degree by going to the canal, dropping off, picking up the cargo that has come in from the feeders. And then going on to the United States, which is the main user of the canal as a country. And here you see all of the activity I just mentioned. What has been happening. But we keep track of everything that's happening on ports that have something to do with the canal. And this is very important as you have now a program for ports management. I was talking to Erik here, and I said, you have to focus on information. You have to have a lot of information, collaborative information, and you also, when you look at jobs, don't focus just on the management side. One of the things that we have in Panama, one of the problems that we have in Panama is that we lack maintenance people. We have a lot of managers, but where's the welder? Where is the hydraulics guy that knows how to not just operate but actually repair the hydraulic motors on a crane, on a shore to ship crane? These are the kinds of things that you have to somehow complement into your program. Maybe the Lamar Institute of Technology takes care of that, but I think it has to be somehow structured in a way that one talks to the other. And we're doing a little bit of that in Panama because everybody in Panama, nope everybody in Panama wants to be an engineer, a doctor or a lawyer. I don't know whether that's the case here, but in Panama, nobody wants to be a crane operator, even though you can get more money maybe than an engineer. Nobody wants to be a crane operator. Nobody wants to be any, a welder. But you have welders and crane operators in Panama make more than engineers coming out of engineering school. So, and that's a necessity not just for the port, that's also for all industry. And you've got tons of requirements here, I'm sure, from all of the plans that you have across. We have, of course, less than that, but we have been impacted with lack of skilled man power. So no matter if you have the best manager in the world managing your port, if you can't service your cranes, you're up a creek. So, just a suggestion. The connectivity of Panama. Here you see the Panamax Panamax. That means the old locks. Liner services. We have 19 liner services. By that I mean you have two vessels going through the Panama Canal per service every week. So you have 19 of those. And you see the average size of vessel here on average is about 3,878 TEUs. On top of that, now that we've opened the canal, oops, sorry. The expanded canal, we have another 10. So that means we have additional plus we had some conversions. Some that were using the 4,000 TEU vessel or 4,400 TEU vessels have now converted those to 8,000, to 9,000 to 10,000 TEU vessels. And we also have a few that are additional that have come from the other routes. Some of it principally coming from Suez. But together with that, and I just mentioned the feeders, this is important because our feeder network from Panama both on the Atlantic and the Pacific is 39 services. That's 39 weekly services coming out of Panama. 25 of those on the Atlantic, 14 on the Pacific. And so we do need a little bit more space on the Pacific. Box space on the Pacific, and we're working trying to achieve that. So this network is what you have to analyze. What do you have here? Of course you've got a much bigger area. We're a very narrow country, and we have ports on both sides at 80 km apart, 50 miles away. So it's like having a port on both oceans. And you have a railroad that's only 50 miles long. Who'd say that a railroad that's only 50 miles long would ever make any money? Normally you need at least 200 to 300 miles so they start making some money, but it does. It is part of that connectivity. It is part of that network with the ports, with the canal. And what did the expanded canal give us? This was the frontier. To the green, this was our frontier. This is what we had with our Panamax size vessels. When we went then to a larger vessel, the per unit cost allow us now to compete better with the west coast ports. Okay, so that actually did this. So we shifted a little bit more and we gained almost all of Texas. So to us it has been very important that movement not only from the point of Texas but also up north because it's a lot of consumption in that area. We are now per unit cost lower than going from the west coast to the east coast of the United States. And what's important in the area, of course, and you know it better than I do, is the interconnectivity that you have with the railroads going everywhere from here. You have three class one railways, BNSF, Union Pacific, and Kansas City Southern which actually runs, Kansas City Southern actually runs the Panama canal railroad in Panama. So you have trucking here. Of course there's talk, and I think we had the discussion earlier, there's a lot of people doing a lot of business around Houston that want to shift it to Dallas. And then put it on railroad and go west. My reason I'm here today is of course to talk to you, but I was here also talking to some owners of cargo in Houston to try to see what they could do to further load up on what's available on sea, like CMA CGM, Maersk, MSC, Cosco who call on Houston and see what they can do to fill up those containers so that they will convert eventually, and I say before the end of the year, they will convert to the larger vessels very quickly. What you see here, you see that these are the services form Panama to Houston, you have Maersk with MSC because they are in the two, I would say, arrangement. They have 4,000 to 5,000 TEU vessels. All those are Panamaxes. And then CMA CGM has one service that has like one, one or two of them are Neo-Panamaxes and the rest of them are Panamaxes. So the rest will be eventually be converted. Then CMA CGM has another service that also calls on Houston and then goes all the way to Europe and those are very small vessels. We expect them to at least be upgraded to Panamaxes and eventually go to Neo-Panamaxes. And last but not least, Cosco who's running Panamaxes at this time. All of those I have talked to them and they're just waiting to convert as soon as the cargo is there. So those that have cargo, the plastic resins there will be a future capacity there to ship out. And it's cheaper than going to the west coast by rail. At least that's our perspective. When we looked at the statistics for port ranking by tonnage, 2014 is the most recent that is actually out there. South Louisiana ports is the number one in tonnage, Houston in number two, New York, New Jersey is number three, Beaumont is number four, which is an interesting number. When I was looking at it, I said, wow. This of course, there's a lot of military cargo that actually goes on there as well. You see there's another slide that covers that. And Long Beach is number five. Everybody would have said something different. Said, oh, LA, Long Beach are the big ones. From a tonnage standpoint, weight and remembering that you have a lot of petrochemicals coming out of here. You have a lot of also grain coming out of this area and all of that has a lot of weight. So from a tonnage perspective, these are the top in the US. And of course we keep track of how the Texan ports have with regard to drafts. And we see that Houston is doing fairly well. Beaumont I think still at 40 feet, but both Houston, Galveston, Texas City, Freeport, and Corpus Christi are in the 45 foot range. And this is what they're carrying basically. And like I said, Beaumont is forest products, military cargo, steel project cargo, and that's an opportunity there as well because there's a lot of activity now with all of the conversions of the inbound LNG now becoming export LNG. There's going to be a lot of transport of steel materials coming in from abroad and so I feel there's going to be a lot of activity in Beaumont and Port Arthur as well. Corpus Christi, it's now become a nucleus of a lot of investments in that area, and with Cheniere building one of their LNG trains already, we should see also improvement from them probably shop shipments of LNG from Corpus to the Panama canal. Potential trades that we see, mostly grains are coming out of Louisiana area in a slightly larger vessel, 95,000 dead weight ton vessel. It saves 16 days by going around the Cape of Good Hope so we'll see that in the future. We haven't seen it yet. We're still running Panamaxes through the canal. One thing that I want to point out to you, how important the Panama canal is for the US is the fact that we are running, Panama canal serves 44.1 million metric tons of the grains of the United States exports. 31.2% of US grain is being exported through the Panama canal. So it is very, very important, that route for the US to stay competitive, especially in the Asian market. And if you look at everything that's going to Asia, that is even more relevant because when you put all of the shipments that are going to a relevant route, we are looking at 51.7 million metric tons, which amounts to 85.2% of the volume that goes through the Panama canal of the United States' exports of grain. We see new cargo opportunities which have already taken place. The LNG LPG exports, crude oil. Actually we saw a crude oil shipment to Nicaragua last year going through the canal. It was like the first shipment coming from Houston going to Nicaragua. It was something that we couldn't decipher, it hasn't happened again. But it did. So there's future there, of course with Shell. We will probably see a lot more crude oil eventually being exported. Grains of course important both for the US from Panama as a route. Containers is the most important to us. Resins in containers I think is a great future. Talking to some of the end suppliers in Houston yesterday, they said that they foresee going from like 25,000 TEUs of exports of resins to maybe in the next two to three years all the way to 90,000 TEUs. So it's something to look at. And the project cargo that I mentioned in all of those different areas. And here just we have an idea of the time savings if you're exporting anything from the United States going to Asia, you save 28 days time. I'm sorry, total days is 28 days, so you save a lot of time going to Hong Kong, going to Tokyo, and Santiago is only 10 days away, Santiago, Chile, from US Gulf. And I mentioned earlier the fact that we've seen a lot of LPG. Twice as much as LNG and UC in some of the figures that we've had. But here we see that Targa Resources at Galena Park LPG has definitely come online very strong. Enterprise Products as well in the Houston Terminal. And we see Cheniere and Sabine Pass with the LNG, they have two trains right now working. One should be coming online next month, or April at the latest, and the other one by midyear. So in essence, in a few months, they will be able to double their capacity to export, which is important for the US and for Texas, but is also important for the Panama canal. And I was there recently visiting that facility this morning, actually they had two vessels there, not just one as I show in the picture. And here, just so you have an idea, and I don't have the numbers for 2017 which are even more interesting, but look at how it has been growing through the canal the LPG. We've had between 2015 and 2017, we've had a 100% increase. That's a twofold increase in LPG going through the Panama canal, all going to Asia. We also have inorganic chemicals, ammonia, that's a little bit, and some organic chemicals as well. So LPG, propane and butane have become a very important commodity for us. Looking at the LPG routes, we see everything from Asia to west coast South America to Central America including Mexico on the Pacific end, and also not from the US but from the West Indies from Trinidad Tobago, some of it going to Chile as well. So it's interesting because even though Peru has LNG, because of political reasons they don't sell it to their neighbor, which is Chile. So that's good for us in the canal because we see them going both directions. And we have West Indies to Central America as well. These are the Neo-Panamaxes going specifically to Japan, South Korea, China, and Taiwan. And they have been going through about 82 of them I think have gone through the Panama canal. Corpus Christi, you see a lot of activity, a lot of investments. It's gonna be a boom boom years in the future if that continues. We keep an eye on them because we need to make capacity available so they can put them through. Of all of what you see here, some of it will go through the canal, some of it will not. But it's important that it's growing in that area for us. And you see here the Voestalpine Texas hot briquetted iron production, we'll see some of that probably going through the Panama canal. But the most important part of this are the Cheniere Corpus Christi liquefactions facility for additional LNG to go through the canal. In our diversification strategy, what we have done is looked at all of the land that the Panama canal has, and see what we can develop that goes in line with our main core business. And we have now focused on four of them. The four that you see in yellow here. One of them, the one that's further advanced is a container terminal on the Pacific end to add additional capacity and logistic part which is developing somewhere between 700 to 1200 hectares of land that were previously not serviceable because the US military presence in Panama left a lot of unexploded ordinance in that area. So you couldn't even walk into the area. Because we needed to land to be able to fill it with the material that we were excavating for locks, we had to go in. We spent about $30 million to clean it up. And then deposit material on top and now all of that area can be developed. Yes, we spent $30 million, but we gained a lot back by making it now available for business. So we plan to build a logistic park in there. Most of this will go as concessions. We're not planning to do it ourselves. We are landlords. we want to remain that way. But we want to make sure they are developed in businesses that are related to our main activity. Not just build houses or do whatever. No, we want the to be part of the sector so that it actually promotes more business for the Panama canal in the end. We have roll on roll off terminal to distribute cars and heavy equipment from Panama rather than sending big ships to one point and dropping off maybe 50 cars and then going to the next stop. This way you can actually put more accessories on it if you need it in Panama, and send whatever lot you need on some of the feeder vessels that feed from Panama. And last but not least is the energy terminal. We have a grant from the USTDA. And we are working right now with a consultant to develop a plan for a facility that will not only have the LNG for energy but will also provide for bunkering in the future for vessels that will be bunkered with LNG. We see a trend especially with IMO rules that come in effect in 2020 that there will be more. Probably 2022, you will start seeing a lot of ships now powered by LNG. And we think that's a possibility for us to get into that by having a gas station in Panama. A good route, it's an attraction. It's a point to have the investment but we're gonna wait until about mid-June when the studies are done to see what we're gonna do then after that. But I think the possibilities are there not only for bunkering but also for distribution in smaller parcels to Central America from Panama as well. A little bit about the 1,200 hectares that I mentioned. Panama is only 80 kilometers, 50 miles from one end to the other. In the area that you see here, I move that so I can see that, okay. This is the area that was recovered, reclaimed from the unexploded ordinance. And that in itself is a project that we have studied. And here you see it on a better map. Here you see it's right next to the third set of locks with a fourth set of locks actually put in there to leave the space because there's something that will have to happen in the future. And from there, what we expect to do is have the roll on roll off terminal right here on your right. This whole thing here is only about seven kilometers long. And then you have a port here which is PSA which is being expanded to 2 million TEUs. This is where the railroad would be. You could keep the parts here, and you could actually do some light manufacturing as well in that area. We're also looking at the possibility of Agribulk, perishable goods as well. Mostly for Latin America, not for the US. But mostly for Latin America. And we have a distribution centers that we want establish as well. We've been talking to the Walmart, to the Targets, to the Lowe's of the United States to see. And some from Canada as well. To see if they have some interest in this project. We'll see how that pans out in the future. But we are constantly trying to promote this because we feel that there's a lot of potential. Especially because it's right next to the canal. It's right next to very very important ports. One last thing that I wanna mention is the fact that we also are planning to put a portable type island in this area here to get somewhere around 40 to 50 megawatts to supply all of the demand that this particular park needs. So we're trying to go as green as we can in our plans for development in the future. And here is just a final layout. And you see at the top this whole energy farm with 70 hectares. So a total of what we see right now is about 736 hectares that we'll be able to develop in the near future. And this is just a rendering so that you see how in the end would look like. The new locks are here. These are the old locks. Still totally operational as you saw in one of the first pictures I showed you. And what's important like some of you here, is having ports. We have ports on the Atlantic, we have ports in the Pacific. These are actual operating ports on the Atlantic. And then we also have these operating on the Pacific. And then we have two that we're working on. The railroad is operating of course. And they have enough capacity to handle twice of what they're doing right now. And then there are two potential new projects. One is ours, the 5.3 million TEU in two phases. The first phase would be 3.2 million TEU's. And the other one which is the Panama Colon Port, which is still on the conceptual design and no decision has been made. We are going along with the Corozal Port activity right now we have a tender. We're supposed to be receiving proposals March the 3rd. So we walked this for about three years now and we're at the point of receiving proposals. So a total capacity with the future developments in Panama, which is like I said, 80 kilometers apart is like having a port on two oceans. It's 19.5 million TEU's. And last, to close up how we've been doing in the expanded canal. We handle all kinds of vessels. We handle as you see, mainly container vessels. 455 Neopanamax'. 277 LPG's. All of them from here. And LNG also. Except for two shipments from Trinidad & Tobago. Everything else is from here as well. So this was updated this morning for this presentation. They sent me the latest updates so you would see. Actually this is what's going on today. It includes the transits today. But we have also used the new locks. But we have a back log of vessels to pump in Panamaxes. So we've already handled over 1,000 vessels to the new Panamax locks. What happen here? Kinda slow here. Who are the operators? You see Mitsui O.S.K. line, it's a Japanese line. It's the number one user. Not of the canal but of the expanded canal. Very close by MSC. MSC is our number one user of the canal reporting 10% of the income of the canal comes from just one line, MSC. Shell, with all of the LNG transits. Then you have even Cheniere, I think it comes out here somewhere. Where is it? SwissMarine Petredec. I'm missing it here. Ah here it is, Cheniere marketing. So we do have a lot of activity in the gas area. But most of the activity is in the container trade by the major players. Even though Maersk is not here, they are fully using the Panamax canal. And they have now have advised us they will put a NeoPanamax vessel on it in April. For service that's coming online TP 16. We'll be seeing it very shortly. So with that I end my presentation and I thank you for your patience. And I hope that I have somehow contributed a little bit to understanding not only the Panama Canal, but maybe understanding a little bit the business that we're in. The ports, how important they are to canals and to people. And the fact that you do need to have programs that are totally encompassing. Both from the management side, but also from the technical side. Because those two have to come together at the center. I also express my willingness always to incorporate Lamar. We have a group now going, I believe next month, in a couple of weeks. Going to Costa Rica and then to Panama. And we will be hosting you over there as well. And I hope since they're coming, the right time I will be able to meet with them briefly. But we've also had at least two that spend quite a bit of time in Panama. We had Jeremy Allen spend quite some time in Panama. A great guy. I think he's coming tonight. I think he told me he was. And also Andrea Lamas. A civil engineer. A think at that time she was maybe a junior. And she went and spent almost I think like six months in the expansion project. So to her it must've been a very interesting experience. Because it's a project that you only see every 100 years. I'm really pleased to be able to cooperate in any way that I can with the university. And I thank the university for the opportunity. Not only today, but the opportunity to come out here and get my two degrees and break ground in Panama and definitely it hasn't been too bad for me. Thank you. (audience applauds) - Jorge, thank you so much for your excellent comprehensive remarks. You have convinced us all the canal connects not only the two oceans but the present and the future. We have note cards that have been passed out. Ask questions. So if you have it, can you please fill them out. While we're looking and reviewing those note cards let me, if I could, let me ask you a question about. I mentioned, we have incredibly bright faculty. Across all the colleges here at Lamar University. What suggestions would you have for faculty to apply their sophisticated analytical tools in ways that might help your operations and your management? - One of the more challenging things that we have to approach and I think it's not just the Panama Canal, but anybody that has a channel is optimization of those channels. And I think here we have the Houston channel and we have the Panama Canal. We have to not only optimize that resource but other resources that also use, are needed to perform the work. So what I'd say is optimization of resources or operations research area is where it's at. It's very challenging, but you do have to invest in it. But like I mentioned, we're investing six million dollars on a modular system that will allow us to do more, better scheduling. But not just the scheduling of the vessels, but the scheduling of all the other resources. We're talking about manpower, tugboats, launches, locks. So I think it is a big challenge. And then there's another aspect of optimization is also managing or optimizing the revenue. Or what you call in the airline industry yield management. We are doing a little bit of that now. Because of the fact that you have a vessel with 10,000 TEU's full. We pay $900,000 going to the Panama Canal. You have an energy vessel through full, about $410,000. You have an LPG Neo-Panamax vessel going through it pays 200,000. And it uses the same slot. So we have to now try to optimize. We wanna leave space for everyone. But when there's little space, then you have to manage the yield. And we will have to do that. In the future, all of those who are in industrial engineering especially will have to work a little bit more on the OR. Because it's something with limited resources that are typical of channels. I mean the Houston channel we were talking earlier. The Houston channel has multiple ports and different materials going out of those ports. Commodities coming out of those ports. But do they all talk to each other? Is there a control house that really controls them? Do they have good information that comes in so that we can really optimize the channel? The channel is the most important resource. It's not the port. Because if you don't have the channel you cannot get to the port. So how can you do the convoys? Can you have meetings of vessels? Where do they meet? All of that will come out of those investigations. So I think in an area to me that's very close to my heart, is really the area of optimization of resources. And I would focus on that of course. We have other areas that are important to the canal which is water as well. But we are already working on that. And when I say water is, how to get more water. Because we are an artificial lake canal. So we need to make sure that we always have enough water to be able to pass more and more and bigger vessels. So that's a challenge that we have and we've already taken it on and I think we're on the right path looking for additional reservoirs in the area to provide. Because the canal not only provides the water for the vessels to go through, it also provides 60% of the raw water that is used for 60% of the humans in Panama to consume. So we are a major water provider for the country. And every day they want more, but from the same resources. So this is why now we are involving ourselves in trying to secure additional water resources. Okay. - Well this is a straight forward question about other canals in the world. Suez canal obviously provides the gateway, an alternative gateway. South Asia for example to the US east coast. How do you see the relationship between the Suez and Panama Canal as you move forward? - We have always had a very good relationship. And I've met with Mr. Mamish, the director of the Suez canal twice this past year. The latest one in October. We have a very cordial relationship. A very competitive relationship. One thing I did say was I was not going to compete based on price, but on service. So we know that they have a route that can compete because they have, they can actually run an 18,000 TEU vessel. But I know they will not be an 18,000 TEU vessel going to the east coast of the United States. So really, the vessels that will be going there will be anywhere between 12 to 14,000 which is what we can handle. We are a shorter route round trip of about 14 15 days, round trip. Shorter than going to Suez Canal. Suez Canal is a little bit less expensive than we are. When they learned that we were already going to open up the expansion, they went on a sales spree. We thought it was crazy. Because people then start asking me, "Aren't you going to compete?" I said "No we can't do this." This is not price cutting time for us. We gotta pay all of this. So we have to concentrate on service. And they went with a 30% discount on the tolls. And later went to 50%. They went to 63%. Now they have gone to another 3%. If you put down three years worth of advance payment for the tolls in the central bank of Egypt. We have been fortunate that our customers are looking more favorably at the Panama Canal because of the shorter route and the service that we provide and the connectivity that we have with the Americas. So for us yes it's a challenge. It's a competitor. It's an honorable competitor. But we're not gonna do price fixing. Definitely no. And price cutting, we can't compete. That's not something that we'll come down to. But we do have enough incentives in our price structure that we'll allow our customers to remain interested in using the Panama Canal. But regard to other competitors, we have of course the Intermodal system of the United States. LA Long beach. That's more expensive than the Panama Canal. But it's quicker. So if you wanna move iPhone 8's. They haven't come out yet, but when they come out. If you wanna move iPhone 8's very quickly or you have the latest fashion that needs to be out there in the east coast, then you move it to the west coast. But if you're moving furniture, or irons, or ovens, normally they're not all that fashion. And they're heavy. You better take them to the Panama Canal. Thank you. (applause) - Jorge and Senior Quijano, it's our great honor to have you here and open up the Senator's Symposium Series. And you have set certainly a very high standard. And we will keep you in tune for the next Symposium speaker as well. Again, thank you so much and thank you all for participating in this Symposium sponsored by the Senator. Thank you all. (audience applauds)

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German: Oh, eventuell werde ich dich bekommen Friss mein Dreck! Tu ich! [Spuckt den Dreck aus] Au! Das reicht, um nach Hause zu gehen und etwas Tylenol zu nehmen. Hi ich bin der Trapper und du bist wie ich und lässt dir häufig Paletten auf den Kopf fallen? Häufig? Dann nimm Tylenol Ist das der Name davon? Ja. Tylenol. Oh, hey Leute Wie hast du das getan?! Was getan? Du hast die Palette wieder aufgestellt! Ach, das.. Es war einfach EINFACH?! Kannst du mir das beibringen? Ähm, ja klar. Romanian: Oh, te voi prinde până la urmă Mănâncă-mi praful. O fac! [Scuipând praf] Au! Am terminat. Mă duc acasă să iau niste Tylenol. Salut, sunt Trapper-ul și ești ca și mine având palete dărâmate peste capul tău frecvent? Atunci, încearcă Tylenol! Așa se numește? Da. Tylenol. Pentru când te doare capul Niște gâlceală amuzantă. Râzi Oh, salut Cum ai făcut asta?! Ce? Ai ridicat paleta! Oh, asta... N-a fost nimic. NIMIC?! Îmi poți arăta? Um, da, sigur. Spanish: Oh, eventualmente te atraparé come mi suciedad ¡Estoy! [Escupiendo tierra] ¡Ay! Eso va a casa, toma un poco de Tylenol. Hola soy el trampero y eres como yo y se te caen los pales en la cabeza ¿frecuentemente? Entonces, ¡prueba Tylenol! ¿Es así como se llama? Sí. Tylenol oh, hola chicos ¡¿Cómo hiciste eso?! ¿Hacer qué? ¡Recogiste el pale! Oh eso... no fue nada nada?!!! ¿Puedes enseñarme? Um, si claro. Polish: (Trapper) Oh, kiedyś w końcu cię dopadnę! Trapper (Tunnelujący tryhard) Meg (Doładowana Gen Rusherka) Żryj gruz. Jem! [Wypluwa ziemię] Au! Skończyłem! Idę do domu wziąć trochę TYLENOLU. Cześć, Jestem Trapper I czy macie tak jak ja, że palety spadają na waszą głowę często? Więc, spróbujcie TYLENOLU! Tak się to nazywa...? Tak. TYLENOL Na ból głowy Zabawny knebel. Śmiejcie się (Yui) O, cześć. (Dwigth) Jak to zrobiłaś?! (Yui) Co zrobiłam? (Claudette) Podniosłaś paletę! (Yui) A to... (Yui) Nic takiego. (Dwigth) NIC?! (Claudette) Nauczysz mnie? (Yui) Tak, spoko. French: Oh, je vais finir par t'avoir. Mange ma poussiere ! Je le suis ! [ Crache de la saleté ] Aïe ! J'en ai assez ! Je vais rentrer à la maison et prendre du Tylenol Bonjour ! Je suis Le Piégeur. Es-tu comme moi ? A te prendre souvent des palettes sur la tête ? Alors, essaye Tylenol ! C'est bien ça le nom ? Ouais. Tylenol Pour quand ta tête te fait mal ! Une blague drôle. Rigole. Oh, salut les gars. Comment t'as fait ça !?? Fait quoi ? T'as relevé la palette ! Oh ça... C'était rien. RIEN !? Tu peux m'apprendre ? Euh...Oui biensur. Hungarian: Oh, eldoglak kapni úgyis! Edd meg a saram. Azt csinálom! (Köpködi a sarat) Au! Ennyi! Inkább hazamegyek és beveszem a Tylenol-t. Szia, én a Csapdás vagyok. te is olyan vagy mint én hogy mindig raklapokat ejtenek a fejedre rendszeresen? Akkor próbáld ki a Tylenol-t! Ez a neve? Igen Tylenol. Oh, helló srácok. Hogy csináltad azt? Mit? Felvetted a raklapot! Oh azt... Ez semmiség. SEMMISÉG?! Meg tudsz tanítani? Am, igen persze. Modern Greek (1453-): Oo, θα σε πιάσω.. κάποια στιγμή Φάε την λάσπη μου. Την τρώω! (Φτύνει την λάσπη) Άου! Αυτό φτάνει. Πήγαινε σπίτι και πάρε λίγη Παρακεταμόλη. Γεια, είμαι ο παγιδευτής και είσαι σαν και εμένα, έχοντας παλέτες να πέφτουν στο κεφάλι σου συνέχεια; Τότε, δοκίμασε Παρακεταμόλη! Είναι αυτό το όνομα του; Ναι. Παρακεταμόλη. (Όταν πονάει το κεφάλι σου) Γεια σας παιδιά. Πώς το κάνατε αυτό; Τι κάναμε; Σηκώσατε πάνω την παλέτα! Αα αυτό... Δεν ήταν τίποτα. ΤΙΠΟΤΑ;; Μπορείς να μου το μάθεις; Εμ, ναι φυσικά. English: Oh, I'm going to get you eventually Eat my dirt. I am! [Spitting out dirt] Ow! That does it go home take some Tylenol. Hi, I'm the trapper and are you like me and have pallets dropped on your head frequently? Then, try Tylenol! Is that the name of it? Yeah. Tylenol. Oh, hey you guys. How did you do that?! Do what? You picked up the pallet! Oh that... It was nothing. NOTHING?! Can you teach me? Um, yeah sure. Spanish: (Gruñe) Te pillaré... ¡Tarde o temprano! El Trampero. (Tunelero sudado que se esfuerza demasiado) La Meg (Alguien le ha subido la cuenta a un rango muy alto y hace generadores muy rápido) ¡Muerde el polvo! ¡Eso hago! [Escupe tierra] ¡Ah! ¡Estoy harto! Me voy a casa a tomarme un paracetamol. Hola, soy El Trampero. ¿Te pasa lo mismo que a mí? ¿Caen palés en tu cabeza? ¿Con frecuencia? Entonces, ¡prueba paracetamol! (En el frasco pone "Paracetanal") ¿Se llama así? Sí. Paracetamol. Para cuando te duele la cabeza. Chiste gracioso. Ríete ahora. Oh. Hola, chicos... ¡¿Cómo has hecho eso?! ¿Hacer el qué? ¡Recolocaste el palé! Ah, eso... No es nada. ¡¡¡¿NADA?!!! ¿Puedes enseñarme? Eh... Sí, claro. Russian: О-о-о-ох, рано, или поздно, я доберусь до тебя. Охотник. Вспотевший туннелящий неудачник. Мег. Жёсткий Генрашер. Съешь мою грязь. Конечно! [Выплевывая грязь] Оу! Пойду домой, возьму Тайленола (название лекарства). Привет, я Охотник и если Вы такой же как я и Вам кидают доски на голову часто? Тогда попробуйте Тайленол! Он же так называется? Да. Тайленол. Нужен при головных болях. Какая-то смешная отсебятина. Смеяться уже можно О, привет, ребята. Как ты это сделала?! Что сделала? Ты подняла доску! Ах это... Это пустяк. ПУСТЯК?! Можешь меня научить? Да, конечно. Turkish: Oh, sonunda seni yakalayacağım Tozumu ye ! Zaten yiyiyorum ! [Tozu tükürüyor] Ov ! Bu bitirir ! Eve gidip biraz Tylenol alıcağım. Merhaba ben tuzakçıyım. ve benim gibi misin ve benim gibi kafana çok fazla palet düşürülüyor mu sık sık? O zaman Tylenol'u deneyin! Adı bu mu? Evet. Tylenol. Oh, hey siz çocuklar. Bunu nasıl yaptın?! Ne yaptım ? Paleti kaldırdın ! Ah ... o şey... Birşey değildi. HİÇBİR ŞEY DEĞİL?! Bana öğretebilirmisin? Um, evet. Japanese: いつまでも逃げられないぞ ザ・トラッパー （汗まみれの必死すぎる奴） ザ・メグ 全力発電疾走者 泥でも食ってな！ 食べてるよ！ [泥を吐き出す音] 痛った！ もういいよ！…帰って薬でも飲むよ やあ、僕トラッパー そこのあなた、僕みたいに 頭に板をぶつけられてませんか？ 何度も なら「タレノール」をお試しあれ！ 合ってるっけ？そう、 タレノール！ 頭痛めた時に これはギャグです。今すぐ笑いなさい あ、こんにちは どうやったんだい？ 何を？ 板を押し上げたじゃない ああ それね 大した事じゃないよ そうなの！？ やり方教えて？ うん...いいけど Italian: Oh, ti prenderò eventualmente! Mangia la mia polvere. Lo sto facendo! [Sputa fuori la terra] Ahi! Questo è troppo! Vado a casa a prendere un po' di Tylenol. Ciao, sono il Cacciatore e siete come me, che avete dei bancali sganciati sulla vostra testa frequentemente? Allora, provate Tylenol! Si chiama così? Sì. Tylenol. Per quando ti fa male la testa. Oh, heilà ragazzi. Come ci sei riuscita? A fare cosa? Hai alzato il bancale! Oh quello... Non è nulla. NULLA?! Puoi insegnarmelo? Uhm, sì, certo. Portuguese: Ah, eu irei te pegar eventualmente O Caçador (Tryhard Tunnelador Suado) A Meg (A Gen Rusher Impulsionada) Come minha poeira. Eu estou! [Cuspindo a poeira] Ai! É isso, vou para casa tomar Tylenol Ola, eu sou o Caçador e se você gosta de mim e tem pallets derrubadas em sua cabeça frequentemente? Bem, tente Tylenol! É esse o nome disso? Yeah Tylenol Para quando sua cabeça doer Alguma piada engraçada. Agora ri Oh, eae galera Como que você fez isso?! Fiz o que? Você levantou a pallet! Ah isso.... Isso não é nada. NADA?! Pode me ensinar isso? Hm, sim claro. Chinese: 吼‧‧‧我會抓到你的！！ 終有一天 夾子鬼 (努力地打針對) 梅格 (超快速修機者) 吃土吧你! 在吃了! 噗...(吐泥沙聲) 啊!! 那真的! 很....! 還是回家.... 吃點止痛藥吧... (Tylenol，止痛藥品牌) 嗨 我是夾哥 你們跟我一樣 常常被板子...... 砸到頭嗎? 那麼 用用看Tylenol吧! 是叫這個對吧? 對! Tylanal--永遠不要吃! (現實世界為Tylenol) ''在你頭痛時的好幫手'' 看到一堆搞笑的笑話,已笑爛 喔 你們好啊 你怎麼做到的?! 做到了什麼? 你把板子抬起來了! 喔那個喔... 那不算什麼啦 不算什麼?! 你可以教我嗎? 呃,好喔 Spanish: oh, eventualmente te atraparé EL TRAMPERO (Tunelero que quiere ganar a toda costa) La Meg (Rusheadora de Generadores) Comete mi tierra Lo estoy! *Escupiendo Tierra* AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!!! Voy a volver a casa, a tomar Tylenol. Hola, yo soy el trampero si tu eres como yo y te sueltan los pallets en tu cabeza frecuentemente...? Entonces, ¡prueba Tylenol! ¿Es asi como se llama?... seh. ¡Tylenol! Para cuando te duele la cabeza Algun chiste gracioso. Riete ahora :O oh, ey chicos ¿¡Como hiciste eso?! ¿Hacer que? Tú ¡levantaste el palet! Oh, eso... No fue nada.. ¡¿NADA?! ¿Puedes enseñarme? Um, si, supongo. Korean: 오, 널 잡고야 말겠어! 드디어! 트래퍼 (땀내나는 터널링 살인마) 메그 (발전기 메타 생존자) 모래나 먹으시지! 그러고 있거든! [퉤퉤텥테ㅔ] 아우! 안되겠어! 집에 가서 타이레놀이나 먹어야겠어. 안녕, 전 트래퍼에요. 당신도 저처럼 이렇게 자주 머리에 판자를 얻어맞으시나요? 그럼, 타이레놀을 먹어보세요! 이름이 그거 맞았나? 아, 타이레놀! 머리가 아플때 드세요. 아무튼 웃긴 개그임. 웃으라고. 오, 얘들아 안녕. 방금 어떻게 한거야?! 뭘 말야? 판자를 다시 세웠잖아! 아 이거... 별거 아냐. 별 거 아니라고?! 가르쳐줄 수 있어? 어... 그럼, 당연하지. Korean: 음, 그냥 이걸 이렇게 잡고... 잠깐! 천천히, 그냥, 이렇게, 잡고. 좋아, 계속해. 그리고, 그냥 다시 올려. 짜잔. 끝. 왜 전엔 이럴 생각을 못했지? 짜.... 잔.... 끝.... 좋아! 판자를 드는 다른 팁 같은 거 있어? 판자 내리기 전에 부수는 법은 없어? [귀뚜라미 우는 소리] 저, 너 살인마 맞지? 그런데. 그럼 나는 널... 무서워해야 하는거지? 아니. 그리고 또... 엔티티의 세계에서 보내드리는 라이브 쇼! 데드 바이 데이라이트 패러디 10편! 아니, 9편이지, 9편. 찬조출연의 레이스! 난 계약상 묶여있을 뿐이라고. 너스! 망할, 아직도 이 짓거리가 안끝났어? 진짜로? 신이시여. 닥터! 넌 죽을 거야! 웃다가! [웃음] Spanish: Entonces, solo lo agarras así ... ¡Espere! Ve más despacio. Agarrar. Eso. Me gusta. Entonces ok continua Luego, simplemente lo levantas de nuevo. Bada-boom. listo ¿Cómo nunca pensé en esto antes? bada...boom...listo.... lo tengo ¿Algún otro consejo para levantar pales? ¿Cómo puedo romper una pale antes de que se caiga? [Grillos chirrían ruidosamente] Entonces, eres el asesino ¿verdad? Sí. ¿Y se supone que debo estar ... asustada de ti? no Y también... Vive desde el reino de la entidad es la parodia 10 de dead by daylight(dbd) Quiero decir 9, sí 9. Con la participación de el espectro Estoy contractualmente obligado a estar aquí. la enfermera Maldita sea, ¿todavía estamos haciendo esto? De Verdad? Oh Dios. el doctor Vas a morir de la risa! [Risas] Hungarian: Szóval, am, csak megfogod így... Várj! Lassíts. Megfogod. Így. Oké, folytasd. És, csak visszaemeled így. Bada-boom. Kész. Hogy nem gondoltam erre ezelőtt?! Bada.... boom.... kész.... Megvan! Valami más tipp a raklapok visszaemeléséhez? Én azt szeretném tudni, hogy, hogy tudom széttörni a raklapot mielőtt rámdobják. [Tücskök hangosan ciripelnek] Szóval, te vagy a gyilkos ugye? Igen. És nekem.... félnem kéne tőled? Nem. És persze... Élőben az Entity Birodalmából Ez a Dead by Daylight Paródia 10! Vagyis 9, igen 9. A Képmás Közreműködésével! A szerződés szerint köteles vagyok itt lenni. A Nővér! Véres Pokol, még mindig csináljuk ezt? Tényleg? Úristen. A Doktor# Meg fogsz halni a nevetéstől! [Nevet] German: Nun, du nimmst die Palette so.. Warte, etwas langsamer. Nimm. Sie. Wie. Ich. Okay, mach weiter. Dann stellst du sie wieder auf. Bada-boom. Fertig. Warum habe ich nie daran gedacht?! Bada.. boom.. fertig.. Habs! Irgendwelche anderen Tipps um Paletten wieder aufzustellen? Wie kann ich Paletten zerstören, bevor sie runtergeworfen werden? [Grillen zwitchern] Also, du bist der Killer, oder? Ja. Und muss ich vor dir Angst haben? Nein. Und außerdem.. Live aus dem Reich des Entitus Es ist Dead by Daylight Parodie 10! Ich meine 9, ja 9. Mit dem Geist! Ich bin vertraglich dazu verpflichtet, hier zu sein. Die Krankenschwester! Was zur Hölle, machen wir das immernoch!? Wirklich? Oh Gott. Der Doktor! Du wirst sterben vor Lachen! [HaHaHa] Portuguese: então, hm, você apenas pega nele assim... Pera! Devagar... Pega... Nele... Assim Ok, pode ir Então, você só levanta ele de novo. Bada-boom. Pronto. Como eu nunca pensei nisso antes?! Bada... boom... pronto.... Entendi! Alguma outra diga para levantar pallets?! Como eu posso quebrar uma pallet antes dela ser derrubada? [Sons altos de Grilo] Então, você é o assassino certo? Sim. E eu era deveria estar....com medo de você? Não. E também... Ao vivo do Reino da Entidade! É a Parodia 10 do Dead by Daylight! quero dizer 9, sim 9. Apresentando o Espectro! Estou contratualmente obrigado a estar aqui A Enfermeira! Puta merda, estamos ainda fazendo isso? Serio? Oh Deus O Medico Você vai morrer de risada! [Risos] Spanish: Entonces, eh... Solo tienes que cogerlo así ... ¡Espera! Despacio. Co-ger-lo... Así... Vale, sigue. Y solo tienes que levantarlo. Tachán. Listo. ¿Cómo es que nunca antes se me ocurrió esto? Ta... Chán... Listo... ¡Lo tengo! ¿Algún otro consejo para levantar palés? Lo que yo quiero saber es cómo puedo romper un palé ANTES de que lo tiren. [Sonidos de grillos] Así que... Tú eres el asesino, ¿no? Sí. ¿Y se supone que yo debería... Asustarme de ti? No. Por cierto... ¡En directo desde el reino de la Entidad! ¡Es la parodia de Dead by Daylight número 10! Digo 9. Sí, 9. ¡Con la aparición de El Espectro! Estoy obligado por contrato a estar aquí. ¡La Enfermera! ¡Rayos y centellas! ¿Todavía seguimos con esto? ¿En serio? Oh, dios. ¡El Doctor! ¡Vas a morir! ¡De risa! [se ríe] French: Donc, euh, tu attrapes la palette comme ça... Attends ! Moins vite ! Tu. L'attrapes. Comme. Ca. Ok, continue. Ensuite, tu la remets debout. BADA-BOOM. Finit. Pourquoi je n'avais jamais pensé à ça avant ?! BADA. BOOM. Finit. Ca y est ! D'autres conseils pour relever les palettes ? Moi ce que je veux savoir c'est comment je les brises AVANT qu'elles ne soient descendues. {Bruit fort de criquet..} Donc, t'es le tueur c'est ça ? Oui. Et je suis supposée avoir.. peur de toi ? Non... Et aussi.. En direct du royaume de l'entité ! Voici Dead By Daylight Parodie 10 ! Je veux dire 9.. Oui 9. Avec Le Spectre ! Je suis contractuellement obligé d'être ici... L'infirmière ! Bon sang, on fait toujours ça ? Sérieusement ? Oh seigneur... Le Docteur ! Vous allez mourir.. de rire ! [ Rire ] Turkish: Yani, ah, böyle tutuyorsun ... Bekle! Yavaşla. Böyle. Tutuyorsun. Tamam, devam et. Sonra tekrar kaldırıyorsunuz. Bada-bum. Bitti. Bunu daha önce neden düşünemedim ?! Bada .... bum .... bitti .... Anladım! Paletleri kaldırmak için başka ipuçların var mı ? Bir paleti düşürülmeden önce nasıl kırabilirim? [Cırcır böceklerinin yüksek sesle cıvıltıları] Demek katil sensin değil mi? Evet. Ve ben ... senden korkmam gerekiyor mu? Hayır. Ve ayrıca... Entity'nin Diyarından Canlı Dead by Daylight Parodi 10 ! Yani 9, evet 9. Wraith ile! Sözleşmeye bağlı olarak burada olmakla yükümlüyüm. Hemşire! Lanet olsun, hala bunu yapıyor muyuz ?! Gerçekten mi? Aman Tanrım. Doktor! Öleceksin kahkahalardan! [Gülüyor] Chinese: 所以你呢...呃,你就把它像這樣拿起來... 等一下!慢點...像.這.樣.抓.起.來. 好你繼續 然後,你就把它抬回去... 嗒啦~完成! 我怎麼會從來沒有想過可以這麼做?! 嗒.啦....!..完.成..! 溜蓋! 有其他的扶起板子的小技巧嗎? 我想要知道的是 我要怎麼在被壓板前就踹板? [蟋蟀大聲地叫] 所以...你是殺手對吧? 對 那我應該要...怕你嗎? 不用... 而且... 現在是來自惡靈幻境的實況轉播! 你收看的是惡搞黎明死線第10集! 我是說9,對第九集 領銜主演: 隱鬼! 根據合約,我有義務待在這裡. 護士解接~ 真是人間煉獄,我們還在做這種工作嗎? 真的嗎?我的老天鵝 醫生! 你會死的啦... 笑到死! 哈哈哈 Polish: Więc, uh, chwytasz to tak... (Dwigth) Czekaj! Zwolnij. Chwytasz. To. Tak. Okej, mów dalej (Yui) Potem po prostu podnosisz to z powrotem do góry. Bada-boom. Gotowe. (Claudette) Jak ja wcześniej na to nie wpadłam?! (Dwigth) Bada. Boom. Gotowe. Rozumiem! Masz jakieś wskazówki jak podnosić palety? (Trapper) Więc, jak mam niszczyć palety zanim są przewrócone? [Świerszcze świerkają] (Yui) Jesteś zabójcą prawda? (Trapper) Tak. (Yui) I powinnam się ciebie... bać? (Trapper) Nie :( A także... [Muzyka gra] Na żywo z wymiaru Bytu! (Chórem) To parodia Dead By Daylight 10! (Trapper) Znaczy dziewiąta, tak dziewiąta (Narrator) Gościnnie Widmo! (Widmo) Jestem umownie zobowiązany do bycia tutaj. (Narrator) Pielęgniarka! (Pielęgniarka) Na miłość boską, czy my ciągle to robimy?! Serio? O nie. (Narrator) Doktor! (Doktor) Umrzesz ze śmiechu! [Śmieje się] English: So, uh, you just grab it like so... Wait! Slow down. Grab. It. Like. So. Okay, go on. Then, you just lift it back up. Bada-boom. Done. How did I never think of this before?! Bada.... boom.... done.... Got it! Any other tips for lifting pallets? How can I break a pallet before it's dropped? [Crickets chirp loudly] So, you're the killer right? Yes. And am I supposed to be... scared of you? No. And also... Live from the Entity's Realm It's Dead By Daylight Parody 10! I mean 9, yes 9. Featuring The Wraith! I'm contractually obligated to be here. The Nurse! Bloody hell, are we still doing this?! Really? Oh god. The Doctor! You're gonna die from laughter! [Laughs] Italian: Quindi, uh, lo prendi proprio così... Aspetta! Rallenta. Prenderlo. Proprio. Così. Ok, continua. Poi, lo alzi e basta. Bada-boom. Fatto. Come ho fatto a non pensarci mai? Bada... boom... fatto... Capito! Altri suggerimenti per alzare bancali? Come posso rompere un bancale prima che sia abbassato? [Versi di grilli] Quindi, tu sei il Killer, giusto? Sì. E dovrei tipo... avere paura di te? No. E poi... Live dal Reame dell'Entità è Dead by Daylight Parody 10! Volevo dire 9, sì, 9. Con Lo Spettro! Sono contrattualmente obbligato ad essere qui. L'Infermiera! Maledizione, lo stiamo ancora facendo?! Davvero? Oddio. Il Dottore! Morirete... ... dal ridere! [Ride] Romanian: Deci, îl apuci așa... Așteaptă! Mai încet. Apuci. Așa. Bine, continuă Și, îl ridici așa. Bada-boom. Gata. De ce nu m-am gândit la asta până acum?! Bada.... boom.... gata.... Am înțeles! Mai ai și alte ponturi pentru ridicat paleți? Tot ce vreau să știu este cum pot sparge o paletă înainte să fie dărâmată [Sunet de greieri] Deci, tu ești criminalul, nu? Da. Și ar trebui sa fiu... speriată de tine? Nu. Și de asemenea... În direct de pe Ținutul Entității Este, a-10-a parodie a Dead By Daylight Adică 9, da 9. Îl avem alături pe Wraith! Mă obligă contractul să fiu aici. Asistenta! E pe dracu, încă facem asta?! Serios? O Doamne. Doctorul! O să mori de râs! [Râsete] Spanish: bien, uh, solo lo agarras asi y... Espera! hazlo mas lento. Solo-Lo-Agarras-Asi Okay, sigue. Luego, simplemente lo levantas asi. BADA-BOOM. Listo. ¿¡Como nunca pensamos en eso antes?! Bada... boom... listo... ¡Entendido! ¿Algún otro consejo para levantar pallets? ¿Como puedo romper un pallet antes de que se caiga? [Grillos ruidosos de fondo] Entonces, tu eres el asesino ¿verdad? Sí. Y... Se supone que debo estar... asustada por ti...? No. Y tambien... Vivo por el reino de la entidad Y esto es ¡La parodia de Dead By Daylight Numero 10! Quiero decir 9, sí 9. ¡Con la participación del Espectro! Mi contrato me obliga a estar aqui. ¡La enfermera! Maldita sea, ¡¿todavía estamos haciendo esto?! ¿En serio? Oh dios ¡El doctor! Vas a morir. ¡De la risa! [Risas] Japanese: ええと、こうやって掴んで... 待って！早すぎる！ 板、掴んで、と… よし、続きを そのまま持ち上げるだけよ じゃじゃん、この通り どうして今まで思いつかなかったんだー？！ じゃ...じゃん...この通り、っと ありがとう！ 他にもやり方はあるかい？ 板を倒す前に壊す方法ってないの？ [鈴虫が鳴く音] てか、あなたが殺人鬼でしょ？ そうだよ 私はあなたの事を怖がる...つもりなの？ いや ええと... エンティティーの世界より生でお送りする、 Dead by Daylightのパロディー10へようこそ！ これ９回目じゃなかったっけ レイス特集！ 私は契約上ここにいる義務があるのですよ ザ・ナース！ まだこの儀式を続けるの...！ マジで？はぁ... ザ・ドクター！ アナタは死にマス 笑いデネ！アッハハハハハ Russian: В общем, это, просто возьми доску вот так ... Подожди! Помедленнее. Возьми. Доску. Вот. Так. Хорошо, продолжай. Затем вы просто поднимаете её обратно. Бада-бум. Готово. Как я раньше об этом не додумалась?! Бада .... бум .... Готово .... Понял! Есть ещё советы для подъема досок? А вот мне интересно, как я могу сломать доску, прежде чем её опрокинут? [Сверчки громко щебечут] Итак, ты убийца, верно? Да. И я должна ... бояться тебя? Нет. И, кстати... Прямой эфир из Царства Сущности Это Dead By Daylight 10 пародия! Я имел в виду 9, да 9. При участии Призрака! По контракту я обязан быть здесь. Медсестра! Черт возьми, мы все еще делаем это ?! Серьёзно? О Боже. Доктор! Ты умрешь от смеха! [Смеется] Modern Greek (1453-): Λοιπόν, απλά το πιάνεις έτσι.. Περίμενε! Πιο αργά. Το πιάνεις. Έτσι. Όκ, συνέχισε. Μετά, απλά το σηκώνεις πάλι πάνω. Μπαντα-μπουμ. Έτοιμο. Πώς δεν το είχα σκεφτεί ποτέ αυτό πριν; Μπαντα.... μπουμ.... έτοιμο.... Το χω! Καμία άλλη συμβουλή για να σηκώσουμε τις παλέτες; Πώς μπορώ να σπάσω την παλέτα πριν την ρίξουν; [Τριζόνι ακούγεται δυνατά] Λοιπόν, είσαι ο δολοφόνος έτσι; Ναι. Και εγώ πρέπει να είμαι... τρομαγμένη από εσένα; Όχι Επίσης... Ζωντανά από το βασίλειο της οντότητας Είναι η παρωδία του Dead By Daylight 10 Εννοώ 9, ναι το 9. Με τον Wraith! (Φάντασμα) Είμαι υποχρεωμένος να είμαι εδώ. Την Nurse! (Νοσοκόμα) Τι στο καλό, ακόμα το κάνουμε αυτό; Σοβαρά; Χριστέ μου. Ο Doctor! (Γιατρός) Θα πεθάνετε. ... από το γέλιο! [Γελάει] Spanish: Pero realmente vas a morir algún día. el crapper(no existe en dead by daylight) ¿Quién quiere brownies de chocolate? leather face(el canibal) sonidos de motosierra michael myers(la forma) (musica escalofriante) :v legion ah!!!! ¡Tengo un dolor de cabeza en racimo por correr! Parece que podrías usar algo ... ¿Cómo se llama de nuevo? Tylenol! el oni golpe del oni Mami, ¡obtuve un A + en mi examen de ciencias! A+ ¿Es eso lo mejor que puedes hacer? ¡Feliz cumpleaños cariño! ¡te acordaste! ¡Por supuesto que hicimos mi pequeño Claudehopper! German: Aber du wirst wirklich eines Tages sterben. Der Crapper (Schei*haus) Wer möchte Schokoladen-Brownies? Der Kannibale. [Grunzen] Der Wandler [Schweres Atmen] Die Legion! Ahhhh!! Ich habe starke Kopfschmerzen vom Laufen! Du hörst dich an, als würdest du.. wie heißt es nochmal? Tylenol gebrauchen! Der Oni! Oni-Smash! Mama, ich habe eine 1+ in meinem Wissenschafts-Test! 1+? Ist das, dass beste, was du hättest erreichen können? Alles gute zum Geburtstag, süße! Ihr habt euch daran erinnert! Natürlich haben wir das meine kleine Claudehopper! Polish: A tak na serio, pewnego dnia naprawdę umrzesz. (Narrator) Crapper! (Crapper) Kto chce czekoladowe brownie? (Narrator) Kanibal. [jęki Kanibala] (Narrator) Kształt! [Michael Myers] [Ciężko oddycha] (Narrator) Legion! (Legion) Aah! Od tego biegania boli mnie głowa! (Trapper) Brzmisz jakbyś potrzebował trochę... Czekaj, jak się to nazywało...? TYLENOL! (Narrator) Oni! (Oni) Oni miażdżyć! Teabagowanie to tak naprawdę kod morsa. ARCHIWA CLAUDETTE POCZĄTKI (Mała Claudette) Mamo dostałam A+ (6) na moim teście! (Mama) A+ To wSzYsTkO nA cO CiĘ sTaĆ?! (Tata) Wszystkiego najlepszego słoneczko! (Mała Claudette) Pamiętałeś! (Mama) Jasne, że pamiętaliśmy nasz mały Claudodzbanie! Spanish: Pero, en serio; algún día, morirás. ¡El Mierdero! ¿Quién quiere brownies de chocolate? El Caníbal [Sonidos de motosierra y gruñidos del Caníbal] ¡La forma! [Respiración fuerte] ¡La Legión! ¡Ah! ¡Me ha dado un dolor de cabeza en racimo por correr! Parece que te vendría bien un poco de... ¿Cómo se llamaba esto? ¡Paracetamol! ¡El Oni! ¡Golpe de Oni! Agacharse repetidamente es código morse. LOS ARCHIVOS LA CLAUD LOS ORÍGENES ¡Mami! ¡He sacado un 10 en el examen de ciencias! ¿Un 10? ¿Eso es lo mejor que puedes hacer? ¡Feliz cumpleaños, cielo! ¡Os habéis acordado! ¡Claro que sí, mi pequeña Claude saltarina! Hungarian: De egy nap tényleg meg fogsz halni. A Crapper! (-) Ki kér csokis Brownie-kat? A Kannibál! [Dörmög] Az Alak [Nehéz Lélegzés] A Légió! Áh!!! Fejfájásom lett a futástól! Ugy hangzol mintha jól jönne neked egy kis... Hogy is hívják? Tylenol! Az Oni! Oni Törés! Anyu! Kaptam egy A+-ot a Tudomány dolgozatomra! A+ Ez a legjobb amit elérhettél? Boldog szülinapot kedvesem! Emlékeztetek! Persze, hogy emlékeztünk kis Claudhopper-em! Russian: Но ты действительно умрешь однажды. Crapper (дермовник)! Кто хочет шоколадные брауни? Каннибал. [Мычание с похрюкиванием] Тень [Тяжелое дыхание] Легион! Ах !!! У меня кластерная головная боль от бега! Ты говоришь так, будто тебе не помешает ... Ещё раз, как это называется ? Тайленол! Они! Они ЛОМАТЬ! Ти-Бегинг это на самом деле код из азбуки Морзе Архивы Клодетт. Происхождение Мама, я получила оценку "А +" на тесте по науке A + Это всё, на что ты способна? С днем ​​рождения, дорогая! Вы не забыли! Конечно, не забыли, моя маленькая Клодепусечка Turkish: Ama gerçekten bir gün öleceksin. Crapper! Kim çikolatalı kek ister? Yamyam. [Grunts] Silüet (Veya Micheal Myers) [Ağır solunum] Çete ! Ah!!! Koşmaktan başım ağrıyor! Biraz kullanabilirsiniz gibi geliyor ... Buna tekrardan ne deniyordu ? Tylenol! Oni! Oni Parçalar! Anne bilim sınavımda A + aldım! A + Yapabileceğin en iyi şey bu mu? Mutlu Yıllar Balım! Hatırladın! Tabii ki benim küçük Claudehopper hatırladık ! Korean: 사실 누구나 언젠가는 죽는다고. 크래퍼! (똥싸개) 초콜렛 브라우니 먹을 사람? 카니발! 셰이프! [깊은 숨소리] 군단! 아악!! 뛰었더니 군발성 두통이! 그렇다면 이걸 한번 써보는 건 어때? 이름이 뭐였지? 타이레놀! 악귀! 오니 스매쉬! 티배깅은 사실 모스코드입니다. 기록 보관소 클로뎃의 기억 엄마 과학 시험에서 A+ 받았어요! A+ 그게 네 최선이니? 생일 축하한다 아가! 기억하셨군요! 당연하지 우리 말썽꾸러기 클로뎃! Chinese: 但你有天真的會死喔 屎鬼! 誰想要一塊巧克力布朗尼? 食人族! (布巴哭哭中) 小麥! (沉重的呼吸聲) 軍團! 啊!!!!! 我因為跑太快所以偏頭痛! 聽起來你可以用一些 這叫什麼.... Tylenol! 惡鬼! 巨鎚瑞斯!!! 吊茶包其實是摩斯密碼 (美國性俚語 在遊戲中就是用蹲蹲BM鬼) 文檔庫 黑妹篇(原創) 媽咪, 我自然科拿A+ A+ 你只能做到這樣嗎? 生日快樂,甜心~ 你記得! 我們當然記得啊 我們的小克劳德·霍珀 (音樂家 作家還有一家餐廳都叫這個名字...) Italian: Ma morirete davvero un giorno. Il Cacatore! Chi vuole dei brownies al cioccolato? Il Cannibale. [Grugnisce] L'Ombra. [Respiro Pesante] La Legione! Ah!!! Ho avuto una cefalea a grappolo per la corsa! Sembra proprio che tu possa utilizzare un po' di... Come si chiamava? Tylenol! L'Oni! Oni spacca! Mammina, ho preso 9+ nel mio test di scienze! 9+. È il meglio che sei riuscita a fare? Buon compleanno tesoro! Ve ne siete ricordati! Certo che sì mia piccola Claudehopper! French: Mais vous allez vraiment mourir un jour... Le Défequeur ! Qui veut des brownies au chocolat ?? Le Cannibale ! [ Grognements ] La Silhouette [ Respiration profonde ] La Légion ! AHHHHH!!!!! J'ai eu un mal de tête énorme et soudain en courant ! On dirait que tu pourrais utiliser du.. Comment ça s'appelle déjà ? Tylenol ! L'Oni ! Attaque de l'Oni ! Le T-bag est en fait du morse. LES ARCHIVES LES ORIGINES DE CLAUDETTE Maman j'ai eu un 20 à mon interro de sciences ! Un 20. C'est ce que tu pouvais faire de mieux ? Joyeux anniversaireeee ma chérie ! Vous vous en êtes souvenus ! Bien sur que oui ma petite sauterelle ! Modern Greek (1453-): Αλλά σοβαρά τώρα όλοι θα πεθάνετε μια μέρα Ο Crapper! Ποιος θέλει μπράουνι σοκολάτας; O Cannibal. (Κανίβαλος) [Γρυλισμός] Ο shape. [Αναπνέει βαριά] Οι Legion! Ααα! Με έχει πιάσει πονοκέφαλος από το τρέξιμο! Ακούγεσαι σαν να μπορούσες να πάρεις λίγο από το... Πώς το έλεγαν πάλι; Παρακεταμόλη! Ο Oni! (Δαίμονας) Δαίμονας διαλύει! Μαμάκα πήρα Α+ στο τεστ χημείας! Α+ Αυτό είναι το καλύτερο που μπορούσε να πάρεις; Χρόνια πολλά γλυκιά μου! Το θυμηθήκατε! Φυσικά και το θυμηθήκαμε μικρή μου Claudehopper! Japanese: デモいつかは本当に死にマスヨ ザ・クラッパー！ チョコ・ブラウニー欲しい人いる〜？ ザ・カニバル！ ザ・シェイプ！ [荒い息遣い] ザ・リージョン！ アァァァァ！ 走ると頭痛がするんだ！ はい、これを使うといいよ なんだっけ タレノール！ ザ・オー二ィィー！ 「オニ・スマッシュ」！ 屈伸煽りはモールス信号でもあります ”ザ・アーカイブス” 「クローデット・オリジンズ」 ママ！今日科学のテストで満点を取ったんだ！ 満点？ それが本気のつもり？ ハッピーバースデイ！　ハニー！ 覚えててくれたの？! 当たり前よ！私たちの愛しい子供なんだから 「今日：何も無し」 English: But you really are going to die one day. The Crapper! Who wants chocolate brownies? The Cannibal. [Grunts] The shape [Heavy Breathing] The Legion! Ah!!! I got a cluster headache from running! You sound like you could use some... What's it called again? Tylenol! The Oni! Oni Smash! Mommy I got a A+ on my science test! A+ Is that the best you could do? Happy birthday honey! You remembered! Of course we did my little Claudehopper! Portuguese: Mas você vai realmente morrer um dia O Crapper! Quem quer brownies de chocolate? O Canibal [Grunhidos] O Vulto [Respiração Profunda] A Legião! Ah!!! Eu fiquei com dor de cabeça por correr! Parece que você poderia tomar uns... Como isso se chama mesmo? Tylenol! O Oni! Oni Esmaga! T Bag atualmente é um código morse OS ARQUIVOS A origem da Claud Mamãe, eu consegui um A+ na prova de ciências! A+ É esse o melhor que você consegue? Feliz aniversario querida! Vocês lembraram! É claro que sim minha pequena Claudehopper! Romanian: Dar chiar ai să mori într-o zi. Căcăciosul! Cine vrea negrese cu ciocolată? Canibalul. [Grohăit] Shape [Respirat adânc] Legiunea! Ah!!! Am o mulțime de dureri de cap de la alergat! Sună de parcă ai avea nevoie de niște... Cum se numea? Tylenol! Oniul! Oni lovește! Teabeagul este de fapt codul morse Arhivele Originile Claudiei Mami, am luat 10+ la test meu de la Științe! 10+? doar atât ai putut face? La mulți ani dragă! V-ați amintit! Desigur mica mea Claudehopper Spanish: Pero realmente van a morir algún día. ¡La basura! ¿Alguien quiere brownies de chocolate? ¡El canibal! [gruñidos o ruidos de autista] La forma [Respiracion de Down] ¡La Legion! ¡¡¡AH!!! ¡Tengo un gran dolor de cabeza por correr! Creo que podrias usar esto... ¿Como es que se llamaba? ¡Tylenol! ¡El oni! ¡ONI APLASTAR! La bolsita de té es el nuevo codigo morse (cuando te agachas y paras al ver a otro jugador o usas la linterna repetidamente) Los archivos Los origenes de Claudette Mami, ¡saque A+ en mi examen de ciencia! ¿A+? ¿Eso es lo mejor que puedes hacer? ¡Feliz cumpleaños cariño! ¡Lo recordaron! ¡Por supuesto que lo hicimos mi pequeña Claudehopper!(claude¿tolva?) Portuguese: Não lembramos do seu aniversario cinco minutos antes de você chegar. Sopre as suas velas! Mas não tem nenhuma. Bem, use a sua imaginação A+! Eu desejo que minha mãe não existisse! Ta bom, Tchau Aqui o seu presente de aniversario! É um livro aleatório da minha estande de livros. Como se misturar com eficiência. Estranho Isso também ensina como fazer T-bag, loop, e 360 Isso provavelmente nunca sera útil [Musica Choquante] Espera ae, eu pensei que você estava carregando Ok, proximo desafio "Pertubar um corvo" Hmm Caw Caw. Caw. Caw Mmmm. [Beijando os lábios] Eu me pergunto que gosto você tem Caw!!! Teste de Pericia testa a sua Pericia Japanese: 帰って来る５分前に思い出したとかじゃないからね ロウソクを消して！ でもロウソクがないよ その満点な頭脳で想像しちゃおう！ ママが消滅しますように それじゃ、バーイ プレゼントもあるぞ！ 本棚にあったのを適当に選んだんだ 「効率的に溶け込む方法」 効率的に溶け込む方法 変な本 尻煽り、ループ、360回転 の方法についても書いてある。 どれも将来、役に立ちそうにないわね え、ちょ待って。まだロード中かと思ったよ よし、次のチャレンジ　”カラスを追い払う” う～ん カー カー　カー　カー うーん（ペロペロ） 君はどんな味するんだろう？ カー！？ スキルチェックはあなたのスキルを試します Romanian: Nu ne-am amintit de ziua ta cu 5 minute înainte să vi. Suflă în lumânări! Dar nu e nici una. Ei bine, foloseșteți imaginația de nota 10! Îmi doresc ca mama mea să nu fii existat. Bine. Pa Poftim cadoul de ziua ta! Este o carte la întâmplare de pe raftul meu. Cum să te camuflezi eficient. Ciudat. De asemenea vorbește despre cum să faci T-bag, loop și 360. Asta probabil nu va fi folositore niciodată. [Muzică de șoc] Oh stai, credeam că te încarci Okay, următoarea provocare: Deranjează o cioară Hmm. Cra Cra Cra Cra Mmmm. [Lovind din buze] Mă întreb ce gust ai. Cra!!! Skill checkurile îți verifică schilurile Spanish: No solo recordamos tu cumpleaños cinco minutos antes de que entraras. ¡Apaga tus velas! Pero no hay ninguna. Bueno, ¡usa esa imaginación A +! Desearía que mi madre no existiera. bueno chao ¡Aquí está tu regalo de cumpleaños! Es un libro al azar de mi estantería. Cómo mezclar eficientemente. extraño También habla sobre cómo T-bag, loop y 360. Eso probablemente nunca sea útil. (musica de shock) Bien, el próximo desafío 'Molestar a un cuervo'. mmm (sonidos de cuervo) (sonidos de cuervo X2) mmm me pregunto a que sabe ? (sonidos de cuervo X3 y afonicos) French: Nous ne nous en sommes pas du tout souvenus à peine 5 minutes avant que tu ne rentres. Souffle tes bougies ! Mais il n'y en a pas.. Et bien, utilise ton 20 en imagination ! Je voudrais que ma mère n'existe pas D'accord. Salut ! Ohhh. Et bien voila ton cadeau d'anniversaire ! C'est un livre de ma bibliothéque pris au hasard ! "comment bien se fondre dans la masse" Bizzare. Ca explique également comment t-bag, tourner en boucle et faire un 360. Ca ne me servira probablement jamais.. [ Musique dramatique ] Attends une seconde, je pensais que t'étais en train de charger. D'accord, défi suivant "Déranger un corbeau" Hmm. Caw. CawCawCaw. Mmmm [ Bruit de bouche ] Je me demande quel goût tu as.. CAW !!! Les tests d'habileté testent ton habileté. Polish: (Tata) Nie pamiętaliśmy o twoich urodzinach tylko pięć minut przed twoim przybyciem. (Mama) Zdmuchnij świeczki! (Mała Claudette) Ale tu żadnych nie ma. (Mama) Cóż, użyj tej szóstkowej wyobraźni! (Mała Claudette) Życzę sobię, żeby moja mama nie istniała. (Mama) Okej pa! (Tata) Masz tu swój urodzinowy prezent! To losowa książka z mojej półki. (Mała Claudette) Jak efektywnie wtapiać się w otoczenie. Dziwne. Jest też o tym jak Teabagować, loopować i robić 360. Prawdopodobnie ta wiedza nigdy mi się nie przyda. [Muzyka] Oj, przepraszam myślałem, że się ładujesz (Jake) Dobra, następne wyzwanie "Przestrasz kruka". Hmm (Kruk) Krak kra, kra, kra (Jake) Mmm. [Mlaska] Ciekawe jak smakujesz... (Kruk) Krak! Testy umiejętności testują twoje umiejętnośći Chinese: 你進來前五分鐘我們才想起來你的生日 吹蠟燭吧! 可是沒有蠟燭啊? 恩...拿出A+的想像力 我希望我媽不存在 好掰掰 好喔~這是你的禮物! 這是我書架上隨便找的一本 如何有效的融合(入背景) 真奇怪 它還講到要如何蹲蹲,繞板, 還有360 我這輩子應該都用不到 喔等一下 我以為你在載入中 好,下一個挑戰, 去驚擾一隻烏鴉 恩... 靠 靠.靠.靠 恩~~ 我想知道你嘗起來是什麼滋味 靠....?! 技能檢定(QTE)在檢定你的技能 Spanish: No, solo recordamos tu cumpleaños cinco minutos antes de que entraras. ¡Apaga las velas! Pero si no tiene. Bueno, ¡usa esa imaginacion A+! Deseo que mi mama no exista. Okay. Adiós. ¡Aqui esta tu regalo de cumpleaños! Es un libro al azar de mi estantería. Como mezclar eficientemente. Okey.. Extraño. Tambien habla de T-ban, bucles, y 360. Probablemente jamas me sea útil. Oh espera, pense que estabas cargando. Okay, el próximo es desafío 'Molestar a un cuervo'. Hmmm. Caw. Caw. Caw. Caw. Mmmm... [chasquea los labios] Me pregunto a que sabrá. (PERUANO ALERT) Caw!!! Las "Pruebas de habilidad" prueban tu habilidad. (Maleficio:Ruina) Korean: 사실 네가 들어오기 5분 전에야 기억났단다. 촛불을 꺼야지? 초가 없는데요? A+짜리 상상력을 발휘해봐! 엄마가 사라졌으면 좋겠어. 그래, 안녕. 여기 생일선물이란다! 내 책장에서 아무거나 꺼내왔지. 잘 섞여드는 법. 이상하네요. 티배깅, 뺑뺑이, 360도 회피하는 법 같은 게 써져 있어요. 이딴 걸 어디에 쓰겠어요. 잠깐만, 로딩중인줄 알았는데 좋아, 다음 챌린지는 "까마귀 방해하기." 흠. 까악. 깍 깍 까악. 음... [입맛 다시기] 널 잡아먹으면 무슨 맛이 날까? 까아악!!! 스킬 체크는 스킬을 체크하는 겁니다. Hungarian: Nem csak akkor jutott eszünkbe 5 percel, mielőtt bejöttél. Fújd el a gyergyáidat! De itt nincs egy se. Hát, használd azt az A+-os elképzelést! Azt kívánom, bárcsak ne létezne az anyukám. Oké. Viszlát! Itt van a szülinapi ajándékod! Ez egy random könyv a polcomról. Hogyan keveredjünk hatékonyan. Furcsa. Ez beszél a T-bag, hurkok és a 360-ról is. Ez biztos soha nem lesz hasznos. Oké, következő kihívás 'Zavarj meg egy varjút' Hmm. Mmmm. [Mozgatja az ajkait] Kiváncsi vagyok, milyen az ízed. Turkish: Gelmeden beş dakika önce doğum gününü hatırlamıyorduk. Mumlarını üfle ! Ama hiç mum yok. Aey, o A + hayal gücünü kullan! Keşke annem olmasaydı. Tamam. Hoşçakal İşte doğum günü hediyen! Kitaplığımdan rastgele bir kitap. Verimli bir şekilde nasıl kamuflaj olunur. Tuhaf. Ayrıca T-bag, loop ve 360'ın nasıl yapılacağı hakkında konuşuyor. Muhtemelen bu asla yararlı olmayacaktır. [Şok Müziği] Tamam, bir sonraki meydan okuma 'Bir Kargayı rahatsız et.' Hmm. Gavv. Gavv. Gavv. Gavv. Hımmm. [Dudaklarını çarpıştırır] Tadını merak ediyorum. Gavv !!! Spanish: No es como si nos acabásemos de acordar cinco minutos antes de que llegaras. ¡Sopla las velas! Pero no hay ninguna. ¡Usa esa imaginación de 10! Deseo que mi madre no exista. (soplido) ¡Vale! ¡Adiós! (En el frigorífico pone: "Hoy: ¡¡NADA!!") ¡Aquí está tu regalo! Es un libro cualquiera de mi estantería. Cómo mimetizarse de forma eficiente. Qué raro. También habla sobre cómo agacharse repetidamente, hacer bucle y dar vueltas. No parece que me nunca me vaya a ser de utilidad. [Música de tensión] Oh, espera. Pensaba que estabas cargando. Vale, siguiente reto: "Asusta a un cuervo". Hm... (graznido) (más graznidos) Hm... [sonidos con los labios] Me pregunto a qué sabes. (graznido) Las pruebas de habilidad ponen a prueba tu habilidad. Modern Greek (1453-): Δεν θυμηθήκαμε τα γενέθλια σου πέντε λεπτά πριν μπεις μέσα. Σβήσε τα κεριά σου! Μα δεν έχει κανένα. Τότε, χρησιμοποίησε την Α+ φαντασία σου! Εύχομαι η μαμά μου να μην υπήρχε. Οκ. Αντίο. Αυτό είναι το δώρο σου! Αυτό είναι ένα τυχαίο βιβλίο από την βιβλιοθήκη μου. Πως να συγχωνεύομαι αποτελεσματικά. Περίεργο. Επίσης αναφέρεται και πως να κάνεις T-bag, γύρους και 360. Αυτό πιθανότατα δεν θα μου είναι ποτέ χρήσιμο. [Σοκαριστική μουσική] Οκ, επόμενη πρόκληση 'Ενοχλήστε ένα κοράκι' Χμμ. [Ήχος από κοράκι] [Ήχος από κοράκι] Μμμμ. [Χτυπάει τα χείλη] Αναρωτιέμαι τι γεύση έχεις. [Σοκαρισμένος ήχος από κοράκι] Italian: Non ci siamo semplicemente ricordati il tuo compleanno cinque minuti prima che tu rientrassi. Spegni le tue candeline! Ma non ce ne sono. Beh, usa la tua immaginazione da 9+! Vorrei che mia mamma non esistesse. Ok, ciao. Ecco il tuo regalo di compleanno! È un libro a caso dalla mia libreria. Come scomparire efficacemente. Strano. Parla anche di come t-baggare, loopare e fare 360°. Probabilmente non sarà mai utile. [Musica Shock] Okay, prossima sfida "Disturba un corvo". Hmm. Caw. Caw. Caw. Caw. Mmmm. [Schiocca le labbra] Mi chiedo che gusto tu abbia. Caw!!! Russian: Мы не вспомнили про твой день рождения за пять минут до твоего прихода. Задуй свечи! Но их нет. Хорошо, используй воображение на A +! Я бы хотела, чтобы моей мамы не было. Ладно. до свидания Вот твой подарок на день рождения! Это случайная книга с моей книжной полки. Как эффективно смешивать. Странно. Также рассказывается о том, как Ти-бегать, палетлупить и делать 360. Это, вероятно, никогда не пригодится. [Шокирующая музыка] Ой, подождите, я думал,мы уже загрузились Хорошо, следующий задание «напугать ворону». Хм. Кар. Кар. Кар. Кар. Мммм. [Причмокивает губами] Интересно, какая ты на вкус. Кар!!! Проверка скилла показывает твой скилл English: We didn't just remember your birthday five minutes before you came in. Blow out your candles! But there aren't any. Well, use that A+ imagination! I wish my mom didn't exist. Okay. Bye Here's your birthday present! It's a random book from my bookshelf. How to blend efficiently. Weird. It also talks about how to T-bag, loop, and 360. That'll probably never be useful. [Shock Music] Okay, next challenge 'Disturb a crow.' Hmm. Caw. Caw. Caw. Caw. Mmmm. [Smacks Lips] I wonder what you taste like. Caw!!! German: Wir haben erst an deinen Geburtstag gedacht, als du vor fünf Minuten reingekommen bist. Puste deine Kerzen aus! Aber da sind keine. Nun, benutze die 1+ als Phantasie! Ich wünschte, dass meine Mutter niemals existierte. Okay, tschüss! Hier ist dein Geschenk! Es ist ein zufälliges Buch aus meinem Regal. Wie man jemanden effizient blenden kann. Komisch. Es spricht auch davon wie man T-bagged, looped und 360. Das wird, wahrscheinlich, niemals nützlich sein. [Schock Sound] Ok, nächste Herausforderung: "Störe eine Krähe." Hmm. Caw. Caw. Caw. Caw. Mmmm. [Schmatzt] Ich will wissen, wie du schmeckst. Caw!!!! Spanish: (Canta): Podría sido amor, pero ya terminado (Nota: Sí, esta mujer habla un poco como Tarzán) (Canta): Sin hachas o consigo más de alguna manera [Sollozos] ¿Eh? ¡Uh! Oh, ¡hola! Tienes buen aspecto. Ya. Y tú... Eh... Uh... Bueno, tengo que irme. ¡Espera! ¿Qué? Ah... ¡Ah! Yo gustar tus amuletos. ¿Tienen suerte? Eh, gracias. Bueno, ¡adiós! ¡Espera! ¡¿Qué?! (Canta): No puedo vivir... ¿No habíamos hablado sobre las infracciones de derechos de autor? ¡¿Eh?! Yo siente. Por favor, vuelve casa. Eh... No sé... Me gusta mi libertad. Trabajando en... Generadores... Cada día... Todo el día... Sin cesar... Nunca se acaban. ¡Por siempre... jamás! Vale, ¡vamos! German: Es muss Liebe gewesen sein, aber jetzt ist es vorbei. Ich habe keine Äxte und bekommen tue ich sie auch nicht mehr Huh?! Uh, hey. Du siehst gut aus. Ja und du siehst.. Uh... Nun, ich muss los! Warte! Was? Uh. Uh! Ich mag deine Glücksbringer. Bringen sie Glück? Uh danke, okay, tschau! Warte! Was?! Ich.. kann nicht.. leben.. Worüber haben wir wegen der Verletzung des Urheberrechts gesprochen? Hmmm?! Es tut mir leid. Bitte komm wieder zurück. Uh, Ich weiß nicht.. Ich mag meine Freiheit arbeiten an Generatoren.. jeden Tag den ganzen Tag kein Ende Es hört nie auf. Für immer und immer! Okay, los geht's! Hungarian: 🎶Ez szerelem volt, de már vége. 🎶Kifogytam a fejszékből, de szerzek még valahogy. Huh?! Am, szia. Jól nézel ki. Igeeen. És te.... Amm... Hát, most mennem kell! Várj! Mi az? Uh, ömm! Tetszenek a kütyüid. Szerencsések? Öm kösz. Oké viszlát! Várj! Mi az!? 🎶Nem tudok élni..... Mit is beszéltünk a Copyrightról? Hmm?! Én sajnálom. Kérlek gyere haza! Eh, nem is tudom. Szeretem a szabadságom dolgozni a generátorokon... minden nap. egész nap Non-stop Soha nem fejeződik be. Örökké És mindörökké! Oké, menjünk! Polish: [Huntress śpiewa] ♫ To była miłość, ale teraz się skończyła ♫ ♫ Skończyły mi się toporki, i muszę je jakoś zdobyć ♫ [Płacze] (Tapp) Huh?! O, cześć. (Huntress) Wyglądasz dobrze. (Tapp) Dzięki. A ty wyglądasz eee... Cóż, muszę już iść! (Huntress) Czekaj! (Tapp) Co? (Huntress) Um, uh... Lubię twoje przypinki. Przynoszą Ci szczęście? (Tapp) Uh, dzięki. Okej, pa! (Huntress) Chwila! (Tapp) Co?! [Huntress śpiewa] ♫ Nie... mogę... żyyyyć... ♫ (Tapp) O czym rozmawialiśmy z naruszeniem praw autorskich?! Hmm?! (Huntress) Ja przepraszać. Proszę wróć do domu. (Tapp) Eh, no niewiem, Ja... Lubię swoją wolność naprawianie... generatorów... codziennie... przez cały dzień... bez przerwy... To się nigdy nie kończy. Zawsze... i zawsze! Okej, chodźmy! Russian: # Должно быть, это была любовь, но теперь все кончено # У меня закончились топоры или как-то больше # [Рыдает] А?! Эм, привет Ты хорошо выглядишь. Да. И ты выглядишь ... Ахххх ... Ну, мне пора! Подожди! Чего? Э-э. Э-э! Мне нравятся твои амулеты. Они на удачу? Э-э, спасибо. Хорошо, пока! Подожди! Что ещё?! # Я ... не могу ... жить Сейчас о чем мы говорили с нарушением авторских прав? Хм?! Мне жаль. Пожалуйста, вернись домой. Эх, я не знаю, я Мне нравится моя свобода работать с генераторами ... каждый день днями напролёт Без остановки Это никогда не заканчивается. Постоянно Всё время Хорошо, идем! Korean: #분명 사랑이었지만, 이젠 모두 끝났다네# [노래: Roxette - It Must Have Been Love] #손도끼는 다 떨어졌고, 가지러 가야 한다네# 헉?! 어, 안녕. 잘 지내는 것 같네. 그래, 그리고 너도... 어... 어, 난 가봐야겠어 잠깐! 왜? 으, 저기 그 악세사리 멋지네 행운을 불러오는거야? 어 고마워. 그럼 안녕! 기다려! 왜애! [노래]당신 없인 살 수가... 전에 저작권 침해에 대해 알려준 거 기억 안나? 미안하다. 집에 돌아와줘. 음, 글쎄 난 자유로운게 좋아. 매일같이 발전기를 수리하고... 맨날 말야. 하루 종일 끝도 없이 절대로 끝이 안나. 영원히 끝도 없이! 좋아, 돌아갈게! Italian: # Doveva essere amor, ma finito ora # Ho finito accette o prende più in qualche modo # [Piange] Huh?! Uh, ciao. Hai bell'aspetto. Sì. E tu sembri, uhm... Uhhhh... Beh, devo andare! Aspetta! Cosa? Uh. Uh! Mi piacciono i tuoi amuleti. Sono fortunati? Uh grazie. Ok, ciao! Aspetta! Cosa?! #Io... non... posso Che cosa abbiamo detto riguardo al violare il copyright?Hmmmm?! Io scusa. Per favore, torna a casa. Eh, non lo so. Mi piace la mia libertà, a lavorare a generatori... ogni giorno... ... tutto il giorno... ... non-stop... Non finisce mai. Sempre e per sempre! Ok, andiamo! Chinese: 那一定是愛情~ 但現在已結束~ 我沒有斧頭了~ 要再多...嗚嗚. ..拿..一些~ 呃?! 呃! 呃...嗨 你..你看起來過得不錯 對...你看起來也...呃.... 呃..... 喔,我該走了 等等! 幹嘛? 呃...呃... 我喜歡你的吊飾 它們很幸運不是嗎 喔...謝謝..那掰掰! 等等! 又幹嘛啦!! 我不能活....~ 我們是不是說過不能侵犯版權? 恩??? 我錯了 請回家 呃...我不知道...我 我喜歡這個自由感 修那些 發電機....每一天都在 整天都在修 不停的修 無止境的 永遠.... 永遠! 好吧 走吧! Japanese: あれは　本当のに愛　だった？ もう　終わった　けど ハチェット　切れた　もっと...グズ（泣） ああ！ えと、やあ 元気　そうね そうだね、君も... ああ...... もう行かないと！ 待って 何？ あ、ああ！ ステキな　お守りね お守り　よね？ ああ、ありがとう。それじゃあ 待って！ 何！ ♪あなた　無しでは　生きられない～♪ この間著作権について話したばかりだろ！ ごめん 戻って　来て欲しいの そうだな、でもやっぱり俺 自由でいるのが 毎日 発電機を修理して...修理して... 一日中 休みなく 永遠に 一生 この先もずっと オッケー、縁を戻そう！ Spanish: Debió haber sido amor, pero ya se acabó. Me he quedado sin hachas, pero de alguna manera obtengo mas. [sollozos] huh?! Uh, hola. Te ves bien. Sí. Y tu te ves, um... Uhhhh... Bueno, debo irme. ¡Espera! ¿Qué? Uh. ¡uh! Me gustan tus Amuletos ¿Tienen suerte? Uh, gracias. Bueno, ¡adiós! ¡Espera! ¡¿Que?! Yo... no puedo... vivir ¿De qué hemos hablado con la infracción de derechos de autor? ¿¡Hmmm?! Lo siento Por favor, vuelve a casa. Eh, no lo se, yo... Me gusta mi libertad Trabajando en generadores... todos los días. todo el día. (empieza a alucinar) Sin Parar. sin que nunca tengan un final! POR SIEMPRE! Y PARA SIEMPRE! Bueno, ¡vamos! Modern Greek (1453-): # Πρέπει να ήταν αγάπη, αλλά τώρα τελείωσε # Δεν έχω άλλα τσεκούρια αλλά θα βρω και άλλα με κάποιο τρόπο # [Κλαίει] Εεε; Οο, γεια. Φαίνεσαι να είσαι καλά Ναι. Και εσύ φαίνεσαι να είσαι μμ.. Μμμ... Λοιπόν, πρέπει να φύγω! Περίμενε! Τι; Εμ. Εμ. Μου αρέσουν τα φυλαχτά σου. Είναι τυχερά; Εμ ευχαριστώ. Οκ, αντίο! Περίμενε! Τι; # Δεν... μπορώ να... ζήσω... Τώρα τι έχουμε συζητήσει με παραβίαση πνευματικών δικαιωμάτων; Χμμμ; Συγνώμη. Σε παρακαλώ έλα πίσω στο σπίτι. Εμ, δεν ξέρω, εγώ μου αρέσει η ελευθερία μου δουλεύοντας σε γεννήτριες... κάθε μερα όλη την μέρα Ασταμάτητα δεν σταματάει ποτέ Για πάντα και πάντα Οκ, πάμε. French: [Chante] Ca devait être l'amour de ma vie, mais c'est fini maintenant Je n'ai plus de hachettes, il faut que j'aille en reprendre [ Pleure ] Oh ?! Euh, salut ! Tu as l'air bien. Ouais. Et tu es... euh.. Euhhhhhhhhhhh Bon, je dois y aller! Attends ! Quoi? Euh. Euh ! J'aime tes charmes. Sont ils porte-bonheur ? Euh merci. ok, salut! Attends!! Quoi encore ?! [ Chante ] Je ne .. Peux pas.. Viiivre De quoi avions nous parlés à propos de la violation des droits d'auteurs hein ?! Moi être désolée... S'il te plait reviens à la maison... Euh, je sais pas.. Je.. J'aime ma liberté. Travailler sur des générateurs, tous les jours... Toute la journée.. Sans arrêt.. Ca ne s'arretera jamais Pour toujours ! Et toujours ! Okay, on y va ! Portuguese: # Isso pode ter sido amor, mas acabou agora # Eu estou sem machadinhas ou devo pegar algo # [Soluços] Huh?! Oh, oi Você parece bem Sim, e você parece ah.... Ahhh... Bem, tenho que ir! Espere! O que? Ah, Ah! Eu gosto do seus amuletos. Eles são sortudos? ah obrigado, Ta, falou! Espera! O que?! # Eu... não consigo...viver Agora o que a gente tinha conversado sobre violação de direitos autorais? Me desculpa Por favor volte para casa Eh, eu não sei. Eu Eu gosto da minha liberdade trabalhando nos geradores... todo dia o dia todo Sem parar Isso nunca vai acabar. Para sempre e sempre! Okay, vamos la! Spanish: Debe haber sido amor, pero ya pasó Me he quedado sin hachas o tengo más de alguna manera [Sollozos] eh? oh hola Te ves bien. Si. Y te ves um ... ummmm bueno me tengo que ir espera que? um umm Me gustan tus amuletos ¿Tienen suerte? oh gracias okey chao espera! que?!!! Yo ... no puedo ... vivir Ahora, ¿de qué hemos hablado con la infracción de derechos de autor? Hmmm ?! yo lo siento Por favor vuelve a casa. Eh, no se, yo me gusta mi libertad trabajando en generadores todo el dia todo el dia sin escalas simplemente no termina siempre y siempre okey vamonos Romanian: # Trebuie să fi fost iubire, dar s-a terminat acum # Nu mai am topoare, merg să mai iau.. cumva # [suspin] Huh?! Uh, bună. Arăți bine. Da. Și tu arăți um... Uhhh... Ei bine, trebuie sa plec! Stai! Ce? Uh. Uh! Îmi plac brelocurile tale. Sunt norocoase? Uh multumesc.Bine, pa! Stai! Ce?! #Eu... nu pot... trăi Ce am vorbit despre încălcarea drepturilor de autor? Hmmm?! Scuze. Te rog vino acasă. Eh, nu știu, îmi Îmi place libertatea să lucrez la generatoare... în fiecare zi toată ziua fară oprire Nu se termină niciodată. Pentru totdeauna mereu! Bine, hai să mergem! English: # It must have been love, but it over now # I'm out of hatchets or get more somehow # [Sobs] Huh?! Uh, hi. You look well. Yeah. And you look um... Uhhhh... Well, I gotta go! Wait! What? Uh. Uh! I like your charms. Are they lucky? Uh thanks. Okay, bye! Wait! What?! # I... can't... live Now what have we talked about with copyright infringement? Hmmm?! Me sorry. Please come back home. Eh, I don't know, I I like my freedom working on generators... every day all day long Non-stop It just never ends. Forever and ever! Okay, let's go! Turkish: # Aşk olmalı, ama şimdi bitti # Baltalarım bitiyor ya da nasılsa daha fazla alıyorum # [İç çeker] Huh ?! Merhaba. İyi görünüyorsun. Evet. Ve sende um... Uhhhh ... Gitmem gerek! Bekle! Ne? Uh. Ah! Charmlarını (Dbd de pantalona asılan şeyler) seviyorum. (Sevdim ama bozuk ingilizcesi var) Şanslılar mı? Ah teşekkürler. Tamam hoşçakal! Bekle! Ne?! # Ben ... Yaşayamıyorum... Sensiz... Şimdi telif hakkı ihlali hakkında neler konuştuk? Hmmm ?! Üzgünüm. Lütfen eve geri dön. Eh, bilmiyorum, ben Özgürlüğümü seviyorum Her gün Jeneratörler üzerinde çalışmak... tüm gün boyunca Durmaksızın Sadece hiç bitmiyor ! Sonsuza dek ve daha da fazlasına kadar ! Tamam hadi gidelim! Japanese: 聞いたかみんな！俺たちは再び結ばれる！ この恋物語は一生続くだろう 野良はすでに吊るされる運命である [殺人鬼の声] ネア、なんとかして下さい！ これじゃ身動き取れないじゃない わかった、掃除頼める奴を呼んでやるよ オラオラオラオラオラオラウェーーア ほお 次は 誰を呼び戻すか選ばないと 私の「最強キラーランキング」を使って！ 言うまでもなく獰猛(Fierce)なキラーの私はFです。 その次に強いと判断されたキラー達 はここに 現実的に考えて よし！今すぐ友達に連絡だ！ うわ！ 最悪、容量不足だ メメモリの写真を削除しなきゃ しばらくかかるな 鬼のランクは何だ？ ああん！？ Modern Greek (1453-): Σωστά όλοι! Είμαστε και πάλι μαζί! Αυτή η ιστορία δεν πρόκειται να τελειώσει ποτέ. [Πολύ φασαρία από τους δολοφόνους] Nea, πρέπει να κάνεις κάτι! Δεν μπορούμε να κουνήσουμε εδώ κάτω. Εντάξει, θα φέρω κάποιον που θα τους ξεκαθαρίσει! Αχ. Λοιπόν ας δούμε. Πρέπει να αποφασίσουμε ποιοί θα γυρίσουν πίσω βασισμένο στην λίστα μου για τους δολοφόνους. Προφανώς, είμαι Α για άγριος. Άλλος αποδεκτός θα είναι όποιος νομίζετε ότι πρέπει να είναι εδώ. Ας είμαστε πραγματικοί Ναι! Δεν μπορώ να περιμένω για να το πω στους φίλους μου! Αχ! Φοβερά. Δεν έχω άλλο χώρο μνήμης στο κινητό μου. Καλύτερα να αρχίσω να διαγράφω mori's. Θα μου πάρει λίγο χρόνο. Και τι βαθμό θα έχει ο Oni; Χμμμ; French: Vous avez bien compris tous ! On est de nouveau ensemble ! Cette histoire n'aura jamais de fin. Le random est pratiquement déjà accroché. [ Bruits de tout les tueurs ] Nea, tu dois faire quelque chose ! On ne peut même plus bouger la dedans ! Trés bien, je vais faire venir quelqu'un qui les fera tous sortir ! Aaahhh ! Maintenant, voyons... Il faut que l'on décide qui va revenir sur ma liste des niveaux des tueurs... De toute évidence, je suis dans le F, pour "Féroce" ! Pour le niveau A , mettez celui que vous voulez si vous pensez qu'il y appartient.. Soyons réels... Oh ouais ! Je ne peux pas attendre ! Je téléphone à mes amis ! AH! Oh génial...! Je manque d'espace sur mon téléphone ! Ughh, mieux vaut supprimer quelques mori... Ca va prendre un bout de temps.... Et quel est le niveau de l'Oni ? Hmmm !!? Korean: 그래요, 여러분! 저희 재결합했어요! 이 이야기는 끝나지 않아요. 모르는 사람과 매칭되면 그 사람은 시작하자마자 갈고리에 걸린다고 생각하시면 됩니다. [웅성웅성] 니아, 어떻게 좀 해봐! 이젠 움직일 공간도 없다고. 좋아, 죄다 쫓아낼 수 있는 놈을 데려오지! 아. 어디 보자. 이제 누굴 다시 데려올지 정해보자. 내가 만든 살인마 등급에 따라서 말이야. 당연히 나는 무시무시한(fierce)이니 F등급. 그럭저럭(acceptable)은 A등급이고 웬만한 애들은 여기야. 이게 현실이지. 좋아! 친구들한테 자랑해야지! 악! 젠장, 저장 공간이 없잖아. 즉결처형 사진을 지워야겠어. 한참 걸리겠군. 악귀는 무슨 등급이냐? 어엉?! English: That's right everyone! We're back together! This storyline is never going to end. [Lots Of Noise From Killers] Nea, you have to do something! We can't even move down here. Alright, I'll bring in someone that can clear them all out! Ah. Now let's see. We need to decide who can come back based on my tier list for killers. Obviously, I'm F for fierce. Ather acceptable goes to whoever you think should be on here. Let's be real. Yes! I can't wait to tell my friends! Ah! Oh great. I'm running out of space on my phone. Ugh, better start deleting mori's. This is going to take a while. And what Oni rank? Hmmm?! Polish: Dokładnie! Jesteśmy znowu razem! Ta historia nigdy się nie skończy. Random praktycznie już wisi. [Odgłosy zabójców] (Widmo) Nea, musisz coś zrobić! Nie możemy się nawet tu ruszać. Niech będzie, przywołam tu kogoś kto wszystkich ich wyrzuci. [Oni krzyczy po japońsku] Ora, Ora, Ora, Ora, Ora, Ora, jeeeeeee! (Widmo) Ah. Spójrzmy... Musimy zadecydować kto może wrócić na te spotkania bazując na mojej liście zabójców Oczywiście, ja jestem na pozycji F za dzikość. Akceptowalny ma każdego kto twoim zdaniem powinien tu być. Bądźmy poważni. (Ghostface) Świetnie! Nie mogę się doczekać aż powiem znajomym! [Ghostface robi sobie zdjęcie] O świetnie. Nie mam już miejsca na telefonie. Uhhh, lepiej zacząć usuwać mori. To trochę zajmie. (Oni) A jaka ranga Oni? HMM?! Romanian: Așa e! Suntem din nou împreună Povestea asta nu se va termina. Aleatoriul este practic deja agățat [Multe zgomote de la criminali] Nea, trebuie să faci ceva! Nici nu ne putem mișca aici. Bine, o să aduc pe cineva care îi poate șterge pe toți! Ah. Să vedem. Trebuie să ne decidem cine se poate întoarce bazată pe lista mea nivelată pentru criminali. Evident, eu sunt pe F de la Feroce A de la Acceptabil pentru oricine crezi că trebuie să fie aici. Să fim realistici. Da! De abia aștept să le spun prietenilor! Ah! Oh grozav. Nu mai am spațiu pe telefon. Ugh, mai bine încep să șterg din moriuri Asta va dura o vreme. Și ce rank Oni? Hmmm?! Chinese: 沒錯各位,我們復合了! 這條故事線不會完結的! 那些所謂的隨機都是騙人的 （殺手們的聲音） 尼婭,你必須得做點什麼! 我們在這裡動都動不了 好吧,我帶一個可以把所有人清掉的人來 歐拉歐拉歐拉歐拉歐拉歐拉歐拉Wryyyyyyyy!!! 啊.. 現在讓我來看看... 我們要決定能誰該回來 根據我的殺手等級列表 當然,我是F等 代表兇猛(Fierce) A代表還可以接受的(Acceptable), 你們想得到的人應該都在上面 [你應該選這邊的鬼!] 真的 太棒了 我等不急要告訴我的朋友們! 啊! 喔真的很棒 我手機沒容量了 齁...該清一下斬殺的照片了 會需要好一陣子 那惡鬼等級在? 嗯?? Turkish: Herkes doğru! Tekrar bir araya geldik! Bu hikaye asla bitmeyecek. [Katillerden gelen sesler] Nea, bir şeyler yapmalısın! Burada hareket bile edemiyoruz. Tamam, hepsini temizleyebilecek birini getireceğim! Ah. Şimdi bakalım. Kimlerin geri gelebileceğine karar vermeliyiz katiller için seviye listeme göre. Facia yarattığım için, Ben Kesinlikle F'yim, Kabul edilebilir olan, burada olması gerektiğini düşündüğünüz kişiye burada. Gerçek olalım. Evet! Arkadaşlarıma söylemek için sabırsızlanıyorum! Ah! Ah harika. Telefonumda yer kalmadı. Ah, mori'leri silmeye baţlasan iyi olur. Bu biraz zaman alacak. Peki Oni rütbesi nedir? Hmmm ?! German: Alles klar, wir sind wieder zusammen! Diese Geschichte wird niemals enden! [Viel Lärm von Killern] Nea, du musst etwas tun! Wir können uns hier unten nichtmal mehr bewegen! Gut, dann hole ich jemanden, der hier unten aufräumen kann! Ahhhh. Mal gucken. Wir müssen uns entscheiden, wer zurück kommen kann und wer nicht basiert auf meine Liste für Killers. Natürlich bin Ich "F" für heftig. Andere gute Killer, welche du denkst, dass sie hier unten sein sollten. Sind wir mal ehrlich. Ja! Kann gar nicht drauf warten es meinen Freunden zu erzählen! Ah! Na toll, mein Speicher wird langsam voll.. Ugh.. ich fange lieber mal an Moris zu löschen! Das wird eine Weile dauern. Auf welchem Rang ist Oni? Hmmm?! Spanish: ¡Sí, gente! ¡Estamos juntos de nuevo! Esta historia nunca terminará. La persona que no es del grupo ya está casi colgada. (sonidos de diferentes asesinos) Nea, ¡tienes que hacer algo! Ni siquiera podemos movernos aquí abajo. ¡Bien, traeré a alguien que pueda eliminarlos a todos! (Gritos de guerra del Oni) (sonido de derribar muchos bolos en una bolera) ¡Aaah! Vamos a ver. Necesitamos decidir quién puede volver a venir a estas reuniones... Basándonos en mi lista de clasificación de asesinos. Obviamente, soy F por Feroz. [Nota: En el sistema de calificaciones estadounidense, las notas de aprobado van de la "A" (la mejor, que sería un 100%) a "F" (que sería suspenso). Aunque, en algunos sitios, de C a E se considera suspenso] "A" de "Aceptable" es para quien creas que debería estar aquí. Seamos realistas. ¡Si! ¡No puedo esperar para decírselo a mis amigos! (sonido de flash) ¡Ah! Oh, genial. Me estoy quedando sin espacio en el teléfono. Ugh, será mejor que empiece a borrar los de Moris. Esto va a llevarme un rato. ¿Y qué rango Oni? ¡¿Eh?! Spanish: ¡Así es todos! ¡Estamos de vuelta juntos! Esta historia nunca tendrá final. El rescate ya está prácticamente enganchado Nea, ¡tienes que hacer algo!. Ni siquiera podemos movernos aquí abajo. ¡Bien, traeré a alguien que pueda eliminarlos a todos! Ah. Ahora, veamos. Necesitamos decidir quien volverá. basado en mi lista de niveles de asesinos obviamente, soy F por Feroz. Otra cosa aceptable es quien creas que deba estar aqui. Seamos realistas. ¡Si! ¡no puedo esperar para contarle a mis amigos! Ah! Oh, genial. Me estoy quedando sin espacio en mi telefono. ugh, mejor empiezo a eliminar las fotos de Memento Mori's. Esto va a tomar su tiempo... ¿Y que rango tiene oni? ¡¿Hmmm?! Hungarian: Ígyvan mindenki! Újra együtt vagyunk! Ez a történet soha nem fog véget érni. Nea, tenned kell valamit! Mozogni sem tudunk itt lent! Oké, hozok valakit aki mindenkit ki tud vinni! Áh. Nos nézzük. El kell döntenünk, hogy ki jöhet vissza az én gyilkos szint listám alapján. Egyértelműen, én F vagyok, mint vad. Ide az jön akit te gondolsz hogy visszajöhet. Legyünk valóságosak! Igen! Máris elmondom a barátaimnak! Áh! Oh nagyszerű. Kifogytam a tárhelyből. Ugh, jobb ha elkezdek kitörölni mori-kat. Ez el fog tartani egy ideig. És mi Oni rangja? Hmmm?! Russian: Так и есть, ребята! Мы снова вместе! Эта сюжетная линия никогда не закончится. Как показывает практика, ваш случайный союзник уже висит на крюке. Нея, ты должна сделать что-нибудь! Мы уже даже передвигаться тут не можем. Хорошо, я приведу кого-нибудь, кто может расчистить тут всё! Ах. Теперь посмотрим. Нам нужно решить, кто может вернуться На основе моего тир-листа убийц. Очевидно, я "F" , ведь я жестокий (fierce) Далее категория A, как "Допустимые"(acceptable). Приемлемые все, кто, по вашему мнению, должны быть здесь. Давайте будем реалистами. Да! Не могу дождаться, чтобы рассказать своим друзьям! Ах! О, круто. У меня не хватает места на моем телефоне. Тьфу, лучше начну удалять Мори Это займет некоторое время. А какой ранк у Они? Хм?! Portuguese: É isso mesmo povo! Estamos juntos novamente! Essa historia nunca vai ter um fim. O Aleatório praticamente já esta enganchado [Sons de Vários Assassinos] Nea, você tem que fazer alguma coisa! A gente nem consegue se mover mais por aqui. Ta certo, eu irei trazer alguém que consegue tirar todos daqui! ORA ORA ORA ORA ORA ORA ORA WREEEEEEEEEEE Ah Ta, vamos ver Eu preciso decidir quem pode voltar pra cá baseado na minha lista de classificação dos Assassinos Obviamente, eu sou F de Feroz Qualquer coisa aceitável vai para quem você acha que deveria estar aqui. Vamos ser reais. Isso! Não consigo esperar para contar para meus amigos! Ah! Ah Ótimo. Eu estou sem espaços no meu celular. Agh, melhor começar a deletar os mementos Isso vai demorar um pouco. E qual é o rank do Oni? Hmmm?! Spanish: Así es todo el mundo! Estamos de vuelta juntos! Esta historia nunca va a terminar. Nea, tienes que hacer algo! Ni siquiera podemos movernos aquí abajo. ¡Bien, traeré a alguien que pueda eliminarlos a todos! ahhh Ahora veamos. Necesitamos decidir quién puede regresar basado en mi lista de niveles para asesinos. Obviamente, soy F por feroz. Otra cosa aceptable va para quien creas que debería estar aquí. Seamos realistas ¡Si! ¡No puedo esperar para contarles a mis amigos! ah Oh, genial. Me estoy quedando sin espacio en mi teléfono. Ugh, mejor empiezo a borrar los del Mori. Esto va a tomar un tiempo. ¿Y qué rango es el del Oni? mmmm Italian: Esatto, gente! Siamo tornati insieme! Questa storia non avrà mai fine. [Molto rumore da parte dei Killer] Nea, devi fare qualcosa! Non riusciamo nemmeno a muoverci quaggiù. Va bene, farò venire qualcuno che può cacciarli tutti via. Ah. Ora, vediamo. Dobbiamo decidere chi deve tornare basandoci sulla mia lista di livelli per i Killer. Ovviamente, io sono F per forte. A per accettabile si applica a chiunque voi volete che sia. Siamo realisti. Sì! Non vedo l'ora di dirlo ai miei amici! Ah! Oh grandioso. Sto finendo lo spazio nel telefono. Ugh, meglio iniziare a cancellare i Mori. Richiederà un po'. E dove Oni classificato? Hmmmm?! German: Du bist auf Rang "S" für bleib dahinten, weit weg von mir. [Grunzen] [Murmelt zu sich selbst auf Japanisch] Warte, du hast mich vergessen! Jedermanns Lieblingsrebellischer Teenager! Ja, du bist Rang "C" für es ist kompliziert. Ich mag es! Klingt nervös. Hey! Was ist mit uns?! Wir führen diese Show! Wir benutzen unseren Rücken, nicht unsere Beine. Ihr seid beite auf Rang "D" für dumm und dümmerer Ja, wir haben es geschafft! Nein, ich mag das so nicht. Auch wenn diese offizielle Tabelle zeigt, dass ich für alle Ränge mit Abstand der Beliebteste bin. Mit Abstand! Okay, aber keine Killer mehr. Gut, außer dem nächsten. Ugh.. Und den danach.. Oh mein Gott Und du wirst nicht glauben, wer nach dem übernächsten dran ist! Du weißt, dass es mal aufhören muss. Mueh! Italian: Tu sei sul livello S per... stai laggiù, lontano da me. [Grugnisce] [Borbotta da solo in giapponese] Aspetta! Ti sei dimenticato di me! L'adolescente ribelle preferito di tutti! Sì, tu sei nel livello C per è complicato. Mi piace! Suona edgy! Hey! E riguardo noi?! Portiamo avanti questo show! Usando i nostri didietri, non le nostre gambe. Siete entrambi nella lista D per Deficiente è più Deficiente. (N.B. Gioco di parole intraducibile, essendo la traduzione corretta "Scemo e più Scemo") Sì, ce l'abbiamo fatta! No, non mi piace lamentarmi. Anche se questa classifica ufficiale mostra che io sono il più popolare tra tutti i ranghi per improbabilità. Improbabilità! Ok, ma basta così! Nessun altro Killer! Va bene, eccetto per il prossimo. Ugh. E il prossimo ancora. Oh mio Dio. E non crederai chi sarà dopo questo! Sai, dovrai fermarti prima o poi. Meh. Korean: 당신은 S 등급이지. 가까이 오지마!(Stay over there) 등급. 으으. [야레야레 다제...] [오라오라오라...] 잠깐! 날 빼먹었잖아! 인기 최고 반항아인 이몸을! 그래, 넌 C등급이야. 복잡한 등급(complicated) 마음에 들어! 멋져보이는걸! 이봐, 우리들은? 이 쇼는 우리가 캐리한다고! 발로 뛰는게 아니라 등빨로 말야. 너희 둘다 D등급이야. 덤 앤 더머 ㅓ 등급. 좋아, 우리가 해냈어! 아니, 난 동의할 수 없어. 공식 집계상 모든 랭크에서 내가 큰 차이로 가장 인기 많은 살인마란 말야. 크으으은 차이라고! 좋아, 이제 살인마는 그만 데려와! 알았어, 딱 한 명만 더 데려오고. 으으 그리고 또 한명만 더. 맙소사. 그 다음 살인마는 보면 깜짝 놀랄걸! 있잖아, 언젠가는 이러는 걸 멈춰야 한단 건 알지? 별로. Spanish: Estás en la lista S de... Essssstáte ahí lejos de mí. (El Oni refunfuña en japonés) ¡Espera! ¡Te has olvidado de mí! ¡El adolescente rebelde favorito de todos! Ah, sí. Estás en la C de... Es complicado. ¡Me gusta! ¡Tiene gancho! ¡Eh! ¿Y qué pasa con nosotros? ¡Llevamos este espectáculo! ¡Con nuestras espaldas! ¡No nuestras piernas! Ambos estáis en la categoría D. De idiota e idiotizador. ¡Sí! ¡Lo conseguimos! No, no me gusta hacer el cabra. Aunque este gráfico oficial muestra que soy el más popular para todos los rangos, con diferencia. ¡Muuuuuuucha diferencia! Está bien, ¡pero nadie más! Vale, salvo este. Ugh. Y el de siguiente a ese. Oh, dios mío. ¡Y no vas a creer quién es el siguiente después de ese! ¿Sabes? Tendrás que dejarlo en algún momento. ¡Naaaah! Hungarian: Te az S listán vagy mint.....maradj távol tőlem ott ahol vagy. [Dörmög] [Morog Japánul] Várj! Rólam elfelejtkeztél! Mindenki kedvenc lázadó tinédzseréről! Te a C listán vagy, mint bonyolult. Ez teszik! Menőnek hangzik! Héj! Mi van velünk? Mi vezetjük ezt a Show-t! És a hátunkat használjuk, nem a lábunkat. Ti mindketten a D listán vagytok, mint ostoba és ostobábbább. Igen, megcsináltuk! Nem. Nem szeretek kecskézni. Annak ellenére, ez a hivatalos táblázat megmutatja, hogy én vagyok a leghíresebb az összes rangból egy hosszú vonalon. Hosszú vonalon! Oké, de ennyi! Nincs több gyilkos! Oké, már csak a következő. Ugh. És az azután következő. Ó Istenem. És nem fogod elhinni, hogy ki a következő az után! De tudod hogy egyszer meg kell állítanod egy ponton. Meh. French: Tu es dans les R de la liste pour "Reste là bas... loin de moi !" [ Grognements ] [ Se murmure à lui même en Japonais ] Attends !! Tu m'as oublié ! L'adolescent rebel préféré de tout le monde ! Ouais.. tu es dans les C de la liste.. Ce qui veut dire "C'est.. compliqué.." J'aime bien ! Ca a l'air.. Intense et provocant ! Hey ! Et nous? On fait vivre ce show ! En utilisant notre dos et non nos jambes. Vous êtes tous les deux dans les D de la liste. pour "Débile" et "Débile profond". Oui ! On l'a fait ! Non, non je n'aime pas ça Même si ce tableau officiel montre que je suis le plus populaire tout rangs confondus et de loin. De trééés loin. Trés bien, mais maintenant ça suffit, je ne veux plus un seul nouveau tueur ! Ok très bien, sauf pour le prochain qui arrive. Ugh... Et celui qui va arriver encore après. Oh mon dieu. Et tu vas pas croire qui est le prochain après ça ! Tu sais, à un moment donné, il va falloir que tu t'arrêtes. Meh. Spanish: tu estas en la lista S por... mantente lejos de mi. [Gruñidos] [Comienza a murmurar en Japones] ¡Espera! ¡te olvidaste de mi! ¡El adolescente rebelde favorito de todos! Si, tu estas en la lista C por Es complicado ¡Me gusta! Suena edgy! (traduccion: nervioso, utilizacion para la burla de un tipo de personas) ¡Oye! ¿¡Que pasa con nosotros?! Mantenemos el espectáculo Usando nuestras espaldas no nuestras piernas. Ambos pertenecen a la lista D para tontos y tontos. Sí, ¡lo hicimos! No, no me gusta esta tabla. Aunque este gráfico oficial muestra que soy el más popular para todos los rangos por alcance. ¡alcanze! Esta bien, pero ¡Ya no hay mas asesinos! Muy bien, excepto por lo siguiente. ugh. Y el que sigue despues de eso. Oh mi dios. ¡Y no vas a creer quién es el próximo después de eso! Sabes, vas a tener que parar en algún momento. Meh. Turkish: O listesindesin ... orada benden uzak dur. [Homurtu] [Japonca mırıldanıyor] Bekle! Beni unuttun! Herkesin favori asi genci ! Evet, K listesindesin Yani Karmaşık. Bunu sevdim! Kulağa ergence geliyor! Hey! Peki ya biz?! Bu şovu taşıyoruz! Sırtımızı kullanarak bacaklarımızı değil. Siz ikiniz A listesindesiniz. aptal ve daha da aptal için. (Normalde kelimeler ingilizce olduğu için baş harfleri farklı oluyor.) Evet, başardık! Hayır, geyik yapmayı sevmem. Bu resmi grafik uzun bir atışla tüm rütbeler için en popüler katil olduğumu gösteriyor olsa da. Uzun bir farkla! Tamam, ama bu kadar, daha fazla katil yok! Tamam, bir sonraki hariç. Uh. Ve ondan sonraki. Aman Tanrım. Ve onndan sonrakinin kim olduğuna inanamayacaksın! Biliyor musun, bir noktada durman gerekecek. Meh. English: You're on the S list for... stay over there away from me. [Grunts] [Mutters to himself in Japanese] Wait! You forgot about me! Everyone's favorite rebellious teen! Yeah, you're on the C list for it's complicated. I like it! Sounds edgy! Hey! What about us?! We carry this show! Using our backs not our legs. You're both on the D list for dumb and Dumberer. Yes, we made it! No, I don't like to goat. Even though this official chart shows that I'm the most popular for all ranks by a long shot. Long shot! Okay, but that's it no more killers! Alright, except for the next one. Ugh. And the one after that. Oh my god. And you won't believe who the next one after that is! You know, you're going to have to stop at some point. Meh. Polish: Jesteś na pozycji S czyli... trzymaj się ode mnie z daleka. [Oni gada po japońsku] Yare, Yare daze... ora, ora, ora.... (Legion) Chwila! Zapomniałeś o mnie! Ulubiony wszystkich, buntowniczy nastolatek! (Widmo) Tiaa, jesteś na pozycji C czyli to skomplikowane. (Legion) Podoba mi się! Brzmi ostro! (Trapper) Hej, a co z nami?! Utrzymujemy ten show! (Crapper) Używając naszych pleców nie naszych nóg. (Widmo) Oboje jesteście na pozycji D czyli durny i durniejszy. (Crapper) Udało nam się! (Trapper) Nie, nie podoba mi się. Mimo że ta oficjalna tabela pokazuje, że jestem najbardziej popularny na wszystkich poziomach. Naaaaajbardziej! (Widmo) Dobrze, ale nikt więcej. (Nea) Okej, oprócz następnego. (Widmo) Ugh. (Nea) I jeszcze kolejny. (Widmo) O jezu... (Nea) I nie uwierzysz kto jest następny po następnym! (Widmo) No wiesz, kiedyś będziesz musiała skończyć. (Nea) Meh. Modern Greek (1453-): Είσαι στη λίστα Μ για ... μείνε εκεί πέρα μακριά από εμένα. [Γρυλίζει] [Ψιθυρίζει στον εαυτό του στα Ιαπωνικά] Περίμενε! Εμένα με ξέχασες! Ο αγαπημένος έφηβος επαναστάτης όλων! Ναι, είσαι στη λίστα Π για Είναι περίπλοκο. Μου αρέσει! Ακούγεται τολμηρό! Εει! Τι θα γίνει με εμάς; Εμείς κρατάμε αυτό το σόου! Χρησιμοποιώντας τις πλάτες μας όχι τα πόδια μας. Είστε και οι δύο στη λίστα Χ για χαζός και χαζότερος. Ναι, τα καταφέραμε! Όχι, δεν μου αρέσει να καυχιέμαι. Ακόμα κι αν αυτό το επίσημο γράφημα δείχνει ότι είμαι ο πιο δημοφιλής για όλες τις τάξεις κατά πολύ. Κατά πολύ! Οκ, αλλά αυτό είναι. Όχι άλλοι δολοφόνοι! Εντάξει, εκτός από τον επόμενο. Αχ.. Και τον επόμενο μετά από αυτόν Χριστέ μου. Και δεν θα πιστέψεις ποιος είναι ο επόμενος μετά από αυτόν! Ξέρεις, θα πρέπει να σταματήσεις κάποια στιγμή. [Ενόχληση] Portuguese: Você está na classificação S de.... Sai de perto de mim [Grunhidos] Yare Yare Daze.... Muda Muda Muda... Perae! Você esqueceu de mim! O adolescente rebelde favorito de todos! Ah sim, você estar na classificação C de é complicado. Eu gostei! Soa como Ousado! Hey! e nos aqui? A gente carrega esse show! Usando nossas costas não nossas pernas Ambos estão na classificação D De burro e De o mais burro Isso, conseguimos! Não, eu não gostei Mesmo que este gráfico oficial mostre que eu sou o mais popular para todos os ranks em um longo prazo. Longo Prazo! Ta legal, mas é isso não ha mais assassinos! Ta bom, exceto o próximo Agh. e o depois daquele Oh meu deus e você não vai acreditar quem é o próximo depois daquele! Você sabe, você vai ter que parar em algum ponto Meh Chinese: 你在S級....代表離我遠一點.. (Stay over there from me) 呃 哎呀哎呀真的是.....喂喂喂....(日文) 等一下,你把我忘記了! 大家最愛的叛逆少年! 對....你在C級, 代表... 複雜到難以判定(complicated) 我喜歡! 聽起來很壞又很前衛 嘿!那我們呢? 我們是這個節目最大咖的欸! 用腰力不是用腿力 (抬東西的錯誤出力方式 屎哥大概想表示自己嘔心瀝血XD) 你們兩個都在D級 代表 蠢 跟 超蠢...的(dumb/dumberer) 太好了, 我們做到了! 不,我不想要聽起來很機車 但這個官方的表格上表示, 我才是那個長期以來在無論哪個段位 都最熱門的鬼, 長~~~~~期 好喔 但這樣就夠了 不能再有更多鬼了 好喔 除了下一個 吼... 還有下下一個 我的天 你根本不會相信下下下一個是誰! 你知道 你總是會有結束的一天 喔 昆汀更好的長相加載中 Spanish: Estás en la lista S para ... mantente allí lejos de mí. ¡Espera! ¡Te olvidaste de mí! ¡El adolescente rebelde favorito de todos! si estas en la lista c es complicado me gusta suena nervioso que pasa con nosotros llevamos este espectaculo Usando nuestras espaldas no nuestras piernas. ambos estan en la lista d para tontos y tontos. si lo logramos!! no no me gusta la cabra Aunque este gráfico oficial muestra que soy el más popular para todos los rangos por asomo. tiro largo!! Está bien, ¡pero ya no hay más asesinos! Muy bien, excepto por el siguiente. ugh Y el que sigue despúes de eso. oh my dios ¡Y no vas a creer quién es el próximo después de eso! Sabes, vas a tener que parar en algún momento. meeeh Romanian: Ești pe S de la ... Stai acolo departe de mine [Mormăit] [Mormăind singur în Japoneză] Stai! Ai uitat de mine! Adolescentul rebel favorit oricui Da, ești pe list C de la E Complicat Îmi place! Sună tăios! Hey! Dar noi?! Cărăm acest show! Folosindu-ne spatele nu picioarele. Sunteti amândoi pe D de la Prost și Prostănac Yes, am reușit! Nu, nu îmi place asta. Chiar și diagrama asta oficială arată că eu sunt cel mai popular pe toate rankurile la o distanță destul de mare. Foarte mare! Bine, dar asta e. Fără criminali noi! Bine, exceptându-l pe următorul. Ugh. Si cel dupa acela. Oh Doamne. Și nu vei crede cine este urmatorul după acela! Știi că trebuie să te opresti la un moment dat. Meh. Japanese: あなたはSランクです... あの角へ行ってステイ（Stay)してて下さい うーん！ やれやれだぜー 待って！僕の事忘れてない？ みんなに人気者のイタズラっ子だよ！ ああ、あなたはCランク, つまり... 複雑(Complicated)です いいね！ ちょいワルって感じ ねえ！僕たちはどうなの？ 僕たちが主役じゃないか！ 脚だけじゃなくて体で支えてるんだぜ あなた達はDランクです バカ(Dumb)ともっとバカ(Dumberer)を訳します よし、やったぞ！ いや、あまり自慢したくないんだ 公式の全ランク発表では 僕がだんトツ人気者でもね だんトツ〜〜 はいはい、でもこれ以上殺人鬼を増やすのは 沢山ですからね！ わかった、次のが出た後ね ああ そしてその次の ああマジか その次は誰が来ると思う？ 絶対ビックリするよ！ あのさ、いつかはネタ切れになるの分かってるよね？ ふん！ Russian: Ты в списке S , что значит ... Стой как можно дальше от меня.(stay over there away from me). [Задумчиво мычит] [Бормочет себе по-японски] Подожди! Ты забыл обо мне! Всеми любимого мятежного подростка! Да, ты в списке C для как Сложный (complicated). Мне это нравится! Звучит остро! Привет! Что насчет нас?! Мы удерживаем это шоу! Используя наши спины, а не наши ноги. Вы оба в списке D Как Тупой и ещё тупее (dumb and Dumberer). Да, мы сделали это! Нет, это не похоже, чтобы я был любимчиком Несмотря на то, что этот официальный график показывает, что я самый популярный среди всех рангов с огромным отрывом. Огромным отрывом! Ладно, но давай остановимся с добавлением убийц! Хорошо, за исключением следующего. Ооох. И того, что будет после этого. Боже ты мой. И вы не поверите, кто будет следующий! Знаешь, тебе придется остановиться в какой-то момент. Мэ German: Wir graben, graben, graben den ganzen Tag lang Hoppla! Ho-ho! Mehr Urheberrechtsverletzungen. Mmmm. Oh! Eine Maske! Es passt! Außerdem bewegt sich der Mund, wenn ich rede. Und die Augenlöcher sind ausdrucksstark! Ist diese Maske von Der Maske? Ow! Wer hat diese Bärenfalle hier aufgestellt? Ugh. Das ist nicht witzig! Oh, der Schmerz! Der Schmerz von dieser Bärenfalle bringt mich auf ein paar Ideen.. Das ich.. Ich sollte Tylenol nehmen wird fast von jedem Doktor empfholen! [Lacht] I empfehle es! Siehst du? Fallensteller: Tylenol sollte besser den Scheck abschicken! Tapp: Okay, wie kam der Dokter in deiner Hintergrundgeschichte vor? Doktor: Sei still! [Doktor schockt Tapp] Romanian: Încarcă o față mai bună pentru Quentin Arhivele Începuturile Trapperului # Noi săpăm, săpăm, săpăm toată ziua # # Hai-ho! Hai-ho! Mai multe încălcări de drept de autor. Mmmm. Oh! O mască! Se potrivește! Plus gura se mișcă când vorbesc. Și găurile pentru ochi sunt expresive! Este asta masca din filmul Masca? Ow! Cine a pus capcana asta aici? Ugh. Asta nu e amuzant, tipilor din mina asta. Oh, durerea! Durerea din capcana asta îmi dă idei.. Că eu... Ar trebui să iau Tylenol ca fiind recomandată de aproape orice Doctor pentru ameliorarea durerii. [Râsete] Eu o recomand. Vezi? Trapper: Tylenol, mai bine trimite cecul Tapp: Okay. Cum de apare Doctorul în povestea ta? Doctor: Taci! [Doctorul îl electrocutează pe Tapp] Japanese: クェンティンにいい顔をロード中... ザ・アーカイブ トラッパーの始まり ♪僕たち、 掘る〜　掘る〜　一日中～♪ ハイホー！ハイホー！ また著作権侵害か お！仮面が落ちてる！ へへ！ピッタリ！ しかも喋る度に顎が動く！ それに目も表情豊か！ もしかして『マスク』の仮面？ ああ！ 誰だよこんな所に罠置いたのは？ う～ん 笑えない冗談だよ、君たち ああ、痛い！ 罠の痛みから何か閃きそうだ... 僕は... 「タレノール」を飲まなきゃ！ ほぼ全ての医者が痛み止めに採用している！ アッヒャヒャヒャ、オススメします ほらね？ トラッパー：タレノールに宣伝費もらうんだ 今に見てろよ タップ：なんでドクターがあんたの過去に居るんだ？ ドクター：静か二！ 「ビリビリビリビリ」 Spanish: Cargando una mejor cara para Quentin. Los archivos Del Trampero cavamos, cavamos, cavamos todo el día. high-ho! high-ho Más infracción de derechos de autor. Mmmm. ¡Oh! ¡una mascara! ¡Encaja! Además, la boca se mueve cuando hablo. ¡Y los agujeros para los ojos son expresivos! ¿Es esta la máscara de "La mascara"? Ow! ¿Quien puso esa trampa de osos aqui? Ugh. Esto no es una broma graciosa para nadie en esta mina. ¡Oh, el dolor! El dolor de esta trampa para osos me está dando ideas... Que yo... Debería tomar tylenol es lo recomendado por casi todos los médicos para el alivio del dolor. [Risas] Lo recomiendo ¿Ves? Trampero: Es mejor que Tylenol envíe el cheque. tapp: Bueno. ¿Cómo está el doctor en tu historia de fondo? Doctor: ¡Callate! [Doctor golpea Tapp] Russian: Загружаем похорошевшее лицо Квентина Архивы Охотник. Происхождение # Мы копаем, копаем, копаем весь день # # хэй-хо! хэй-хо! Больше нарушений авторских прав. Мммм. Ух ты! Маска! Сидит, как родная Плюс рот двигается, когда я говорю. И глазные отверстия выразительны! Это маска из фильма Маска? Оу! Кто поставил капкан здесь? Тьфу. Это не смешная шутка, вы, ребята, в этой шахте. О, больно! Боль из-за капкана дает мне идеи ... Что я... Я должен принять тайленол рекомендуется почти каждым доктором для обезболивания. [Смеется] Я рекомендую это. Видите? Охотник: Тайленол, лучше отправьте чек. Тапп: Ага. Как Доктор попал в твою предысторию? Доктор: Тихо! [Доктор бьёт шоком Тэппа] French: Chargement d'un meilleur visage pour Quentin. LES ARCHIVES L'ARRIVEE DU PIEGEUR [ Chante ] Oooon, creuse creuse creuse, toute la journée ! Hey-ho ! Hey-ho ! Encore plus de violation des droits d'auteurs.. Mmmm. OH ! Un masque ! Héhé ! Il me va ! En plus, la bouche bouge quand je parle ! Et les yeux sont expressifs ! Est ce que c'est le masque de "The mask" ? OW ! Qui a posé ce piége à ours ici ? Ugh. Hey, les autres gars présent là dedans, c'est pas marrant. Oh cette douleur !! La douleur de ce piège à ours me donne une idée... Je.. Je devrais prendre du Tylenol ! Comme recommandé par presque tous les médecins pour soulager la douleur. [ Rires ] Je le recommande Vous voyez? Le Piégeur : Tylenol, vous avez interêt de m'envoyer mon chéque. C'est tout ce que j'ai à dire. Tapp : Okay, pourquoi y a t'il Le Docteur dans ton histoire ? Le Docteur : Silence toi ! [ Le Docteur életrocute Tapp ] Italian: # Noi seguitiamo a scavar! # # Ehi Ho! Ehi Ho! Più violazioni del copyright. Mmmm. Oh! Una maschera! Ci sta! Inoltre la bocca si muove quando parlo. E i fori per gli occhi sono espressivi! È la maschera da The Mask? Ahi! Chi ha messo questa trappola per orsi qui? Ugh. Non è divertente, voialtri dentro la miniera. Oh, che dolore! Il dolore di questa trappola per orsi mi sta dando idee... Che io... Dovrei prendere del Tylenol come raccomandato da quasi tutti i Dottori per alleviare il dolore. [Ride] Lo raccomando. Visto? Cacciatore: Tylenol, meglio mandare l'assegno. Tapp: Ok, come fa il Dottore ad essere nella tua storia? Dottore: Tu fai silenzio! [Il Dottore elettrifica Tapp] Hungarian: 🎶Mi bányászunk, egész nap 🎶Áj-hó! Áj-hó! Még több Copyright-os sértés. Mmmm. Óh! Egy maszk! Pont jó! És még a száj is mozog amikor beszélek. És a szemlyukak is lenyűgözőek! Ez a maszk a The Mask-ból? Au! Ki tette ide ezt a medve csapdát? Ugh. Ez nem vicces ti másik srácok ebben a bányában! Ó, a fájdalom! Ez a fájdalom a medve csapdától ötleteket ad.... Hogy én... Bevehetném a Tylenol-t ahogy majdnem minden doktor ajánlja fájdalom ellen. [Nevet] Én is ajánlom. Látod? Turkish: # Gün boyu kazıyoruz, kazıyoruz, kazıyoruz # # Hay-ho! Hay-ho! Daha fazla telif hakkı ihlali. Hımmm. Ah! Maske! Kafama uyuyor ! Artı konuştuğumda ağız hareket ediyor. Ve göz delikleri hareket edici! Bu Maske "Maske"den mi ? Ow! Bu ayı tuzağını buraya kim koydu? [Acı] Bu, bu madendeki diğer çocuklar bu komik bir şaka değil. Ah, acı! Bu ayı tuzağının acısı bana fikir veriyor ... Ben... Tylenol almalıyım hemen hemen her Doktor tarafından ağrı kesici olarak önerildiği gibi ! [Gülüyor] Ben tavsiye ediyorum ! Bak ! Tuzakçı: Tylenol çek göndermeniz iyi olur. Tapp: Tamam. Doktor neden senin geçmiş hikayende ? Doktor: Sessiz ol! [Doktor Tapp'i şoklar] Chinese: 文檔庫:夾哥的開始 我們挖.挖.挖 整天挖 嘿!咻!嘿!咻! 又是版權侵犯...恩... 喔!一個面具 嘿嘿 真合 而且我說話時它嘴巴還會動 喔而且眼眶的洞合適得令人印象深刻 這是那個''摩登大聖''的面具嗎 歐! 是誰把這個捕熊夾放這的啦! 呃!!! 這個笑話不好笑 你們這些在礦場裡的其他人! 噢!這個痛感! 這個捕熊夾的痛感給了我靈感! 我... 我...應該服用 tylenol! 幾乎每個醫生都推薦我服用來減輕疼痛 呵呵呵呵 我推薦的 看吧 夾哥:我要說 Tylenol 最好把支票寄給我 泰普: 好喔 那你背景故事裡那個醫生後來怎麼樣了? 醫生:你閉嘴 [醫生電泰普] Spanish: cavamos cavamos cavamos todo el dia high ho high ho Más infracción de derechos de autor. Mmmm oh una mascara encaja Además, la boca se mueve cuando hablo. ¡Y los agujeros para los ojos son expresivos! ¿Es esta la máscara de la Mascara? ow ¿Quién puso esta trampa para osos aquí? ugh :( Eso no es una broma graciosa para ustedes en esta mina. oh el dolor :( El dolor de esta trampa para osos me está dando ideas ... Que yo... Debería tomar tylenol según lo recomendado por casi todos los médicos para el alivio del dolor. risas lo recomiendo ves Trampero: es mejor que Tylenol envíe el cheque. Tapp: está bien. ¿Cómo está el doctor en tu historia de fondo? doctor:silenciooo English: # We dig, dig, dig all day long # # high-ho! High-ho! More copyright infringement. Mmmm. Oh! A mask! It fits! Plus the mouth moves when I talk. And the eye holes are expressive! Is this the mask from The Mask? Ow! Who put this bear trap here? Ugh. That's not a funny joke you other guys in this mine. Oh, the pain! The pain of this bear trap is giving me ideas... That I... I should take tylenol as recommended by almost every Doctor for pain relief. [Laughs] I recommend it. See? Trapper: Tylenol better send the check. Tapp: Okay. How is the doctor in your backstory? Doctor: Quiet you! [Doctor Shocks Tapp] Polish: Ładowanie Quentinowi lepszej twarzy... ARCHIWA TRAPPER POCZĄTKI [Trapper śpiewa] ♫ Kopiemy cały dzień ♫ ♫ haaaj hooooo haaaaaj hooooo ♫ (Tapp) Znowu naruszanie praw autorskich. Mmm. (Trapper) O! Maska! Pasuje! Dodatkowo usta się ruszają, gdy mówię. Oraz dziury na oczy są wyraziste. Czy ta maska jest z Maski? (Film) Au! [Śmiechy z oddali] Kto postawił tu tę pułapkę? Uh... To nie jest śmieszne wy inni goście z kopalni. Oh, ten ból! Ból przez tę pułapkę daje mi sugestie... że Powinienem wziąć TYLENOL Rekomendowany przez prawie wszystkich lekarzy na ulgę w bólu. [Doktor się śmieje] Polecam to. (Trapper) Widzicie? TYLENOL lepiej wyślij czek (?). Tylko to chciałem powiedzieć. (Tapp) Dobrze. Jak doktor znalazł się w twoich "początkach"? (Doctor) Siedź cicho! [Doktor razi Tappa] Spanish: Cargando una cara mejor para Quentin. Los Archivos. EL TRAMPERO EMPIEZA (Cantando): Cavamos, cavamos, cavamos, todo el día... (Cantando): Aijó, aijó (Como los Enanitos de "Blancanieves") Más infracciones de derechos de autor. Hm... ¡Oh! ¡Una mascara! ¡Je, je! ¡Me entra! Además, la boca se mueve cuando hablo. ¡Y los agujeros para los ojos son expresivos! ¿Es esta la máscara de "La Máscara"? ¡Aaah! ¿Quién ha puesto aquí esta trampa para osos? ¡Uuugh! (risas de fondo) A los demás en esta mina: ¡No tiene gracia! ¡Ah! ¡Qué dolor! (Canta): El dolor de esta trampa para osos me está dando ideas... De que yo... Debería tomarme un paracetamol. Según lo recomendado por casi todos los médicos para el alivio del dolor. (se ríe) ¡Yo lo recomiendo! ¿Veis? Trampero: Más vale que paracetamol envíe ese dinero. Tapp: Vale. ¿Por qué está el doctor en tu historia? Doctor: ¡Calla! (Sonido de "Terapia de Choque" de El Doctor) Modern Greek (1453-): # Τραγουδάει # Συνεχίζει το τραγούδι. Περισσότερες παραβιάσεις πνευματικών δικαιωμάτων. Μμμμ. Ο! Μια μάσκα Μου κάνει! Και κουνάει στο στόμα όταν μιλάω. Και οι τρύπες στα μάτια είναι εκφραστικές! Αυτή δεν είναι η μάσκα απο 'Την μάσκα'; Οου! Ποιος έβαλε αυτή την παγίδα για αρκούδες εδω; [Ενόχληση] Αυτό δεν είναι αστείο, υπόλοιποι άνθρωποι σε αυτό το ορυχείο. Ω, ο πόνος! Ο πόνος αυτής της παγίδας μου δίνει ιδέες... Ότι πρέπει... Οτι πρέπει να πάρω Παρακεταμόλη! όπως συνιστάται από σχεδόν κάθε γιατρό για ανακούφιση από τον πόνο. [Γελάει] Το προτείνω. Είδατε; Trapper: Η παρακεταμόλη καλύτερα να στείλει την επιταγή. Tapp: Οκ. Πώς είναι ο γιατρός στο παρασκήνιο της ιστορίας; Doctor: Ησυχία! [Ο γιατρός χτυπάει με ηλεκτρισμό τον Tapp] Korean: 좀더 멀쩡한 얼굴의 쿠엔틴을 불러오는 중 기록 보관소 트래퍼의 기억 # 우리는 하루 종일 땅만 판다네 # # 하이-호! 하이 호! (백설공주와 일곱명의 난장이 노래) 또 저작권 위반이라고, 흠. 오! 마스크네! 딱 맞잖아! 말할때마다 움직이기까지 해. 눈구멍이 표정도 나타내는걸? 이거 영화 '마스크'에 나온 마스크 아냐? 으악! 누가 곰덫을 이런 데 놨어? 아으. 하나도 안 웃기거든, 광산에 있는 다른 사람들아! 오, 아파! 이 곰덫의 고통이 내게 무언가 계시를 주고 있어... 내가... 타이레놀을 먹어야 한다는 걸! 거의 모든 의사가 통증 경감에 추천합니다! [웃음] 저도 추천합니다. 보셨죠? 트래퍼: 타이레놀 제약사는 이걸 보는 즉시 제게 돈을 입금하십시오. 탭형사: 네 배경 이야기에 닥터가 왜 있는건데? 닥터: 조용하시지! [닥터의 전기충격] Portuguese: Carregando uma cara melhor pro Quentin OS ARQUIVOS A origem do Caçador # Nós cavamos, cavamos, cavamos o dia todo # High-ho! High-ho! Mais violações de direitos autorais. Hmmm. Oh! Uma mascara! Cabe! Alem disso, a boca move quando eu falo e os buracos dos olhos são expressivos! é essa a mascara d'O Mascara? Ah! Quem colocou essa armadilha de urso aqui? Agh. Isso não é piada engraçada pra vocês outros caras desta mina Ah, a dor! A dor dessa armadilha de urso esta me dando ideias... Isso eu... Eu deveria tomar Tylenol é recomendado por quase todos os Medicos para aliviar a dor [Risos] Eu recomendo Viu? Caçador: Tylenol melhor enviar o cheque Tapp: Beleza. Como o Medico está na sua historia? Medico: Quieto você! [Medico dá choque no Tapp] Chinese: 醫生:你需要一點 tylenol嗎? 泰普:是! 夾哥:給你... 夾哥:真的是太好了! 我把整罐的Advil都撒了! (另一種退燒消炎藥) 醫生:是Tylenol! 夾哥:喔對!Tyl...Tylenol... Romanian: Doctor: [Râsete] Ai nevoie de niste Tylenol? Tapp: Da! Trapper: Uite-- [Scapă sticla] Trapper: Grozav! Mi-am scăpat sticla de Advil. Doctor: Tylenol! Trapper: O da. Tylenol. Modern Greek (1453-): Doctor: [Γελάει] Θέλεις λίγη Παρακεταμόλη; Tapp: Ναι! Trapper: Ορίστε... [Ρίχνει το μπουκάλι] Trapper: Φοβερά! Έχυσα το μπουκάλι μου με την Ιβουπροφαίνη. Doctor: Παρακεταμόληl Trapper: Α σωστά, Παρακεταμόληl German: Doktor: [Lacht] Brauchst du ein wenig Tylenol? Tapp: Ja! Fallensteller: Hier bitte s- [verschüttet die Flasche] Fallensteller: Einfach großartig! Ich habe meine Flasche Advil verschüttet. Doktor: Tylenol! Fallensteller: Ach ja, stimmt. Tylenol. Italian: Dottore: [Ride] Ti serve un po' di Tylenol? Tapp: Sì! Cacciatore: Ecco a te- [Rovescia la confezione] Cacciatore: Grandioso! Ho rovesciato la mia confezione di Advil. Dottore: Tylenol! Cacciatore: Oh giusto. Tylenol. Korean: 닥터: 타이레놀 필요해? 탭: 그래! 트래퍼: 자 여기, 엇 [병이 쏟아짐] 트래퍼: 잘한다! 내 게보린이 쏟아졌잖아. 닥터: 타이레놀!! 트래퍼: 아, 맞아.. 타, 타이레놀... English: Doctor: [Laughs] Need some Tylenol? Tapp: Yes! Trapper: Here you g- [Spills bottle] Trapper: Just great! I spilled my bottle of Advil. Doctor: Tylenol! Trapper: Oh right. Tylenol. Portuguese: Medico: [Risos] Precisa de algum Tylenol? Tapp: Sim! Caçador: Aqui est- [Frasco derrubado] Caçador: Que belezura! Eu derrubei o meu frasco de Advil Medico: Tylenol! Caçador: Ah certo. Tylenol. Spanish: Doctor: [Risas] ¿Necesitas algunos Tylenol? tapp: ¡Si! Trapero: Aqui tienes- [Se derrama la botella] Trampero: ¡Realmente genial! Derramé mi botella de Advil. Doctor: ¡Tylenol! Trampero: Oh cierto. Tylenol Russian: Доктор: [смеется] Нужно немного Тайленола? Тапп: Да! Охотник: А вот и- [Таблетки рассыпались] Охотник: Зашибись! Я рассыпал все таблетки Адвила с бутылычки. Доктор: Тайленол! Трапер: Да, верно. Тайленола. Hungarian: Spanish: (Risas del Doctor) ¿Necesitas un poco de paracetamol? Tapp: ¡Sí! Trampero: Aquí tienes. ¡Genial! ¡Se me ha caído la caja de ibuprofeno! El Doctor: ¡Paracetamol! Trampero: Oh, cierto. Paracetamol. Japanese: ドクター：（笑）タレノールが必要カイ？ タップ：ああ！ トラッパー：はいどうぞ トラッパー：ほら見ろ！ アドビルの瓶を落としちゃった ドクター：タレノール！ トラッパー：ああそうだった、タレノール Spanish: tapp:si trampero:Aquí tienes doctor:tylenol trampero: ohh si tylenol French: Le Docteur : [ Rire ] Un peu de Tylenol ? Tapp : Oui ! Le Piégeur : Tiens, voi.. [ Renverse la bouteille ] Le Piégeur : Oh génial ! Je viens de renverser ma bouteille d'Advil ! Le Docteur : Tylenol !! Le Piégeur : Ah oui, Ty.. Tylenol. Turkish: Doktor: [Gülüyor] Tylenol'a mı ihtiyacın var? Tapp: Evet! Tuzakçı: İşte a- [Dökülen şişe] Tuzakçı: Harika! Advil'imi döktüm. Doktor: Tylenol! Tuzakçı: Ah doğru. Tylenol. (Çeviri:3RR0R PR0BL3M) Polish: [Śmiech] Potrzeba ci trochę TYLENOLU? (Tapp) Tak! (Trapper) Proszę bar- [TYLENOL się rozlał] Po prostu świetnie! Wylałem butelkę mojego Advilu. (Doktor) TYLENOLU! (Trapper) Oh racja. TYLENOLU

What is modern art? In this video I will show you the definition of modern art its history and its movements of short form I hope the video is of your liking we start the modern art is a very unique concept since it has different areas in the world of the art especially in the aesthetic in The historiography in the theory of what is the art and in the market And is that this type of art is intended to make a distinction between the productive part of art that will be identified with certain definitions of modernity That is to understand it better by Example academic art makes a representation of all traditional art While both this art style experiment to bring out innovative things let's talk a bit about its history in stage that goes from the Second World War until the middle of the 60's 20th century is the stage Which is most prolific of all periods of art history artists of this type of art made a statement in the deformation of the co Especially the objects that were deliberately realized whose objective was the search for satisfaction of certain poetic concepts that the things possessed the movements that we find within the modern art appeared in the years 50 and 60 where other ways of expression of That type of art such as pop art minimalism and abstract expressionism information if you want more detailed information about modern art or any type of art visit typesdearte.com there I speak of all types of art that exist in types of art. Com I wait for you in my blog so that you grow your knowledge on the different types of art until the next

Welcome to Vlog 2, to this is entitled body language and game day What does your body language say about you on game day? Your body language gives away so much about what's going on up here. Your mind could be saying one thing but your body can tell a completely different story and we can use that to our advantage. It's really important that you're aware of your own body language and what that is telling most importantly your team mates and then also your opponents. I'd focus more on your own team than the other team to be honest because, we need to make sure that our teammates are confident in us and that they know that we're confident in them and our body language speaks volumes. We're going to have good jams, we're going to have bad jams that's just roller derby. Everyone wants to make it a good jam so someone has to have a bad jam, and someone has to lose. You can let your body language control your emotions so that you don't go on a downward spiral. An open confident stance that's approachable and that people believe in and want to be around. Hands on hips, strong, tall, don't slouch I mean hi-fives after every jam not just the ones that you think went well okay? At LRG we tried to bring in butt slaps, felt a bit creepy but it kind of worked. Anything that's going to instill confidence in both yourself and your teammates - even if the jam didn't go well. Hands on hips, for LRG at least, is a pretty big one. Then who could forget the lesser known hands on thighs? This seems to be a jammer thing. My favourite of course - the hi five! As you can see, nodding is important here also. If you guys haven't heard of Amy Kuddy yet I would highly recommend checking out her TED talk based around body language and the power of our body language. She touches upon the idea of power poses which a lot of teams and players have already utilised in roller derby and it's always pretty cool to see. Both the Rose City Rollers and Toronto CN Power have utilised power poses as part of their team ritual. So what can a power pose do for you and your team? Amy's research found that adopting this power pose for two minutes can increase testosterone and decrease cortisol which is a stress hormone. So it basically makes you more confident and more ready to go, but at the same time it makes you less stressed so that you can focus and concentrate. Finally I cannot end this post without talking about hugs and the power of a hug. Each team is different, you may not want to hug your teammates you may have other ways to make each other feel good and confident, but hey at LRG, we love a good hug. For a finish up here's just some funny moments that I found. coming into score additional points with an apex jump on the inside Rogue Runner from London brings their score to ninety Gotham eighty Twenty eight point monster jam

♪ The great thing about our program from culinary arts, to baking and pastry, restaurant/hotel management, beverage management, you know it’s wide open and what they can get into. You know, there’s people who want to get into the nutrition side of it. There’s people who want to get into the food science part of it. There’s people who want to be a chef or a pastry chef, open a bakery, be a coffee roaster, open a coffee shop. So, we do work one-on-one, and with our team, our full-time and our part-time instructors, a lot of them still work in the field today. There are so many different outlets, and so many different instructors here, that you can talk to, given the fact on what area of the hospitality industry that you want to get into. >> The faculty here is amazing. They treat us like family. When I come to Moraine Valley, I feel like I’m home. The fact that they have so much experience, they’re very professional. And, whatever question we have, whatever we need, you know, they’re right there for us. >> You’re going to learn more than just cooking. You know, a lot of people think you go to culinary school, all you do is cook. It goes beyond cooking. You know, we’re teaching you budgets, we’re teaching you pro formas, we’re teaching you how to break down recipes. We’re teaching you how to cost recipes out, how to make menus, understand wine, understand mixology. The reality is half the time you’re in the kitchens, the other half, you know, you’re in lecture classes learning. I mean, there’s research, there’s papers, there’s history, understanding how the food evolved how the influence of maybe Mexican food and Middle Eastern food came about. ♪ >> Working in the kitchen as a team is amazing. It teaches you how to be patient, how to be working with different people with different groups with different ideas. You know, it’s something cool about this program. >> And the other thing about our program too, is we have externships. It’s not mandatory. One of the best externships we have is with Disney in Orlando. Students can go to Disney and work in Disney for an entire semester. They do get paid. Disney sets them up with housing, actually, in “the kingdom” there. And every student that has ever gone just loves it and enjoys it. We also had a handful of students actually go back and work full time once they finished the program here. As the industry changes, we change to better prepare our students. It’s a great career. I mean, it truly is. It’s not as easy as it seems. But at the same time, it’s extremely rewarding. ♪ ♪

I’m a firm believer that everyone has a story to tell. No matter who you are - life has a way of washing us with bizarre and unexplainable experiences, terrifying instances - and close call encounters with strangers. As we all know - the internet, and more specifically, Reddit - is jam packed with the best of the best of these tales. Some of which, may just well make you think twice about the people that you meet out in this strange planet that we call home. Hello horror fans - and welcome back to the scariest channel on YouTube - Top 5 Scary Videos. As always, I’ll be your horror host Jack Finch - as we invite you to share this digital campfire, scatter some dust to the flames - and curiously take a look at the Top 5 Scary Reddit Stories That Turned Out To Be True - Part 2. Roll the clip. For the curious amongst you, that scene was from 2014’s The Babadook - and that particular scene still manages to make my skin crawl. The bloody Babadook eh? Who knew? Kicking off at Number 5 - The Recurring Dream And this story from Reddit user Just_another_gamer is a visceral and horrifying reminder that lingering in the deep recesses of the human mind, are some truly perplexing chemical reactions that we can’t even begin to comprehend. Have you ever had a recurring dream? Ever thought - what the hell is this all about, what does it mean? Well, yeah - this person is still asking the same question. As the story goes - Just_another_gamer is an avid cave diver, and since about the age of 6 they explored the unknown caverns across Florida. When they were around 7 or 8 years old, they started to have a strange recurring dream. In the dream, they were exploring a cave - and made their way through a little hole in the bottom. Inside was a 10-15 foot long corridor a few feet in height, and a bent red-stop sign at the end, like someone had ripped it off and tossed it inside. As they’d make their way through the corridor, it started descending - quickly opening up into a large vertical chamber with a path leading down in a corkscrew. Then things would get blurry - but they’d remember the image of trash scattered around the walls - things writhing in the distance. Strange things. Animals and corpses. Amidst them, they saw their own family - each one of them being tortured and killed - but in the dream, all they could do is scream. They had this dream for years and years, always the same thing - until 7 or 8 years later, when they were fifteen - and went on a caving trip with their father. A place called Dog Drop, out in the Tampa Bay Area. Well - when they were descending on a 30 foot rappel - they felt a strange, familiar feeling. When they reached the bottom and looked up - they saw the exact same corridor from their dream. The same strange clutters of trash against the walls - the same red stop sign. Instantly, they were hit with this overwhelming sense of nausea and primal fear - and they froze. All they could do is scream to leave - and eventually, their father paid attention to them and packed up their things to leave. Whatever was lurking down their - our narrator knew that it wasn’t good. They’d seen it before, deep in the recesses of their own mind and memory - and thankfully, they never found out. Coming in at Number 4 - The Boat Mechanic And this short and sweet story comes from 2OttersInACoat - which is a fantastic name, may I add - telling the real life tale about a guy that they knew who made their living working as a boat mechanic. Now, random acts of violence are a different kind of fear - but this one, takes it to a whole new level. As the story goes - one saturday, their friend the boat mechanic was working alone in the workshop, making some final repairs to a boat that had been brought in. Suddenly, out of nowhere - the mechanic wakes up and he’s on the ground. Now, he knew that there was water beneath him just before, so he assumed that he’d been electrocuted - and the shock had knocked him away unconsciously. The strangest part is that he could vaguely sense someone behind him - so he started yelling for help - letting them know that he’d been electrocuted. Whoever was behind him turned and left without a word. He keeps screaming for help - until eventually a neighbouring business heard his pleas and came to his aid. Later on, once he’d been seen to by the nearby hospital - he discovered from the police that he wasn’t electrocuted at all. According to the police, someone had entered his worship while he was working - and hit him on the back of the head with a mallet from his own toolbox. And - nothing had been stolen from the shop. Now, this person was never caught - and CCTV wasn’t clear enough to identify the perp. But as it seems - they were walking by, and spontaneously decided to knock him out, potentially with the intention of killing him. For seemingly no reason whatsoever. Now, that’s terrifying. Next up at Number 3 - The Closet This story comes from tightiewhities37 - which is - yeah. As the story goes, back in 2002 - they were living in an old apartment that had been built back in the year 1900 - making it just over a hundred years old when they moved in. Now, everything in the apartment was great - apart from one thing - they bedroom - and in particular, the closet in the bedroom - which gave them the unnerving feeling that someone or something was watching them when it was left ajar. So much so, that when this particular reddit user was sleeping - they’d often hear strange gasping noises, and it would seem that they were coming from within the closet. They’d check, nothing there. But for that reason - the closet would always stay closed. A month or so into them staying in the apartment, there was a loud bang on the closet door - and our narrator was woken from their sleep. It was pitch black - yet they sensed that something can emerged from the closet - standing over them, a pressure holding them down in their bed. And yeah - you could explain this away with sleep paralysis - but the end of this story may just make you think twice. Throughout their stay at the apartment, the encroaching sense of dread from the closet had never quite left - and even their friends would comment on the strange feeling that they felt when in the vicinity of the closet. It got so bad - that eventually, they had the chance to move to another unit - so they jumped at the opportunity, packed their stuff up and got the hell out of there. Well, a few years later - the owners were renovating the building - when our narrator was walking past the doorway of their old apartment. Curiously, they caught the building manager, who was painting in the bedroom - and began talking about the strange feeling that they felt whilst living there. Without thinking twice, the building owner explained that the former tenant of the apartment had committed suicide - they’d hanged themselves in the closet. And not only that - but the original designer of the building, who had also stayed in the same apartment, had also committed suicide. They’d hanged themselves in the exact same closet. Swinging in at Number 2 - The Baby Upstairs And this story comes from Reddit user urgehal666 - spooky name bud, who explains an incredibly strange moment during their teenage years. As the tale goes - when they were in high school, their uncle would throw them a couple of bucks every now and then to babysit his kids with their aunt. They lived in a beautiful old two story house by the water in a nice area - and the two children were around 3 and 6. One day, they were sitting in the den scrolling through their phone - when they started to hear a baby crying. Of course - it must be the three year old distressed upstairs - so doing their babysitting duty - they headed to check of them. They called out a couple of times while heading upstairs - to no response. They called for their aunt to see if they were dealing with it. No response again. When they turned to start walking up the stairs, they caught a glimpse outside in the yard. It was their aunt, with her two children - laughing and playing on the grass. They heard the baby cry again - the noise coming from upstairs, and all of the hairs on our narrators body stood on end, a chill running down their spine. Quietly, they turned around - walked down the stairs - got in their car and drove away. The baby was still crying when they closed the door behind them. A few years later - our narrator was drunk at a family party, and they mustered the courage to tell their uncle the story. He said that him and his wife used to hear the baby too - crying when no one else was around. According to him, the previous owners had a small child that had died of cot death in the same room that the cries were coming from. Spooky stuff. And finally - coming in at our Number 1 spot - The Attic And again - another tale of spooky kids in upstairs locations. Sorry, I hope that wasn’t a spoiler. This story comes from Reddit user Gules - who tells the tale of the time that they’d moved into their new childhood home. Their family had managed to snag a deal - because previously, the house was used as a model home to show off the housing design of the surrounding area. Upstairs, it has this loft area - that had two stairwells that attached to it on either end - one in the front, and one in the back. You could pretty much hear everything from up there as it was so open. Anyway - one day, our narrator and their two friends - a guy and a girl - were hanging out in the loft. It was high school - so teenagers being teenagers, the pair were pretty handsy. They were watching TV, all snuggled together on the sofa - when our narrator got up to take a leak. When they got back - the two of them were on completely different ends of the couch - their faces drained of all colour. Our narrator asked them what was up - and the guy said - your little sister is home. Instantly, our narrators faced went white as a sheet. What’s wrong? - the girl asked. You see - our narrator didn’t have a little sister, and he asked them what made them think he did. They replied that they’d heard her - and they’d seen her. But for all they knew, no one was in the house. To this day - our narrator’s two best friends swear that they heard a little girl laugh and run up the stairs, hitting her hand on each step like she was running up on all fours like kids do. As it turned out - before it was a model home, a family had lived there - and their young daughter had been playing upstairs in the loft. She’d climbed a railing, slipped and fell to her death below. And no one had thought to mention that fact when they were flipping the house. No wonder they got such a deal. Well - that’s all we’ve got time for in today’s video - but before we depart, let’s take a look at some of your more creative comments from over the past few days. Natasha Harvey says - Love this channel I hope one day you’ll give me a shout out. -- Well, Natasha Harvey - ask and ye shall receive, cheers for being a fan and hope that you can stick around for a while. I should start handing out badges for these. Robert the Dude says -- Jack would you rather fight wendigo or fight the jersey devil? -- Great question Robert the Dude - you’re always piping out some zingers. I’d have to say - hmm - the Jersey Devil - because if I fought a wendigo there’s a good chance I’d end up being a wendigo myself, and I’m not ready for that kind of life. Unfortunately folks, that’s all we’ve got time for in today’s video - cheers for sticking around all the way till the end. If you enjoyed this video - make sure to hit that thumbs up button, ding that subscribe bell - and we’ll be seeing you in the next one. As always, I’ve been your horror host Jack Finch - you’ve been watching Top 5 Scary Videos and until next time - you take it easy.

So far in our study if you have been following all the modules in a linear fashion you will see that we have been studying things which are not dependent on time We started with charge configuration that was essentially static right and then we talked about the electro static field that would arise out of this Electro static would mean that the electric field is independent of time There is no time variation anywhere right and when we let the charges move to form the currents Currents can only be formed when you have a charge movement and charge movement would mean that there is some time variation involved in the charge configuration However as long as the current was steady right we did not have to worry too much right because the magneto static fields that were generated they were all again independent of time So this is the reason why we would call both electro static fields and magneto static fields as static fields okay These are static in the sense that there is nothing interesting is happening in terms of time The moment you start varying the current going through a circuit then very interesting things will begin to happen and to understand that we need to introduce time dependency to our expressions and we do that by discussing first what is perhaps the most important experimental discovery in the nineteenth century called Faradays law upon which the entire diffuse of electromagnetic is built and once we discuss that we are in a position to understand what happens when time varying fields are present okay So we will begin by discussing Faradays law which gives us the link between electric and magnetic fields and then we will discuss some applications of Faradays law and tell you what exactly this Faradays law is useful for and finally we will talk about a different form of link between magnetic field and electric field that cannot actually be related from just Faradays law but it can be understood in a broader sense of Faradays law okay So we will begin by considering what happens when you have a current that is carried by a particular loop okay So we have a current let us assume that we actually have a loop okay . So we draw a loop here and this loop is carrying a current i okay or let us assume that initially the current loop is not carrying any current Ii that would make Faradays law very interesting okay Now if the loop is not carrying any current I and we will assume that this gap that we have is very small so we can consider this entire loop as a proper loop closed loop okay If this loop is carrying no current then what happens There is no magnetic field that is generated But is it possible that if I have this loop and then I have a magnet okay nearby So I have a magnet which is giving out magnetic fields everywhere right so this are the fields of the magnet and if this magnet is there and there is a loop that is sitting here will there be any current in the loop See we know Ampere’s law states that when there is a current carried in a conductor there will be a magnetic field that is generated We have seen the applications of this Ampere’s law all along in the last few modules Now we turn around and this question if I have a loop and if a loop is subjected to a magnetic field external magnetic field will there be a current in the loop It turns out that 2 people worked on this problem actually many people worked but 2 of them were very famous and both almost simultaneously got the correct answer The correct answer being yes there will be a current in the loop provided the magnetic field is changing with time okay If we take this magnet and introduce the loop okay and both of them are constant with respect to each other that is they are not varying with their positions then there will be no current induced okay When will current be induced You keep the magnet where it is and then take the loop in and out or you keep the loop where it is and then take the magnet and push it back and forth When you are doing this then the magnetic field that is associated with or the magnetic field that is linking with the loop changes and this change in the loop or change in the flux linking with the loop will induce a current okay So this is what essentially 2 people Faraday and Henry found out Henry was U S and Faraday was English but it so happened that Faraday was the first one to publish widely his findings and therefore all these laws and the subsequent development is given credit to Faraday okay Henry is honored by giving the units for inductance while Faraday has been a very influential scientist on Maths well who finally unified all of the electro magnetics okay So to reiterate what we were discussing yes it is possible for the loop to get induced by a current okay whenever there is an external magnetic field linking to the loop changes this is very important the magnetic field linking or the magnetic flux linking must change okay So when that happens there will be current induced in the loop and what should be the direction of the current induced in the loop Would it be along clockwise direction or would it be along the anticlockwise direction Well the answer to that is conveniently comes from what is called as Lenz's law and this Lenz law states that the induced current would generate a magnetic field which would oppose the original magnetic field Say if it opposes in the sense that if it subtracts from the original magnetic field then the amount of this one that would be induced would actually be lessen Now when current is flowing through a conducting wire right it would actually give rise to a certain electro motive force or in our words EMF or potential okay In fact Faradays law does not really talk about current getting induced but rather what he says or what the law states is that there is a EMF produced in the coil whenever there is a time rate of change of magnetic flux okay If the magnetic flux is changing with time then there is an EMF induced EMF is called electro motive force and this was sort of the force that people considered which was responsible for the movement of current okay So it is not really the current that we are actually inducing although which is what happens but it is more importantly the EMF that we are focused on So there is an EMF induced whenever the magnetic flux linking to that circuit is changing Now why is there a minus sign here The minus sign is precisely Lenz's law Minus sign is put so as to make us remember that the currents must be induced in such a way that the EMF actually reduces right The net flux change will be reduced So if you choose a current direction in 1 sense the EMF could actually or the current would generate its own magnetic field which would add to the original magnetic field which means that the EMF would increase right However you can actually do this in a continuous loop kind of a thing right So you have a magnetic field induced current induced current gives you the induced EMF and the induced current will generate a magnetic field which will add to the original magnetic field increase the EMF add more magnetic field and this process can go on which obviously will not happen in nature What actually happens is the current induced in the coil would actually be in a direction that would reduce the magnetic flux linking to the circuit okay So in mathematical terms this is all that is there for Faradays law okay There is an EMF induced in a coil or a circuit which is related to minus time rate of magnetic flux linking the coil That is what Faradays law states To put it into slightly better form for us to understand we express magnetic flux in terms of the magnetic field itself or magnetic flux density B right What is the magnetic flux linking to a particular circuit This would be equal to integral of B dot d s this is something that we saw when we discussed inductance as well So there is a magnetic flux linking to a circuit and that would be given by B dot d s right So you can substitute for that So there is d by d t of magnetic field and that would be getting converted into del by del t of B dot d s okay I have chosen to take this d by d t inside into this B assuming that whatever the surface I am integrating would remain constant okay So this is the case where the surface or the coil is actually stationary while the magnetic flux that is linking to it actually changes How could it be possible Well in the coil and the magnet experiment you place the coil do not move the coil but you take the magnet and move it up and down right So when you move the magnetic field when the magnetic field recedes there will be decrease in the magnetic field causing a current and when the magnet approaches the coil there will be increase in the magnetic field again causing a current right So that depends on how what velocity the magnet is actually moving As I said there are 2 aspects to this one right I keep the magnetic field as it is right I won't change the magnetic field but I will let the coil move around right So let the coil move into the magnetic field and out of the magnetic field There will be again an EMF induced okay Will this EMF be the same as the EMF induced in the other case Is this also called Faradays law Interesting questions to think about okay We will talk about that second situations slightly later okay So for us we can substitute for now what is the magnetic flux okay and then say what is the EMF Of course EMF also can be expressed in terms of the electric field correct EMF is integral over the closed loop or whatever the loop that you are considering E dot d l that is the EMF over the closed loop and this must be equal to minus del B by del t dot d s integral over the surface S which is bounded by this closed curve C okay So this is your Faradays law in vector notation You have a line integral okay of the electric field and that line integral of the electric field which forms the EMF must be equal to the time rate of magnetic flux that is changing with the circuit okay So before we discuss other aspects of this let us lookay at some examples of Faradays law okay Let us understand what directions to choose and what we need to do with this one okay So as a simple example first let us consider the case of a loop okay . Sorry my loop is not very nicely written so let me just write down the loop like this I have this loop with the gap being very very small okay and there is a magnetic field which is uniformly perpendicular to the loop okay as the value of B which is given by some B 0 e to the power minus alpha t Thus the magnetic field associated with this loop is actually in the z direction perpendicular to the loop So if this is my loop then the magnetic field is in this direction and it is actually decreasing with time okay So this is the magnetic field Now what is the EMF that is induced If I take this as my specified direction for the EMF okay what would be the EMF that is induced okay Now before we actually lookay at this one let us lookay at a voltage source the conventional form of writing a voltage source is that a current leaves voltage source the positive terminal of the voltage source correct So the current actually leaves the positive terminal of the voltage source and if we have chosen the induced voltage in this way then there must be a current that is leaving here Remember this current is not the current that is present in the coil That is in the sense that is not initially present it is the one that is because of the magnetic field that is changing So I will write this one as some I ind to indicate that this is the induced current okay and we want to find whether the induced current will be clockwise in the same direction or it would be anticlockwise If it is anticlockwise then the terminals for induced voltage would also have to change correct So this is what we want to find out now Before you can do that one here is a point here is a typical idea to remember Let us assume a certain polarity for the surface right so this an open surface the surface normally can actually point upwards or downwards If they allow the surface element normal to point in the direction okay such that if I curl around my fingers using the right hand rule the thumb should point along the B region I mean B fields right So if this the convention that we have been following right so if I have the current in the loop then the thumb points in the B direction and the loop surface area normal also now points in the direction of B field right So my field actually points in the direction of z Therefore the surface normal also points in the direction of z and this would have been the magnetic field that is generated provided there was a current I in the loop correct There is current I in the loop that current would have generated a magnetic field along z direction okay If my induced current is in the same direction as that of the current I marked in blue here it would generate more magnetic field right it would keep on generating more magnetic field and the EMF would actually keep on increasing So before you solve Faradays law problem I would suggest you make these simple pointers okay You establish the surface normal in such a way that the normal should point in the direction of B field and then establish the direction of the current I that would actually give you the magnetic field in the applied direction okay In any case you have to only note 2 things Either your magnetic field is in this way or the magnetic field is in the other way right in the opposite direction okay Now apply Faradays law EMF induced must be minus d psi by d t correct And if you assume that the magnetic field B is uniform through the surface and the surface actually has a cross sectional area of S then this can be written as minus S d B by d t okay And EMF of course is a scalar quantity so there is no vector out there So you can just take the magnitude of the B and then integrate this or whether the part of the B and then integrate this one removing the vector part to this So if I do d B by d t what do I get I get minus alpha into B 0 e power minus alpha t There is already a minus alpha so that will cancel with each other I get alpha S B 0 e to the power minus alpha t This is the EMF that I am actually getting Now with this EMF what should be the direction of the current If I take the direction of the current to be along I terminals for the induced voltage that would have been reversed correct If I take the induced current along the same direction and this induced current would leave the positive terminal then the induced voltage would have been in this polarity The bottom one would actually have the plus sign and the upper part of the conductor would have the minus sign And the induced current would have been in this direction However I know that induced current cannot be in this direction why Because if the induced current is in the same direction as I then the total magnetic field will actually add And that is what we do not want okay So the induced current is not in the direction of I rather the induced current is actually in the direction opposite to I okay So that the magnetic field produced would actually be going negative and therefore the total magnetic field would be reduced So the induced voltage will be positive with the upper terminal as plus and the lower terminal as minus okay So this is what you would obtain from EMF Although we should realize that this are not really critical because in most cases the magnetic field changes happen in such a way that the EMF would be positive and negative It is essentially AC fields that would be applied and therefore the polarity of the induced voltage keeps changing okay from plus to minus minus to plus plus to minus and minus to plus So there is really no point in worrying too much about which direction the induced voltage is there unless there is a very specific reason for this When we discuss dia magnets we talked about in the module of dia magnets we talked about the induced magnetic moment that would be opposing the B field There we have to careful in writing down what is the direction of the magnetic moment okay So here we don’t really have to be that careful However whatever we discussed for dia magnets the justification for magnetic moment actually comes from Faradays law and Lenz's law okay With this let us consider second example okay this example is the mirror example of the first example The reason I am putting this down is to just indicate which direction the current would be induced okay So again I have a loop okay this loops are increasingly not becoming circular but imagine that this is actually a circular loop and then the magnetic field is still again in uniform along the z direction and it is given by z hat B 0 but this time I am going to change the file and say e to the power k t so it is exponentially increasing magnetic field okay So what would be the EMF induced Again the magnetic field would be generated provided the current I will be in the anticlockwise direction correct The surface area normal will also be along the z direction for this assumption right and find out what the induced voltage is So if this current would have been present in the loop the current would have actually generated the magnetic field along z direction The normal to the surface is also along the z direction But EMF when u calculate turns out to be minus k B 0 s e to the power k t right So the EMF is turning out to be negative What does it mean It means that now if you lookay at the current direction and if you assume the current direction to be clockwise then it would be generating the magnetic field in the negative direction but my EMF would also be negative right So because of that the induced current must be in the same direction as this one right So if the induced current is in the same direction then it would generate a positive magnetic field So that the overall EMF would actually be reduced So what would happen to the science of the induced voltage That would be minus plus v induced voltage okay So in the previous case d B by d t was negative and in this case d B by d t is positive So the sign conventions or the current directions for these two would actually change okay So that is what we have As the third example consider an alternating field applied okay . In this we are going to apply a magnetic field of z hat B 0 sin omega t okay So during the first half at least the magnetic field is actually increasing which means that d B by d t will be in this particular case d B by d t will actually be cos omega t and cos omega t is decreasing but it is still positive right So during this half cos omega t is decreasing but this is actually positive and what would be the EMF induced EMF induced will be minus omega so d B by d t is actually omega cos omega t So it would be minus omega cross sectional area is B 0 cos omega t okay So again the induced current directions must be in such a way that initially it would be along I in counter clockwise direction so that the EMF is reduced Now in the second half of the region where d B by d t actually goes down the current direction should actually be in the counter clockwise direction okay As you can see the polarity of the EMF would actually be alternating from plus minus to minus plus okay . As another example okay consider a inhomogeneous magnetic field okay let us assume that B field is given by some z directed field okay Except that this would be changing with distance okay So cos pi r by 2 b cos omega t okay However as far as the right hand side of Faradays law is concerned I am only interested in minus d B by d t right And this minus d B by d t assuming uniform cross section for the loop will be given by minus omega sin omega t right And there is also the other part of B 0 cos of pi r by 2 b in here correct Now what is the EMF produced EMF produced is integral of this minus d B by d t over the surface right What is the surface The surface integral will be the d r d phi surface integral right D s will be equal to r d r d phi integration over d phi gives you 2 pi integration over r should give you a different value So it would be actually be cos of pi r by 2 b r d r integral from 0 to a if a is the radius of the loop or b is the radius of the loop let us take So this would actually be equal to from 2 pi sin omega t and there is some 4 b square by pi square pi by 2 minus 1 or if you take a is equal to 1 in this particular case So if you do all this calculation you will see that the EMF is actually given by some omega 8 b square divided by pi pi by 2 minus 1 and in terms of B this would be B sin omega t because the differential of cos is sin okay So this is the EMF that is induced What is interesting in this is that except that this was an exercise for finding the flux of a non homogeneous magnetic field What is interesting is that if we turn off the time variation of the magnetic field and we replace this cos omega t by a constant value there will be still no magnetic flux link that is changing with time and hence there will not be any current induced correct There will not be any current induced the current will only be induced only when the magnetic field is changing and that magnetic field must be changing with time it can be for homogeneous field or inhomogeneous field does not matter okay As long as time variation is there only then there will be current induced okay Again the current direction will be different for the first half the current direction will be in 1 count a clockwise or count a clock wise and for the other one it would be clockwise direction okay So this change would be happening depending on what your sign for d B by d t is okay So if you are given the values of B and omega you can actually find out what will be the total EMF that is induced but the point here is that homogeneous field or inhomogeneous field both will give you induced currents as long as they are changing with time

hello investors and welcome to think script studies on thinkorswim so interesting day in the markets a lot of vacillation here in the market looks like we did close a little bit to the upside i will take that into consideration as well as other things as we delve into this area of thing scripting so let's go ahead and get underway here so good investors want to watch me here to think scripting studies on thinkorswim my name is ken rose and as always it's great to be here to discuss investing in the stock market particularly where we have this tool that helps us to become more efficient and help us to sometimes make a better use of our time and also to be able to um you know be a little bit more creative than some of the things that are currently out there just a reminder but you can follow me on twitter my twitter handle is at krosc underscore tda i do follow me on twitter i post things related to this area as well as other areas of investing i want to thank john mcnichol for being over there in the chat window a very knowledgeable knowledgeable person with regards to his think scripting area as well do feel free to shoot john any questions that you like as well as follow john on twitter twitter i'm sure john will shoot you over his twitter handle it's it's at j mcnichol underscore tda wave disclosure's here today investors just reminder that in order to demonstrate the functionality platform we do need to use actual symbols however td ameritrade does not make recommendations or determine the suitability of any security or strategy for individual traders any investment decision you make in your self-directed account is solely your responsibility we do use a paper money software application here this is for educational purposes only keep in mind that successful virtual trading in one time period does not guarantee successful investing of actual funds during a later time period as market conditions do change continuously here's a picture myself i've been here for about 16 years maybe a little bit more maybe a little bit less than that i enjoy learning in this area of investing i i blend both fundamental analysis with technical analysis i also enjoy teaching and and i also definitely enjoy trading in this area i'm a contributor on the td ameritrade network a charter market technician and with regards to things scripting i build indicators triggers and strategies and the like so typically what we do here with regards to our think scripting sessions here we identify a goal we ask ourselves can things scripting meet the goal we outline the steps to script we'll apply the think script tools we'll write custom scripts when needed and we'll test what is written because of our time constraints here we're really never able to do all these steps in a single session sometimes it goes over several sessions we have done in previous sessions is we did identify a goal and that goal was can we use think scripting to identify engulfing patterns most both bullish and bearish engulfing patterns redress the question can think scripting meet the goal it did it and it appears that it can meet the goal maybe not maybe not perfectly but it seems to do a pretty good job we've outlined the steps to script we have applied the thing scripting tools okay and we've written custom scripts and we've also tested what is written so basically on sort of a wrap-up session here today in relation to this engulfing pattern that is we're going to be looking under the hood at some of the code we won't go we won't go line by line through the code we'll just look at some of the general concepts related to that code however we also want to move on to a new idea here today as well so we'll do here is we'll take a look at engulfing under the hood i you know i got a a rather interesting uh request on the over on twitter and the request was can we is there a way to look is there a way to to create an alert or to create something that notifies you when the arms also known as the trendy trend indicator crosses over a inflection point okay and i thought that was interesting i and i also have heard questions related to this area as well so i thought here today is we'll start off with just a discussion of the arms trend indicator just so we have an understanding of what it is it's not going to do us a whole lot of good to do things with regards to things scripting alike without having an understanding of what it is then with and with an understanding of what it is given time i'm not sure exactly how much time we'll have because we we do want to look under the hood here a little bit but then we'll get started here on the arms trend indicator provided we have time we'll talk about a custom arms and trend study and also custom arms and trends labels okay and then again given time i'll share links related to those so let's go ahead and and and get going here we want to start with with our engulfing pattern right here okay so just a quick review um but if you will remember that as part of our engulfing pattern now now for those of you that that were perhaps new here today um i'm i'm going to try to craft our discussion here so that will be beneficial to everyone whether you were here the last couple of weeks or not okay we'll talk we'll talk just a little bit about the engulfing pattern but i also encourage you if you feel if you're looking at this and saying i you know i'm feeling a little bit overwhelmed here i do by all means go back and check out the let the sessions of the last two weeks where we got into some details here and we went a little bit more um deliberate with with regards to our discussion we want to do here today is basically look under the hood at this indicate what what does the indicator do that might be a good place to start here well let's let's go ahead and we'll run this scan okay now many of you have the link for the scan i've shared the link for the bullish scan the bearish scan along with a custom column what this is meant to do on the bullish can it's meant to find stocks that have bullish engulfing patterns and just in quick way of review what that would indicate that would indicate that the stock has been and indicate that stock has been moving to the downside like this okay and then it let's try that again moving to the downside like this and then we have maybe a little candle like this okay and then we have and then we have a day where the stock the stock gaps down below below the candle the previous day and then closes above the top part of the candle the previous day okay that's referred to as a bullish engulfing pattern let's just run this scan real quick maybe we can look at a couple of examples sometimes in this environment the scans don't operate exactly as you had hoped for but we'll give it a second or two here to see what we've got we don't want to wait too long we'll just jump right into the code if this is taking a little bit longer then it just looks like we got some results here so let's take a look at an example or two here um i'm going to look at glue here how about glue i'm going to do a a right click on glue and i'm just thinking do we have a chart here because i have some custom chart set up for some other purposes i'm just going to jot down the symbol there g l u for glue and i'm going to come over to charts right here and let's see on this one yeah i can go ahead and change this one to a candle chart here real quick come here to style and chart mode chart type let's do candles because we're going to want to see candles and let's see candles on glue glu yeah and i'm going to zoom in here a little bit okay there we have there we have a bullish engulfing pattern on glue notice here's a little body from yesterday notice we gap down below the body we close above so that's basically basically the process that's what we're that's what that scan is built to do and again we discussed details on this last session but we want to look at really here today is we want to look at the guts of the scan okay and to do that we want to look at the code and particularly the code related to finding the bullish engulfing pattern that's we're talking about here bullish engulfing pattern now just kind of look at things from the standpoint of a bearish engulfing pattern it would just sort of be the inverse of things and with regards to the custom column would be basically be duplicating the code to identify both bullish and berries and golfings okay now before we get into this too deep though i want to call your attention a couple things one is that earlier uh i believe john sent in a a link over the chat window that is like a think script manual okay this is one place you can go to get an understanding of some of the code and different things like that i also want to show you here on the thinkorswim platform if i come up here and click on help and just click on that and over here that wasn't exactly what i was expecting on seeing here maybe they've changed things since they had their new update it looks like maybe they have yeah because that's a little bit different than what i usually i've seen in the past when i click on help let's see chart scan we'll tell you what folks what i'll do is i will plan on next time see what we have there because that is a little bit odd and usually when i click on help i get something besides all this stuff here how about i really don't want to contact anybody come here and click this just for fun yeah oh you know what that is interesting it looks like yeah so when you click on it's a little bit different since they did their most recent update it doesn't seem too intuitive to me it says help and then i come over here and click on contact i have these phone numbers but over here this is what i'm really looking for and that's these links one of the links here is think script tutorials so think help contact us think script tutorials right here i'm gonna go ahead and click on think script tutorials and this takes us into our tutorial so if you wanted to kind of learn about things scripting from the ground up come into these tutorials take a look at the overview come in here to basics and you can get and get into some of the advanced stuff here as well again so when you when you when we look at some of the scripting here we're going to look at it from a relatively high level just focus on certain statements and the like if you want to really get into it you also have access to that same code okay you can get the same way that i got it okay and i'll show you how you get that then you can look at questions with regards to statements in life you can come in here one things you can do is you could type in the name of a statement here and it will take you to some of these areas here very quickly i i haven't had a chance to take a look at the manual that that john's so kind to post over there that may have the same type of information but i did want to highlight this for you as well so let's go back over here to the scan tab then and notice here this is a scan okay this is a custom scan i've shared the link for the scan if you have a scan and you have some custom stuff in it which we have here over here to the right you'll see a little pencil and when you click on that pencil right there it will bring up a window that will look like this came up over here another screen like this okay in this window this is the scripting this is the code related to this custom part of our scan right here okay so again custom here's our pencil when you click on the pencil that'll bring up this window and here's your code and notice that you can come in here you can copy the code you can do anything you want to with the code and by all means do feel free to do anything you anything you want but this is just meant to be somewhat of a starting point it's a little bit hard to see this code on the screen so what i usually do is i paste it into a word document make a little bit bigger when we're looking at some of the lines here that's what i'd like to do now i've already actually already copied this and pasted it before our session let's just see if i have that handy here should be relatively handy here we are right here is this it this is yeah this is this looks like our code right here okay drop engulfing right here okay so this is our code so just kind of kind of kick through this a little bit again we we could spend easily an hour and a half or two hours or three hours going through all this stuff again i showed you where you can download the code and also where you can go as far as going in and looking at a statement status by statement we'll also go go through this line by line but we'll do it relatively quickly so this is just simply an input statement an input statement is the same as a def statement both of these statements whether it's an input or a def statement it defines the variable okay the name that follows the word input that's the name of the variable the name that follows def that's the name of that variable so here on our input and definition date where the word we're defining two variables in goal strength which we have at five and atr one which is just which is just the which is just the average true range okay now i want to note here one other aspect with regards to the input statement usually one of the reasons you put an input statement is just to let folks know this is oh this is something that you want to feel okay going in and changing okay and if you look up here in the co well i'm not seeing it right there in the code but but usually you when when you're just looking at the code along with the notes that are above it you'll have a note there okay this is you can go in here and change this so that's in both strength that's basically indicating how far below the bottom candle you want to be and how far above the top candle you want to be the higher this number is the more impressive the more impressive the engulfing pattern is then we come down here and right here we have a couple statements this is a definition statement definition statement so we're defining two variables one is yesterday up one is yesterday down what are we saying so the the yesterday up right here it's the close from yesterday minus the open from yesterday okay it's the close from yesterday minus the open from yesterday and that's what's that telling us well that is again that is let me take these up that's yesterday up that's telling us how far up we were yesterday in other words if this is a positive number if we take the close minus the open then that means we were up for the day if this one if this number here is positive which is the close well this is this isn't actually mice it's greater than if the close is greater than the open that means we had an up day so that would make this yes if the close is less than the open that means we had a down base so that's no notice that notice that the numbers in brackets here the one that's saying we instead of the current day we want to go back one day so when you have the brackets one bracket one you're talking about the previous trading day or the previous candle on the chart so that's just whether or not we were up or down on the previous day here's a definition here definition statement here it's defining the top of the engulfing pattern this is just some math here okay and what all what i'll let you guys do because you have access to the code okay you can go in and you can kind of work your way through the matthew in the interest of time i'm not going to we're not going to work through all of the math here okay all right but let's just let's just take a look at the math here in relationship to the top engulfing we're saying let's take the open that's going to be the open of the current day let's take the close that's the close of the previous day and we're saying okay is the open of the current day minus the close of the previous day is that greater than the average true range times the engulfing strength what was our engulfing strength it's 5 here so it's the average true range times 5 divided by 100 so if this is 5 that's divided by 100 that's going to be 5 so we're saying if that distance is greater than 5 of the average true range okay then that's then this then the this definition of top engulfing that's going to be true notice this is either going to be true or or else it's going to be false because we have a greater than here this is the bottom one okay how about our bottom one that's going to be the open minus the close from the previous day same thing is that impressive is that five percent below is that five percent below the um the the bottom of the candle the previous day okay so those are those folks there this is that's the top and the bottom here's the top and the bottom right here from from a bullish standpoint okay right there's we have that and then right here is from a voice so this is top engulfing bull bottom engulfing bowl top engulfing bottom engulfing i think this may be related to bear over here okay and then down here we have to find the trend so remember part of it as far as having a bullish engulfing pattern usually looking for that as the stock is pulled down you mentioned that earlier we're looking for the stock to pull down like this that's what this trend is meant to do okay as the stock is pulled down let's see the close is greater than the simple moving average length five and the simple moving average length five is greater than sigma moving absolutely so this this trend right here is actually not this guy let's take this off of here it's not this guy this is ensuring that the trend is moving the upside so this little guy right here this is going to be related to bearish engulfing patterns this right here where it says trend bowl this is the bullish engulfing and now notice that we're saying that close is lower okay then simple moving average five and so moving average five is lower than the simple moving average ten that helps ensure that we're moving to the downside okay now this this code right here is for bullish engulfing but notice that i do have some bearish engulfing stuff in here that just makes it easier easier to bring up the bearish engulfing stuff you know you can just you can just take one make just just just do your changes right down here so you have code for both of them but as far as what actually gets through the filter we can have that a little bit further down okay well let's see we got here do we have that further down here yeah you know what we come down here this is where this is where this is where we define things so right here this is a when i have the pound sign here that means that doesn't do anything this is this is what actually triggers everything this is plot master trigger this is a plot statement and what a plot statement does it also defines a variable well actually let me let me come back off of that a little bit the the plot statement you can look at the plot statement as being your trigger the plot statement when you're using it is again this is basically your filter this is what decides what stocks get through and what stocks don't get through okay so look at plot not not so much as defining a variable but more so in determining what stocks what stocks meet certain parameters if you're in a scan you only have one plot statement okay so what are we talking about we're saying yesterday has to be a down day that would be part of a bullish engulfing pattern right we have our top engulfing bowl and our bottom engulfing bowl those were the those are the two statements up here right up here there's our top engulfing bowl this is to ensure that with regards to the top of it that we closed above we closed five percent above the the candle body of the previous day and there's the bottom engulfing bowl this is to help ensure that we close five percent below and when i say five percent five percent of the average true range five percent of the average true range below the body of the candle the previous day okay those two folks right there and if we come down here and we look at our filter we need to have both five percent above the body of the previous day and five percent below the body the previous day and here's our trend right here we also needed to have the trend and our trend statement again that was the one up here trend bull which was saying that the price is below the five period moving average the five is below the the five and the five is below the ten period moving average in other words the stock is meant to be moving to the downside okay all right folks so that's just that's just kind of looking under the hood here a little bit again i'd encourage you with regards to these statements if you want to really get into this you can take a look at the manual the the the johnson over there in the chat window as well as you could go to help and then help contact us and then contact us go over there and click on the think script tutorials you can go in to go into the tutorials you could tear you could tear one of these statements apart but i encourage all of you to do is maybe grab these two right here so i think that'll help you out a lot because we by looking at the top engulfing the bottom engulfing you get a little bit more familiar with the atr right up here to find atr right here now as you're doing this you may also say hey wait a minute couldn't we do this in just one statement or couldn't we do this couldn't we do you know rather than have this statement and this couldn't we just delete this and put in here atr one you could okay you absolutely could so you'll probably see opportunities to do this with less lines of code just keep just keep in mind one of the reasons that it's like this is is for teaching purposes and also to allow a little bit more versatility going forward okay all right so with that then want to check over the chat see if anything's popping out or with me i'm sure john's doing a great job answering your questions there and the like okay all right so um let's talk about um arms and trin here for just a moment how we doing on time well time goes by so fast okay so first of all let me kind of give a a a sort of a relatively quick answer to the question i received here on twitter and then next time we'll get into this a little bit further okay so this this is actually a a rather interesting indicator it's it's basically a breadth indicator that gives you an idea of the strength of the underlying market looking at looking at looking at volume and looking at advanced decline lines or or i should say advanced decline line positions and basically trinner arms is calculated like this it's taking a look at the it's taking a look at the number it's taking a look at the number of advancing issues and it's dividing it by the number of declining issues that's just let's get rid of that d right there so this is the number of advancing issues this is the number of declining issues okay so this is what what's going to happen here is is we're going to get a ratio right we're going to get like oh 50 percent 60 percent whatever we we are going to get a ratio and that and that ratio is going to be is going to be one or less and then it's usually going to be less than one because looking at advancing issues and declining issues for an index okay let's for purpose of our discussion here let's just say the the s p 500 so if we're taking a look at the number of advances divided by the number of incliners okay then we're going to get then we're going to get this ratio and actually that ratio actually in looking at this that ratio doesn't nest that that ratio can actually be greater than one ab absolutely that number can be greater than one okay so just you know like like we have 500 stocks if we have 400 that we're advancing in 100 we're declining then the ratio would be four right well you take that ratio and you divide it by the accumulated the total advancing volume in other words on these advancing stocks right here we come in here and we add up the volume for those stocks you're going to divide that by the declining volume in other words for these declining stocks we're going to go in and add up all that all that volume there okay and so and now so what we're basically doing is we're dividing a ratio by a ratio right here what you want to keep in mind is this okay let's say that the ratio up here as far as a vast kind let's say it's a four okay if we have 400 that are up and 100 are down then the ratio is four well theoretically shouldn't the advancing volume be four times the amount of the declining volume yeah from a theoretical standpoint unless some unless something's going on if it's a little bit more bullish or bearish we should have 4 divided by 4 equals one so we can look at one as being a balance point so when we're looking at the trend or the arms a lot of investors will do is they'll have a line here that represents one and then if the if this if this ratio falls down below here this is where it gets tricky okay if the ratio falls here below one is that going to be bullish or bearish if you look at it if that ratio falls below one what does that mean it means that the this ratio down here is higher okay this ratio down here is higher maybe this maybe instead of being a four here this is five okay which means if that if that ratio is higher then that means advancing volume is higher than declining volume by a higher amount than advancing then advancing issues are higher than declining issues okay that pushes the ratio down so is it is is is it is stronger volume bullish for those for those advancing issues it is so one thing to keep in mind when this is below zero that's actually bullish okay and when this is above zero that's actually barry so this is where it's this is where it's a little bit not as intuitive because usually when you're looking at things you're looking at it just the opposite okay but the you know the the question the question i i i got here was you know is there a way to create an alert different things like that i started getting this a little bit and it's it's actually relatively i think it'd be actually relatively easy to create an alert i think what you really need to have is you need to have these symbols right here okay what i'd encourage you to do is is go ahead and just take a screenshot of those symbols right there let's take a screenshot of those if you wanted the trend on the new york stock exchange stocks there's the symbol nasdaq there's the symbol russell there's a symbol s p 500 there's the symbol all stocks there's there's the symbol right there okay oh as far as um let me come back over here let's come back over here to our charts program right here i'm gonna let's come back here so this is all this this is the way the chart looks right it's not it's kind of goofy right and the one one thing so so we can see the one line right here we could go in and maybe create something that would draw one line across your chart here but a lot of a lot of investors when they're using these um they're not neces they'd like to possibly be able to see them on to see where the trend is at on their screen without taking up their screen just kind of get an idea overall in relationship to the s p 500 is the market is the advanced decline line not only positive but does it have a low trend which would give which would be which would be an advancing market which would have greater strength with regards to that advancing market if that trend is below one or is the market advancing and the trend is above one we still have an advancing market but it's not as strong as if the trend was at one or below so volume was had had the same proportion or even a greater proportion than the number of advancing stocks by the way the individual that came up with this idea his name was richard arms i want to give richard armstrong props it has been a few years ago i don't know if he's still actively trading but but it is an interesting indicator okay so um here we are looking at this thing what if we wanted to have something down below rather than up here or what if we just wanted to have maybe a label up here that showed us the s p 500 well i've actually i've i've enhanced our labels okay if you look up here now we've got the russell advanced decline line with the russell trend we've got nasdaq advanced decline line with the nasdaq trend you have s p 500 advanced decline line with the spx trend let's make it simple though i'm going to come over here and choose added studies and on my advanced decline line let's just let's let's just put on i'm gonna by the way you can you can turn those labels off and turn them on let's turn off this stuff we'll just look at the s p 500 so there's my s p 500 trend i'm going to leave that on i'm going to turn everything else off except the um the advanced decline line on the spx we'll leave that at yes put this and no put this at no there's spx and let's turn the russell off and let's turn the nasdaq off okay again you can leave them on if you want but if you want to make it a lot less complicated a lot less busy so here we have whoops looks like we still have the russell trent on let's turn that one off and it's study come up over here and where is that russell trim there it is right there we'll turn that off so okay apply we have so we can see so like so for today the s p 500 the advanced decline was was 1.43 okay now if i wanted to pull up the s p but right now i'm looking at trend here right i keep those labels up there and i can pull up the s p 500 the index like so okay so i'm looking at the index we had another update we're we're up almost three quarters of a percent it wasn't that way all day long we actually had a little bit of a pull down had it going on so ideally what would we like to see well the advanced decline line on the on the spx is one is 1.43 okay so again you take the advancing issue divided by the declining issues and you basically have you have basically you have have 143 percent over there would it be nice if the trend was it was a one or below it's actually it's actually at 1.12 which is really close to one okay so a little bit of negativity here but not a huge amount of negativity particularly when you can see when you can see this trend can go up to say 1.3 1.4 1.5 it it it can fluctuate a great deal really with regards to using this i would suggest you take some time and ease into it because it is a rather volatile indicator some folks actually put a moving average line on it okay okay but uh so those are those are the symbols and here's some other you know i just here's this guy right here and trend right here is that's your stock exchange we talked about the symbols a little bit earlier how are we doing on time folks well time is going by too too fast and i know that john has a um has a uh has a live event tonight so tell you what let's go ahead and wrap things up here for now next time i will i'll start off by sharing the links with you we'll have a little bit further discussion here the next time we may actually take another step and talk about something that some of you may remember from the old invest tools day that's three green arrows i've had two or three requests on that hey can we revisit the three green arrows i've heard about it you know not not everybody i like i think a lot of folks have seen it but we'll revisit that along with putting together a strategy related to that again we may just get into that next time i don't know how people get into it let's go ahead and wrap things up here for tonight okay all right everybody so let's come back over here so we talked about engulfing we looked a little bit under the hood we talked about the arms and trend indicator just so we have an understanding of what it is okay we looked at custom we looked at a custom study well actually is we looked at custom labels i also have a custom study okay um i do want to i hate to leave here without leaving something on the table here so let me do this um that's not what i want where was that document i didn't who is it did i okay so let me make these big folks because i do want to leave you with some links okay so next time we'll go in and look at these a little bit further okay but here is the here is the trend labels link right here you can take a the trend screenshot link we'll discuss this next time okay and in fact let me do this by the way these are not guaranteed with regards to accuracy or time okay not guaranteed with regards to accuracy time they're meant to be a starting point you can go in here and you can make a lot of different changes to them well let's just go ahead and pop those over there in the chat window so you got them okay so you got those two links you can just copy those from chat widow we we we had a nice discussion on the labels we'll have a discussion next week with regards to study go ahead and load up the study and look at it that'll be a nice introduction uh with regards to next time okay but but i did i did want to share some links with you also just a reminder that um you can follow me on twitter at krosc underscore tda also follow john mcnickle over there on twitter as well you know we post things related to this area as well as other helpful areas and also reminded that in order to demonstrate the functionality platform we need to use actual symbols or td ameritrade does not make recommendations or determine the suitability of any security or strategy for individual traders any investment decision you make in your software account is solely your responsibility okay everybody thank you for joining us here today for uh think scripting i want to thank john over there in the chat window hey just a reminder that john has an in-person event going on this week it's at 7 00 pm eastern time you can go to education you can go to in-person events and you can register for that so you definitely don't want to miss that i think it's primarily on technical analysis john always does a great job on that hope you all have a fantastic rest of your week best of success you're investing and stay safe you know there's still there's still a lot of things going on out there and we want to get on the whole other side of this cova thing as happy and healthy investors for everybody thanks again for joining us this week and hope to see you next time we'll see you thanks again you

Some say that religion is the opiate of the masses, so lets get high together with reverend Damien. For the first time in the Babocks’ Show. Have a blessed day, sinners! Today we’ll talk about why WE were right and burning at the stakes was eee… ok? To know what I talk about lets see a footage from a few days back. Well Mad Mike Hughes died in an attempt to find out if… the earth is flat or round. He didn’t take anyone's word for it. Well, 420 years after burning Giordano Bruno at a stake for claiming that round earth is not in the center of the universe, we get now, in an age of science a 64 years old dareDEVIL who does not believe the earth is round nor flat, he builds his own rocket, launches it off something that comrade Boris would use and… in paciere requescat fortunato. Some and more, say it is the conspiracy. That earth is really flat like Wailing Wall in Jerusalem. Thank you! Someone at last appreciates our hard efforts in that matter. Do you know how hard work it is to burn somebody at stake? Chopping all the wood, placing it so it would burn ecologically – Yes we are very professional in that matter – we stopped burning witches – too much sulfur fumes is bad for ozone layer. Making announcements so the people would come and enjoy screams of the sinner. All tedious work. But all that is now in do it yourself segment. Do it, however you want to prove what we stood by for centuries. Do not take somebody’s word for it. See for yourself if earth is flat. And as a bonus you may also find out if there is god. But that last part you won’t be able to share with anybody. Do not believe in what you do not see. Make a dent in round earth theory like Mr Mad Mike did literary. And you’ll be rewarded. And now as an atonement sinners, give your thumbs up, click subscribe and poke the bell or burn baby burn. Till the next time Sinners!

JUDY WOODRUFF: It's the first week of Major League Baseball, and there's a story emerging off the field, top players being signed for hundreds of millions of dollars. Amna Nawaz takes a look. AMNA NAWAZ: The latest deal, the Atlanta Braves announced it will pay star outfielder Ronald Acuna $100 million over eight years. This comes after a series of major deals, including the Los Angeles Angels signing outfielder Mike Trout to a contract making him the richest athlete in North America. It's a 12-year deal worth more than $425 million. Another big name, Philadelphia Phillies' deal with Bryce Harper, that for $330 million over 13 years. All told, just 10 players have gotten long-term deals over $2 billion since this winter. Let's try to understand what's going on and what it means for the game. Jeff Passan is the author of the book "The Arm: Inside the Billion-Dollar Mystery of the Most Valuable Commodity in Sports" and a baseball columnist with ESPN. Jeff Passan, welcome to the "NewsHour." Please help me understand, what is behind all these enormous numbers? JEFF PASSAN, ESPN: Well, Amna, Major League Baseball is a really good business now. It's making upwards of $10 billion a year. And when you have that much money in the pockets of the owners, some of it needs to go back to the players. The question, though, is, is the right amount going back to the players? And the fact that 4-plus billion dollars has been spent in long-term guaranteed contracts since November 1 still doesn't satisfy a large segment of players. Now, that sounds counterintuitive, because it's a ridiculous amount of money, because you have athletes who are getting upward of a half-billion-dollar guaranteed contracts, but Major League Baseball is making such hand-over-fist money at this point that the percentage that's going to players is the important part. And when you have a system like Major League Baseball that doesn't have a salary cap, like the NFL or like the NBA, there is no limit on what teams can spend and what they can give players. And the amount of money that has been going to the top-end guys has been huge, but the erasure of the middle class has been the big story line this season, veteran players not getting contracts nearly what they did in the past. And it's leading to a lot of animus really between the MLB and the Players Association. AMNA NAWAZ: So, these super big salary we see for just a small number of players, what does that mean for all the other salaries? Those aren't rising similarly, right? Is this creating kind of an ultra-rich and everyone else in baseball? JEFF PASSAN: That's exactly right. You can call it a stars and scrubs sport, because that's what it's turning into. Now, the way Major League Baseball's salary structure works is this. Every team gets control of a player for six years. The first three years of the contract, they can pay him whatever they want. Usually, it's around the Major League minimum, which is $545,000. In years three through six, you go into the arbitration system, where you ask for a number, the team offers another number, and you either settle somewhere in between or a panel of three arbitrators decides which of those salaries is correct. Then, after six full years in the Major Leagues, you get to hit free agency. And free agency for a long time was Valhalla for players. They would go out. Team would bid against one another. The contract prices would get driven up. Free agency, though, over the last three years in particular has become something of a graveyard for players. And, listen, it's weird saying that in a year where Bryce Harper got $330 million, where Manny Machado got $300 million, but those are the outliers. It's the players who are at the lower levels, who aren't quite the superstars, who aren't being paid what they once were. AMNA NAWAZ: So, Jeff, in very simple terms, though, why is Mike Trout worth over $400 million? JEFF PASSAN: I apologize for getting a little nerdy with you here, but it's important to contextualize this. There's a metric in baseball that has been devised called wins above replacement. The idea is, if you use just some random player who's at AAA and put him in the Major Leagues, how much better is every other player compared to him? And a win above replacement is worth around $8 million or so on the free agent market. Mike Trout is anywhere between an eight-to-win player on an annual basis. So we're talking about value that he's creating for the Los Angeles Angels worth anywhere from, $65 million to $80 million, upwards some years of $100 million. So, a $425 million investment actually is seen throughout the industry as a bargain for the Angels, considering what Trout brings on a daily basis. AMNA NAWAZ: So, Jeff, let me ask you this. Is baseball different? Because, if you take a look at the NFL, that big money, the salaries are still centered around the quarterbacks. How is baseball different than what we see there? JEFF PASSAN: Well, it goes back to the lack of a salary cap, Amna. And the salaries, accordingly, should be driven up significantly, but because they haven't been over the last few years, that's where the anger from the Players Association is toward MLB. Now, granted, I say the salaries haven't been driven up. We're still talking about millions of dollars, tens of millions, hundreds of millions in some cases. So the guys are getting paid. They're just not getting paid what they feel they should be getting paid. AMNA NAWAZ: Jeff Passan of ESPN, thanks so much for being with us. Thanks. Appreciate it.

was here we could lay it out quickly okay you know because I've been I've been thinking about how to communicate this properly and so the thing about the post modernists and I'm going to speak mostly about Jacques Derrida because I'll consider him the central villain now he actually he he may they make a point explain who he is please well he's a he's a French philosopher French intellectual who became quite popular in the late 1970s and then was introduced to North America through the Yale Department of English and of course English literature is one of the disciplines that has become entirely corrupt and so Derrida was a Marxist to begin with but that fell out of favor because it turned out that Marxist political doctrine kept producing evil empires and even radical left French intellectuals were forced to admit that by the mid-1970s you know they put their head in there in the sand for 20 years 50 years really thoroughly in the sand and made sure their ears were full too but by the mid 1970s the evidence that that was the case was so overwhelming that even a French intellectual couldn't deny it anymore and so they started to play sleight of hand with the Marxist ideas so instead of trying to promote the revolution of the working class against the against the capitalist class let's say they started to play identity politics and said well we can just separate everybody into a pressed versus oppressor but we don't have to do it on economic grounds and so we can we can call it power instead of economics so that was part of it and then the other thing but the fundamental critique that Derrida focused on this is this is this is really worth laying out because that the problem that he discovered the post modernists discovered was discovered by a variety of other people at the same time in other disciplines so for example among the people who were studying artificial intelligence since the early 1960s it was always supposed that we'd be able to make machines that could move around in a natural environment without too much problem and the reason we could do that was because the world in some sense was just made out of simple objects there they are and all you have to do is look at them and you see them and that's vision and then the complex problem is not how to see or what to see but how to act in reference to what you see but it turned out that the AI people ran into this problem essentially sometimes known as the frame problem the frame problem is is that there's almost an infinite number of ways to look at a finite set of objects so the fact that that vision for example it turns out to be way way way more complicated than anybody ever our ever estimated in fact you can't actually solve the vision problem until you solve the embodiment problem so an artificial intelligence that doesn't have a body can't really see because seeing is actually the mapping of the world onto action and so that was figured out more or less by a robotics engineer called Rodney Brooks but but what's at the bottom of this is the idea that any set of phenomena can be seen a very large number of ways so like there's a bunch of pens in front of me here you know and when I look at the my brain basically notes that there agrippa Ballabh jekt with which i can write so I see the function like like if you look at a beanbag you see a chair not because it's got four legs and a seat in the back but because you can sit on it and most of what we see in the world we actually see functionally rather than see as an object and then interpret the object and then figure out what to do so the function of the object constrains our interpretation but there's an endless number of interpretations so for example if I was going to paint that you know paint on canvas this set of pens and try to do it in a photorealistic way I would be looking at tiny details of these objects that the multiple shades red that are there in the multiple shades of of white and black and you know I would decompose it and many went many ways and so the AI guys ran into this problem which was that looking at the world turned out to be exceptionally complex and that's still being solved now okay in literature the same thing happened what what the post modernists realized was that if you took a complex book let's say the Bible for example or a Shakespeare play there's an endless number of potential interpretations that you can derive from it because it's so complex and so sophisticated so imagine that well you can interpret the word you can interpret the phrase you can interpret the sentence you can turbit the paragraph you can interpret the chapter let's say you have to interpret that within confines of the entire work then of the entire tradition and then within the context of discussion that you're currently having and all of those things affect how you're going to interpret the play so there's a know so that their conclusion was well there's an infinite number of ways to interpret a text and then their conclusion was well there's an infinite number of ways to interpret the world and there's there's a way in which that's correct and so the next conclusion was there's no right way to do it so you could do it any old way and then their next conclusion was oh and this is where the Marxism creeped up again Oh people interpret the world in a way that facilitates their acquisition of power now that's where the bloody theory starts to get corrupt because yes a bit but also no right because and this is why they're wrong this is why they're wrong you see the world is complicated beyond our ability to comprehend so there is a very large number of ways you can interpret it but but you have to extract out from the world a way a game from your interpretation that you can actually play so if the lesson that you extract from Hamlet is you should kill your family and yourself then we might say that that's not a very functional interpretation right because first of all people are going to object to that right it ends your life it ends many people's lives people are going to object to it and it isn't a game that you can play over and over again in the world so when we're when we're interacting with the world you see what we're trying to do is to extract out a set of tools that we can use to function in the world because we're constrained by the world so that we don't suffer too much and so that the things that we need in order to continue can be provided and we need to extract those out in a way that other people will so that other people will cooperate and compete with us in a peaceful and maintainable way so then you think well we have to extract out an interpretation that allows us to live and thrive over multiple periods of time in multiple environments well we're doing the same thing with other individuals who are motivated the same way so there's a tremendous number of strengths on our interpretations and the post modernists don't care about that at all all they do is say well no no you can interpret the way the world the world any way you want all people are ever doing is playing power games based on their identity and there's going to be no crosstalk between the power hierarchies it's not even allowed that's why they don't engage in dialogue see just to talk to like let's say if you're a if you're a postmodernist just to have a discussion with someone like you you know a heterosexual what do they call a cisgendered male of power you know and white to boot it's like that's that's an evil act in and of itself because all you're doing by engaging in dialogue with that person is validating their their power game that's all you see and this isn't this isn't this is no aberration that these people don't engage in dialogue that it's no aberration it's built right into the philosophical system they regard the idea of the idea that if you're in one power group and I'm in another the idea that we can step out of that group engage in a dialogue have our worlds meet and produce some sort of understanding yeah yeah some sort of negotiated understanding no that's part of your your oppressive patriarchal game that idea that whole idea is part of your game so if I even engage in the dialogue I'm playing your game you win it's a completed so it's complete you people don't understand that post-modernism is a complete assault on two things one it's an assault on the metaphysical substrate of our culture and I would say that the metaphysical substrate looks something like a religious substrate so it's a direct assault on that and the second thing it's an assault on is everything that's been established since the Enlightenment rationality and parasitism science everything clarity of mind dialogue the idea of the individual all of that is is not only you see it's not only that it's up for grabs that's not the thing it's to be destroyed that's the goal to be destroyed just like the Communists wanted you know wanted the revolution to destroy the capitalist system it's the same thing these people now you might say well there's every social justice warrior activists know this it's like well no of course not it's not luck not any more than any every Muslim knows the entire Muslim doctrine or Islamic doctrine or every Christian knows the entire Christian doctrine you know its fragmented among people but then when you bring them together the fragments unite and the entire philosophy acts itself out so you don't think that this is a nefarious plot by a few well planned out individuals that have some sort of an agenda that they're going to promote this ideology because they and they understand what they're doing you you feel like it's what you're saying that there's a bunch of different factions a bunch a bunch of different parts to this and it could be a lot of it is that people feel disenfranchised socially they they are empowered by their positions in universities and by these insulated environments and groups they're intoxicated by the power that they have over young people and shaping their minds and and in imposing their ideologies they receive feedback from these kids it builds up everything strengthens they shore up the walls around them and they push this forward and then when they have something like this speech that you gave that Nick masters and they get to actually act it unites them unites them and this is what you're getting from this glazed eye you know coddlers yeah yeah well it's as if it's like Richard Dawkins idea of meme you know if you imagine that in your in your neural neural structure whatever idea is that you're manifesting are represented neuron by neuron let's say it's a web of neurons not any one neuron has the entire idea set this is obviously an oversimplification but you get the point there's a network from which the idea emerges well the meme idea is is that an idea can rest upon multiple individuals as if each individual is a neuron and so I mean there are people who are more or less fully informed as to the nature of postmodern doctrine and they're pushing it forward consciously and unconsciously they're they're consciously pushing for and acting it out and so there are individuals who are more representative of the entire set of ideas and individuals who are less representative but if you get them together in a group the thing that animates them and unites them is the common set of ideas and those ideas were produced by the postmodern French intellectuals in the in the mid 70s roughly speaking Jacques Derrida Michel Foucault Foucault was the person who famously pronounced that psychiatric diagnostic categories were primarily social in origin rather than biological and you know I read the flucos work I think it was madness and civilization where he advanced that particular doctrine you can actually read Foucault and like Derrida and Lacan but I just found what he was writing obvious it's I knew from my clinical training that psychiatric categories have a heavy sociological construction partly because psychiatry is into science medicine isn't a science it's an applied science so they aren't the same thing at all and you know a pure science is pure science it deals with scientific categories like atoms but an applied science well it's a compromise between all sorts of different things and mental illnesses themselves are shaped by the social environment even though often they have a biological root the way they manifest themselves is clearly shaped by society and language I didn't find his work the least bit surprising I thought well really I mean everyone who's a sophisticated medical professional psychiatrists psychologists everyone knows that it's like meaning there's a book called discovery of the unconscious by a guy named Andre Allen Burgess that was written in the leave in the 60s great book on history of psychoanalysis and like he covers the shift in diagnostic categories across time it's self-evident so anyways there's all these friends post modernists they were all Marxist most of them were student revolutionaries in France in the late 1960s before that all fell apart and they did two things they they pulled out this frame problem issue the issue of multiple interpretations and said well there's nothing that's canonical there's no overarching narrative there's no real interpretation and I already said why that's wrong and then the other thing they said was they did this sleight of hand so instead of the working class against the version was he it was it was race against race or gender against gender unbelievably divisive it's all they believed in his identity there's no individual man that's gone with post-modernism that this isn't that accident all of this stuff it's not random it's driven by these ideas like ideas are always at war always and we're in a war between these ideas I mean Marxism we already know was tremendously powerful doctrine and this is its newest manifestation what is the motivation behind the individuals that are at the heart of this movement well I would say that the motivations are as complex as as human motivations are in general but they seem to have solidified into a movement right well I think the dangerous part of it is that the it's a kind of it's almost like a scapegoat mentality it's almost like psychoanalytic projection that's another way of thinking about it it's like what are the things that I've come to learn and one of the things I talk about a lot is that the the battle between good and evil so to speak isn't between States and it's not between individuals precisely although it manifests itself at those levels it's an internal battle a moral battle that happens inside people and so people have a broad capacity for malevolence and for and for benevolence and that's a terrible war for people and it's a terrible thing to understand and realize in fact often when people realize their capacity for malevolence if they're not prepared for it they develop post-traumatic stress disorder so that happens to soldiers and battlefields so they go out there innocent guys you know naive guys young guys and they go out onto the battlefield and they get put in a really stressful situation and you know they they step outside themselves and they do something unbelievably vicious and brutal and then they're broken they can't take that manifestation of themselves and put it with like Iowa corn-fed you know nice guy and no wonder because one is like a flesh-eating chimp chimpanzee on a war rampage and the other is you know was relatively well brought up and polite farm boy from the middle of the United States it's like how in the world you're going to put those two things together well you can't that's post-traumatic stress disorder and to treat that my experience with post-traumatic stress disorder is that you have to teach people a philosophy of evil of good and evil because otherwise they can't recover and I've had I've had by the way in the last four months I've had two letters from people from soldiers with PTSD and I met two personally who said that watching my lectures had had brought them back it together because they couldn't understand what they had become before looking looking deeply at at the at their malevolence now so I would say with regards to this movement this postmodern movement the malevolent aspect of it there's a there's a couple of them wanted unbelievably authoritarian I got a letter today from a university student in Italy I don't know what university but she'd been having kind of a flame war on Facebook with with the social justice warrior and at the end she recommended that this particular social justice warrior seek out a local mental health counseling unit and put a link to it in in the exchange and then she got a letter from the University I guess the other person that the SJW type turned her in but she got a letter from the university saying that that violated university policy and constituted harassment and that she should seriously consider retracting it and that you know future employees employers might be looking at what she posted and it was inappropriate to put that on a public site and it's like I thought wow if you how could you be so clueless as a as a administrator say to think that you're monitoring of your students private utterances you're monitoring it at an institutional level and your intervention and threat at an institutional level is less dangerous than letting two students you know troll each other on on a on a public social forum just I just I don't know what to think about it it's just unbelievable it happened and it's happening all over the place this sort of thing and so there's the authoritarian element to it which is a hatred of I think it's a hatred of competence because competence produces hierarchies that aren't based on power I think it's a hatred of clear intellect hatred of clear interlink how so what do you know when you say clear in the level you have a clear intellect as far as I'm concerned I think that's why you're so popular it's because you pay attention and say what you see and you're not too concerned about doing anything other than that I mean of course you have an agenda because everyone has an agenda you can't help but have an agenda if you're alive but you can temper the agenda like you can be clued in enough to try to listen and learn and watch and pay attention to what your own senses are telling you and try to articulate that and now that's what the logos is technically speaking and the reason I'm bringing this up is because Jacques Derrida described Western culture in a famous phrase he described it as fellow PHAL-Logo-Centric P-H-A-L logo L-O-G-O geocentric PHAL logo centric and it needs to be brought down well a phallus part that's MALE, the LOGO part that's logos now that's partly logic because the word logic comes from the word logos but logos is a deep made much much older concept than logic like logos is it's essentially it's a theological concept and that's where things get complicated but you could describe it as as the manifestation of truth in speech and the postmodernist they don't like any of that so foul logo centers our logos it would be the ultimate mansplaining yes as our yeah it's like any man who Jordan Peterson Explains Postmodernism - Transcribed expresses or tries to correct a woman in any way becomes a man so maybe to correct anything in any way hmm remedy particularly with what you

Job done. Now there will be no one between us. Now there's no one between us. Three murders in a desolate forest at night. This is shocking. What's surprising about this crime that night was the guy who'd killed and buried two bodies was murdered too. Who were these murderers? Which enmity led one to kill second only to be killed by a third person. Who was that lady amidst these corpses? Hello, I am Girish Jain. In today's episode of Crime Alert this story which has many such questions is from Lucknow, Uttar Pradesh. Ayushi, where's my bike key? Ayushi? Ayushi. I'd kept it right here. Here's your bike key. Why do you search outside when you'd kept it inside? Oh! Why are you dressed up early in the morning? Something special. You don't remember? Special? Special? My senior boss is paying a visit to the office today. I have a meeting with him. No, why would that be special for you? It's okay. Let me remind you. It's our 5th wedding anniversary. Oh! God. I am so sorry, Ayushi. Ayushi. Happy marriage anniversary. Sorry. Be ready tonight. I'll take you out for dinner. -Promise? -Promise. You won't forget as usual, will you? No. Happy marriage anniversary. Same to you. -Bye. -Bye. Ayushi, listen. Work has become so important for you that you couldn't take me out for dinner? Ayushi. I couldn't leave office. Believe me. Sudip, I agree you couldn't leave office. Five years. What's this? Flowers worth five bucks? You could've bought a small gold ring instead. Next month. I'll gift you a gold ring in the next month. You're aware of my financial condition. But you know what they were saying in office today? They were saying I might get a raise this month. If it happens I'll make everything all right. I don't know when you'll get a raise and fulfill my dreams. We can't even plan a baby due to your work and salary issues. How long, Sudip? If you couldn't manage a wife and kid why did you marry me? Ayushi. Ayushi, wake up. Please wake up. I made tea for you. Have. Ayushi. I am sorry for yesterday. I forgot our anniversary. I couldn't buy you a good gift either. It's okay. I am sorry. I am sorry. Sudip, I've been thinking I'll start giving painting lessons. Painting classes. It'll keep me occupied and give us an additional income. That's great. This will help you continue painting and pass time as well. Drawing lines doesn't make you a painter. You have to add life to it. Understand the expressions. Are you listening? Yes, ma'am. Add life to the lines. Take. Not like this. A good painter doesn't move his hand, but shoulder. Okay, boys. That's enough for today. Tomorrow's Sunday. So, no classes. Okay, ma'am. Thank you. -Thank you, ma'am. -Welcome. Bye, Ayushi. Today's Sunday? Too much workload. I have to make a presentation ready for tomorrow's meeting. Can't help, Ayushi. It's a private job. Can't do anything. Bye. Hi. -Hi, ma'am. -Hello. Rohan, I told you not to come on Sunday, didn't I? Ma'am, actually I was getting bored at home so I thought better to learn something from you instead of wasting time. Fine. Sit. -I'll just be back. -Sure. Where's your attention? Painting of me? Painting, of course. Want to say something? Ma'am. Actually, I have something for you. Ma'am. This is gold. Where did you get so much money from? My dad's a businessman. He gives me pocket money every month. I thought I'll buy something special for you. May I? It's beautiful. Not as beautiful as you. -Thank you. -I love you, ma'am. Prakash, come. Feel at home. Come. Sit. Hey? Why's your shirt stained? Bike slipped in the rains. This is what happened. Forget that. Meet Prakash Chandra Chatterjee. Hello. He's been appointed as my senior in the office. -Oh! -He comes from Bengal. He's new to the city. I thought I'll give him a taste of Bengal in Lucknow. And I invited him over for dinner. -Did I do the right thing? -Of course. I'll go change. -You serve dinner. -Sure. Prakash, be comfortable. Yeah, sure. -Beautiful. -Sorry? Beautiful house. Thank you. Feel at home. Don't hesitate. How's your job doing? It's doing great. Sister-in-law. Can I get a glass of cold water? Our fridge is not working. I'll replace it in the next month. Alright. Your friend has big plans for next month. Ayushi, don't fight in front of our guest at least. Hey? Today's class is only for you. No gift for your ma'am today? -I have one. -Really? I'll get it right away. Open it. Wow! It's so beautiful! Thank you. -Like it? -Loved id. Do you really love me? I love you more than my life. -Really? -Really. Who must've come at this time? I don't know. I'll see. You? I was passing by. I thought I'll meet you. Oh! Come. Sit. Sudip is so immature. I was pained to see your and Sudip's fight over a fridge. This is not done. You didn't ask for a diamond necklace. Anyways. I thought, Sudip won't tell me so I'll ask you. Can I send a fridge to your house? We don't have so much money. Sister-in-law, who wants money? You can pay me when you have money. Don't bother. Sister-in-law, money is not important than love, is it? I saw the mobile you're using is an old model. A small gift for you. Here it is. Thank you. Our love should last forever. Our love should last forever. Ayushi. Ayushi. Ayushi, how did you buy the fridge? Fridge? I brought it. You? Where did you get the money for this? How come new ornaments every day? Gold ring. Earrings. Sudip, I earn. You never bought anything for me. Now that I am shopping for myself, you have a problem. You can ask me only when you become capable of doing something. -Can I ask you something? -Go ahead. Do you love me as much as I do? Any doubt? No, ma'am. I think of you all the time. All day and night I am lost in your thoughts. What should I do to make my ma'am happy? Ma'am, when you talk to other men I don't like it. Especially the way that guy was talking to you the other day. He? He's Sudip's friend. He's a regular in the house. You reside in my heart. Nobody can take your place. -Really? -Yes. Tell me something. Has your dad stopped giving you pocket money? Why? You haven't bought me any gift. Has your love for me become less? Not at all. I'll give you a big gift soon. -Really? -Yes. Hello. Ayushi, I want to meet you. I'll be glad if you come to the park. Fine. I'll be there in 10 minutes. -Alright? -Okay. Listen. Something urgent has come up. I'll see you tomorrow. Okay? Ma'am? It's true that, when love between a couple starts to diminish it weakens the foundation of their relationship. The foundation which holds their love. Everyone should try his best for the relationship to last because if it weakens it can nurture some crime. The love and attention Ayushi didn't get from her husband was coming from Rohan and Prakash. More than Sudip, Ayushi loved Rohan and Prakash's gifts. She had made her choice. Was she treading on the right path? Was Ayushi right? Let's watch what turn Ayushi and Sudip's life will take amidst these relationships. Oh! My God! Are you okay? Are you hurt? You should've been careful. What if she's got hurt? You're fired. It's okay. It was an accident. It's not acceptable. Are you okay? Please. I'll drop you. Are you comfortable, ma'am? Good. You're not from here, are you? Well. You see, I come to Lucknow often for business. I am from Mumbai. That's my house. Drop me here. Oh, really? Here? Stop the car. Well. One second. Well, this is my visiting card. Thank you. We'll meet again. Driver, let's go. This is my visiting card. We'll meet again. Ayushi. Ayushi, your phone. Where are you? It's been ringing away. My student. Must've called to inquire about the class. Okay. I got to go. -Bye. -Bye. Hello. Hey, hello. What's up? Well, sitting in my bedroom. Checking emails and I thought of you. I thought I'll ask how you are. Getting bored at home. Fantastic. Come here if you're getting bored. I have something interesting to tell you. That can be done over the phone as well. Yes, not everything. Fine. I'll be there. Fantastic. I'll wait for you. See you. Bye. Ma'am, how did you know I am at the door? Rohan, I need to rush. I'll talk to you tomorrow. Okay? But, ma'am... Why are you fumbling like kids? I am in a hurry. Ma'am. For the beautiful lady. Thank you. What does your husband do? Let's not talk about him. Why? What's the matter? If a husband doesn't have time for his wife how can she be happy? Why stay with such a husband? Divorce him and live your own life. As it is, you should be with the person who makes you happy. It's not that easy. If I divorce him who'll look after me? What makes you think there's no one for you? One second. For you. To make you realize that someone is there for you. I love you, Ayushi. I love you, Ayushi. Rohan is a kid. Mohit is wealthier than Prakash. How will I leave Sudip and go to Mohit? What do I do with Rohan and Prakash? What do I do? Ayushi, the company I'd applied for a job they've called me for an interview today. If I get this job it'll double my salary. I'll also get bonus. Most important, holiday on Saturday and Sunday. You've been complaining I don't give you time? If I get this job, there won't be any problem. You won't have a reason to complain. I'll complain only if you live. Wish me luck. -Bye. -Bye. Ma'am? Ma'am? Ma'am? Ma'am? Ma'am? Ma'am? What happened? Who did this? Sudip tried to kill me. What? He attacked you? I will not spare him. Rohan, get me out of here. I don't want to stay here. Please. Don't worry, ma'am. I'll take you away from here. He'll come for me. He'll kill me this time. Before he kills you I'll take his life. Don't worry, ma'am. Can you do this, Rohan? Do you really love me so much? Yes, ma'am. I am madly in love with you. I can do anything for you. Do one thing. Make some excuse and bring Sudip to the highway. Will you? I'll do it, ma'am. What after that? Leave that to me. Just bring him there. Right, ma'am. Yes, Ayushi. I love you. Tell me what the matter is. Forget it. Ayushi, tell me what it is. What's this? This wound is your friend's doing. He's always been doing this. The wound is visible now. How dare he? I'll demand an explanation from him right away. So that he hits me again. Prakash, what do I say? What all are you going to hit him for? Meaning? Ayushi, what are you trying to say? Your friend, my husband has always hit me. Now he's stooped so low he's been telling me to sleep with a rich guy for money. He started hitting me when I refused. The wound is proof. Rascal! Such people should be killed. That's what I want. Will you free me from this hell? I want to live with you. I'll help you. Really? Let's do one thing. Hello, sir. Congratulations. You've been promoted. Thank you so much. Thank you. Sir, ma'am was not feeling well. I had to rush her to the hospital. What happened? Come with me in my car. Let's go. Sir, what happened? You don't look okay. Have water. Here. Job done. We won't have any intruders. There's no one between us. What will you do when your husband asks you? I forgot to tell you. Sudip is out of town for work. He'll be back in a couple of days. When he's back, I'll inform him that I've parted ways with him. I've found my prince. Try to understand. We have to get out of here before dawn. Before the police are informed. Go home and pack your bags. We'll get out of here. Okay? -Fine. -Okay. Hurry up. There. What happened? Rohan's over there. Rohan, who? Who's he? How can you be alive? Alive meaning? Who killed him? Prakash had buried him. Correct. Prakash killed Rohan. Who killed Prakash? Such people should be killed. Ayushi? Ayushi, why are you crying? Ayushi? Sudip's friend, Prakash used to come home often. One day he What did he do, Ayushi? What did he do? He raped me. He'd recorded it and he's blackmailing me now. He says, again he'll... He messed with a woman's dignity. So you killed Prakash because she told you? Do you know who Prakash killed? Prakash killed her husband, Sudip and Rohan. Rohan survived. After escaping from there I realized she took Prakash's help to kill me. You used me to bring your husband over there. Then Rohan came to us. When he narrated the entire incident we searched that place and we found your husband Sudip and Prakash's dead bodies. Tell us the truth or the lady constable knows her job well. Yes, this was my plan. I wanted to escape to Mumbai with Mohit. Why wouldn't I? Mohit was rich. He loved me. He had everything. I don't lack anything. You played with our love and trust. You. What do I say? She used you the same way as she used us. Women like you are not reliable. Tomorrow she would've got rid of you if she found another rich guy. You killed them to satisfy your greed for love and wealth. You made them partners in crime. Court will decide your punishment. Arrest them. Patience is just a word to understand the meaning of which even a lifetime is insufficient. Ayushi was not happy about her husband's low income. She was not happy with what she had but she wanted what her husband couldn't afford. Sudip's job kept him so busy he couldn't give his wife what she deserved. Her husband's love. Financial problem and not getting love from her husband pushed Ayushi towards an ocean of dissatisfaction. It was impossible for Ayushi to get out of that whirlpool. Had Ayushi kept faith in her husband two lives would've been saved. Had she not been greedy her husband would've been alive. Ayushi chose the path of crime for her greed. Rohan and Mohit's lust led them to help her in this crime and ruin their lives. Today, all three of them are serving their punishment in jail. Friends, we need to understand that greed, dissatisfaction and over ambition has never helped anyone. Stay away from these. With this, I Girish Jain take your leave in this episode of Crime Alert. I'll see you again with another real life story. Till then, be alert be safe. Crime Alert. A voice against crime.

Hi guys. I was having a conversation with someone the other day who I was asking hey how's your life, how are things going? and she said 'eh' and I said okay describe your life. and she described her life, and it was a it was very much her physical life it was flat, 2D, energy not moving, and I said okay: described your energetic life. and she went wow! it was ooo! so I just wanted to make this video to say- what if your energetic life is valuable, and what you think is your physical life that you, often people say they go back to, it's just you're aware of the energies there that are solid, and they aren't even yours. you've changed so much and then when you go to your home, with your family and the energy seemed the same, this is where it's imperative to acknowledge how much you've changed what you've changed. so the way to know if you are buying right back into the solidity of this reality and other people's fixed points of view, is if you've come out of question and come out of your ask and you're in everybody else's conclusion. this is where you have to get even more present with your ask and contribute energy to it and keep being that energy and not default into the energy of your family, friends, husband, wife, lover, dog . so that energy is the future that you are having, unless you make the solidity of what you tell yourself your life is in a 2D fixed reality of everybody round about you. just acknowledge how much you've changed and keep asking to be more of the energies you have stepped into.

(upbeat guitar music) - My grandpa would hang out here in Little Tokyo before World War Two and then he came back after World War Two from the internment camps. We were disenfranchised as a cultural group. So we formed basketball groups and sports groups, which really brought our community closer, which was why we continue having Japanese-American leagues today. We're at the Terasaki Budokan, which is going be a gym based in Little Tokyo. My dad fundraised $30 million to donate to the Budokan. This is really important to my family and my roots and I hope that for the next generation, it's important to theirs, as well. Part of who I am is getting people together and what the Olympics does really well is get people together from around the world. When people see my 'A' I hope to show how tight our community is and how much we support each other.

Denzel Washington has always been a great actor. From his start on soaps to his breakthrough performance in Glory.

- Today, we're attending a sausage party full of mystery meat. - Let's talk about that. (upbeat music) Good Mythical Morning. - We love merry old England, our country's dad, which is why we're still getting over our hangover from the royal wedding this summer. But, frankly, we have questions. Why do you call fries chips? Why do you call chips crisps? Why would you name a place Catholes? - Well, as far as I'm concerned, they're the ones who came up with beans on toast, so they can have all the Catholes they want. - Okay, there you go, have 'em. Today, we're gonna put our knowledge of the royal family to the test while eating sausage, which is one of the Brit's favorite foods. It's time for will these royal sausages make us scream, or will we say yas kween? We got a wheel full of sausages, because British people eat sausages. So do Americans and Germans and lots of other countries, but this isn't about them. - No. - Some of these are normal, good bangers. Some of them are weird, unpleasant bangers. And, some of them are disgusting bangers that Josh made to hurt us. - As you can see, each sausage has a number associated with it. The worse the sausage is, the more points it is worth. One could be a tasty sausage, but 10 is the worst. That's a pun. This floppy, white sausage here is not one that I want to eat. We're gonna take turns spinning the wheel and then the spinner has to answer a question about the royal family. If the person gets it right, they get points and the other person has to eat the banger. If you get it wrong, you get no points and you have to eat the sausage. Let's do it. - [Rhett and Link] Round one. - You're less short than me, so you spin first. - Oh, thank you. Here we go. - Whoa, sausage. (both yelling) 10, right off the bat! What? The floppy, white sausage. - There's a lot at stake here, because if I get it right, you gots to eat it and I get 10 points. - Gosh. Okay, I've got a question for you that is royal themed, Rhett. Get ready, Meghan Markle, 'cause being a royal is a very serious affair, even when it comes to the games they play. What form of family fun is the royal family not to allowed to play? - Not allowed to play. - Is it A, video games, B, Monopoly, C, darts, or D, hide the salami? (team laughing) - Can you describe D? - Uh (mumbling). - I'll take your word for it. - A children's game involving salami. - Okay, oh my gosh. Monopoly, darts or video games? - Mm-hmm, or hide the salami. (team laughing) - Oh, gosh, this is, I don't-- - It's the floppiest one. - I don't feel good, man. Darts feels like a very royal thing, but it also feels like the kind of thing that there's a story about Count Chocula (laughing), who-- - We know so much about the royal family. We resort to the Muppets. - Who was once struck with a dart in the ear. It's forbidden. Video games is so unbecoming of a royal, though. You don't want to be caught playing video games. Oh, gosh. - I need an answer, Rhett. - Darts. - Prince Andrew claims the family is not allowed to play Monopoly. - No! - Because, it gets too vicious. Speaking of vicious, this is a 10-pointer. You don't get any points, neither do I, but I get the pleasure of watching you eat that floppy, white sausage. - I'm not gonna know-- - Bang it. - Oh, it's so cold. I'm not gonna know what it is until I've-- - Oh, there was a lot hidden down in that birthday cake. - Now, we're agreeing it's just a bite, right? - The balloon in there, I would go with biting the middle. - No. - I would bite the side. - You can wait 'til your turn. - That's like eating the end of a balloon, dude. - Yeah, but I don't want it to just go all over me. - I don't know what it is. What's it taste like? - Horrible. - No, don't spit it out. Eat it, man. What is it? (loudly retching) What is it? - [Producer] Rhett, do you know what it is? - Is that fish sperm? - It's fish guts. - Oh, fish guts. - Fish guts. - Water, please. - [Rhett and Link] Round two. - Okay, time for me to spin. Yeah. - Five, okay. - Five. - Middle of the road. All right. Normal people have a hard time deciding what to pack, but for a royal, it's already figured out for them. What item must members of the royal family always pack when they travel? A, a black outfit, B, a Bible, C, a knife, or D, a litter of corgis. - A whole litter of corgis. - Litter of corgis. - I don't think it's a knife, because it's hard to travel with a knife, even if you're royalty. Especially if you're royalty, trust me. - Got it. - Black dress, I don't know. I'm feeling the Bible. - Feeling the Bible these days. - I think it's the Bible. - Your guess is the Bible.. Royals must always be prepared with a black outfit in case somebody dies when they're abroad and they must attend a funeral. - In case somebody dies? - Yeah. You gotta be ready for death. - Okay. - Eat that sausage, Link. Hey, sausage link. (team laughing) This is probably gonna be not good, but not bad. - No, it smells minty. - Okay, well, find out how it tastes. - What is it, toothpaste? - [Producer] It's toothpaste. - (laughing) Okay, wow. You can see the scale that we've established here. Five is already toothpaste sausage. - Ugh, that is bad. Anybody got a toothbrush? - [Rhett and Link] Round three. - Give it a spin. Oo, almost an eight, but you got a six. - Six. - A little nastier than the five. - Ask me the question. - Royal etiquette dictates that a married woman in the royal family who is attending an indoor affair must do what, exactly at 6:00 PM? - What? - Is it A, lead a toast to the Queen? B, take off her hat and put on a tiara, tiara. How do you say tiara? - Yeah, tiara. - Tiara. - Tiara. - Tiara? - No, it's tiara, I'm sure. - Tiara, tiara. - Yeah, yeah, yeah. I'm from North Carolina. - Tiara is if it's your name. Tiara is if it's on your head. - C, remain directly at her husband's side for the rest of the affair, or D, ovulate. - Ah, the old 6:00 PM ovulation. - Ding, right on the dot. - The royal family is on a very quick cycle, though. It's not a 28-day cycle for them, 'cause they're the blue blood. - You gotta churn out those royalty. - Yep, yep. Toast doesn't make sense, because that could be inappropriate. And then, what, do all the women stand up and toast at 6:00 PM? (chuckling) that won't work. The tiara or the tiara, it's not a pageant. - Life is a pageant. - I'm gonna go with, you gotta be next to your husband at 6:00 PM. - There are a whole bunch of weird rules regarding tiaras and at 6:00 PM, ladies are expected to change into evening wear. At which point, hats come off and tiaras go on. So, Rhett-- - Why y'all gotta have stupid rules? (team laughing) - You need to eat the eight, my friend. - No, I'm eating the six. - Okay. - That's where it was. - I can't slide one past you, go for it. - [Rhett] I know it's gonna be at least as bad as toothpaste. - [Link] It looks greasy, very white. - Doesn't taste like food. Oh, hey. - Hey? - It tastes like something that goes on your body, like soap. - [Producer] Close. Shampoo. - Oh, okay, that's okay. I'll finish it. (team laughing) - [Rhett and Link] Round four. - Spinny, spinny, spinny, spinny. Tickity, tickity, tickity, tickity, tick, tick, wham! Ugh, the seven, I almost got a two. - [Rhett] Right on the seven. - [Link] But, I got the big, old seven. - Here we go. - This is a big, freaking, oh, it's a thicky. - Yeah, it's a stubby. (team laughing) Historically, the king's most-trusted courtier was whom? A, the groom of the stool, the man who helped him poop. B-- - What, ho, what? - The groom of the stool, the man who helped him poop. B, the moonlight valet, the man who watched him sleep. C, the grape steward, the man who tasted his wine. Or, D, the dark knight, the man who was Batman. (team laughing) - What's the question, again? - The king's most-trusted courtier? Is that, I don't know what-- - You gotta trust someone if they-- - [Producer] Courtier. - Courtier? This isn't France, this is England. - You really trust someone if they're there when you poop. - Mm, yeah (chuckling). I like the way you think. - But, the drinking of the wine makes so much sense, because that keeps him keeling over with poison. - Yeah. - You gotta keep the royalty alive. - Right. - I'm gonna go with the wine taster, the most-trusted. - Okay, the wine taster. The man who's responsible for assisting the king in his excretions and ablutions, the groom of the stool. Doesn't do it anymore, because now they've grown out of that. (team laughing) They've moved beyond that. Once again, no points for either of us, man. But, you get the fun of eating that sausage that's a seven. Yeah, smell it. - It smells meaty. - Yeah. - This is for you, Britain. - Oh, it's tough. Oh, gotta bite it twice. The sausage that bit back. (briefly retching) Okay. - What is it? - [Producer] It doesn't taste familiar? - Dog food. (team laughing) Is it dog food? - [Producer] It's dog food. - While Link is enjoying his dog food, I'll let you know that we both have zero points, so we're gonna move on to a special bonus round to find a winner, that we're calling The Speedy Sausage Eating Chow Crown Showdown. Paid for by Hasbro. - To continue with the royal theme, our bonus round features Hasbro's new game, Chow Crown. - Here's how the actual game works. You place the crown on your head, clip in some snacks and press start. The crown will move and you have to eat as much as you can before the music stops. - We are gonna be playing the game a little bit differently, though. - Yes, these crowns have been filled with mini sausages. All of the sausages are laced with a British favorite, Marmite. They will not be easy to get down. - And, because we did not get any points so far, we're gonna make each of these sausages worth 10,000 points. - Woo, points. - Yeah. And whoever has the most points at the end of this bonus round wins a Chow Crown filled with his favorite food. The loser has to eat the worst sausage that we left on the spinny board in Good Mythical Morn'. - [Producer] All right, you guys ready? - Let's find our start buttons here. - [Producer] On your marks, get set, go. - Where is it going? There we go. Come on, come to papa. (both straining) I got one of them. - It's never been so hard to eat. Okay. - Oh. - I got two sausages. - You got two? - Yeah, bro, I got two. - I only got one. - All hail the king. I shall now eat my prize. - And, I'll eat the nastiest sausage in Good Mythical Morn'. Chow Crown is available in stores now, or you can buy it online by clicking the link in the description below. - Thanks to Hasbro for sponsoring this episode. - Those beans look good. Can I have some? - No. - Thank you for liking, commenting and subscribing. - You know what time it is. - Hi, we're the Youngs and we just did a sausage taste test. Now, it's time to spin the Wheel of Mythicality. No, put the sausages down. - What are the chances? Click the top link to watch Link eat gross sausages. - And, to find out where the Wheel of Mythicality is gonna land. Need to send a card, but don't know what to say? The BYMB greeting card says it best. Buy it now at mythical.store.

- [Narrator] Vladimir Putin has been in power for a really long time. Over two decades he has faced many challenges while building up power at home and growing his country's influence on the global stage. But coronavirus could be his biggest test yet. (speaks Russian) Despite his reassurances that everything was fine, Russia has become a global coronavirus hotspot and its infrastructure has come under strain. Russians worry the pandemic will worsen their economic problems and now, as constitutional changes could potentially allow Putin to remain in office until 2036, the President has to deal with unexpectedly low approval ratings. - The figures are really quite bad for Putin. It's the lowest it's been in 20 years since he first came to power. - [Narrator] So, can the Russian president actually keep all the power he has accumulated? Vladimir Putin has served as either Prime Minister or President of Russia since 1999. The former intelligence officer has fought to change the image of a crumbling Russian state. - So, the framework that Putin came on was very much to try to rise and rebuild Russia's position as the great power. - [Narrator] Early in his tenure he faced a number of crises. A few weeks into his time as acting Prime Minister a series of bombings in Moscow killed hundreds, triggering the second Chechen War, which this time Russia won. The military offensive boosted Putin's popularity and helped him secure the presidency in 2000. And over the years Putin has nurtured this image of himself, a tough statesman who restored the country's national pride. Putin's boldness fostered nationalism and kept him popular in Russia but strained his relationship with Western leaders. He poured resources into the military and made it a tool for his foreign policy which caught international attention in the Russo-Georgian War in 2008. - 2008 marked a change in the way that Russian great powerness were going to be implemented and increasingly it is implemented using the military on the ground. - [Narrator] When Putin's opponents took to the streets after he was elected again in 2012, Russian officials accused the U.S. of instigating the demonstrations. (Putin speaks Russian) - Of course the U.S. denied but that Putin couldn't believe that all those people out on the streets were there of their own volition so it was much easier for him to blame the U.S., the West. - [Narrator] Hundreds were arrested and protests waned after the government imposed new rules on public demonstrations. The annexation of Crimea and Putin's support for the regime of Bashar al-Assad in Syria added to international tensions. Moscow has also been accused of meddling in the 2016 U.S. election among other allegations, including disinformation and hacking. Russia has repeatedly rejected these claims. - Listen to what I say. First of all, Russia as a state has never interfered with the internal affairs of the United States. - [Narrator] But the coronavirus pandemic has introduced a whole new challenge for the 67-year-old leader. When coronavirus infections began to ramp up in Russia, Putin closed its border with China and implemented restrictions on travel from Europe. But he was criticized for not imposing a strict nationwide lockdown. (Putin speaks Russian) While the president and state media insisted that everything was under control, some officials contradicted the government's narrative. In May, the Health Minister of Dagestan suggested in an interview that the real number of coronavirus cases in his province could have been more than four times higher than the official figures. (speaks Russian) - [Narrator] Forcing Putin to acknowledge that the virus was an issue in some parts of the country. (speaks Russian) - [Narrator] Medical personnel have taken to social media to criticize the government's handling of the pandemic and warned that the healthcare infrastructure was overwhelmed. (speaks Russian) - [Narrator] But Putin and Russia's national media outlets have persisted in painting a more positive picture. (Putin speaks Russian) - [Narrator] Even though the collapse in oil prices was hitting Russia's economy hard, Moscow trumpeted efforts to send medical aid to Italy and the U.S. And in late June, ahead of the referendum that may allow Putin to run for two more terms after his tenure ends in 2024, soldiers marched in the parade to celebrate the country's victory over Germany in World War II despite concerns that the virus may spread. - That is one way he is dealing with trying to sort of boost the nationalist pride and say we were solely responsible for this victory and this is what makes us the great power. - [Narrator] As part of the referendum the Russian president has also offered a number of measures to support the economy. Still, his popularity has waned in recent months. In a recent poll, only 25% of Russians named Putin among the politicians they trust most, down from 59% in 2017. The economy has contracted and the pandemic has grown to become an unexpected challenge for Russia's government. But analysts believe that Vladimir Putin is determined to hold onto power. - He's still solidly in power but I think there are many more questions about what happens going forward and about, you know, his willingness and ability to introduce economic reforms to make people's lives better.

【1.6公里长的UFO真实出现过 遮盖凤凰城天空】 美国亚利桑那州发生“凤凰城光团”UFO事件， 至少数千人报告亲眼看到凤凰城上空出现巨大三角形UFO， 其面积之大将天上星星遮盖， 并且无声地在空中飞行几个小时悄然消失。 如今， 官方一直坚持解释为军方发射的闪光弹原因， 但前任亚利桑那州长希明顿曾公开披露它是真实的UFO。 UFO长度超过1.6公里 1997年3月12日约晚上8时左右， 凤凰城的许多人目击到夜空中出现排列成“V”字的五六个琥珀色光点， 无声无息地以均匀一致的排列特点缓慢飞行， 先由北面往南飞， 再后转向往西北方向直至消失， 飞行范围约300英里（480公里）， 飞行时间持续3个多小时。 人们根据目击情况判断， 该飞行物体是体积非常巨大的黑三角， 估算其跨度至少为1.6公里（1英里）。 时任亚里桑那州州长的费弗‧希明顿（Fife symington）， 在记者会上否认“凤凰城光团”是UFO。 他宣读官方的调查报告， 断言那些光团只是军方发射的多个闪光弹。 但有分析指出， 军方宣称发射闪光弹的时间为晚间9.30-10.00， 和8.15分即有目击报告的时间不相符。 目击者超过数千人 当时的目击者至少数千人， 几乎涉及社会各界人士。 福克斯报导说， 一名称为“Thinker Thunker”的匿名分析者说， 他使用计算机图像稳定技术分析自己拍摄的摇晃不清视频， 证实那些光团不是官方所说的闪光弹。 他指出， 光团至少在一分钟之内保持静止、 互相之间的距离非常均匀一致， 这些都说明不可能是闪光弹。 当地的一名内科医师莱茵‧凯蒂（Lynne Kitei）博士记忆犹新： “当几千人想到外面一睹海尔-博普彗星（Comet Hale-Bopp）的景象， 他们也看到了一两公里宽的不可思议飞行物， 那巨大的光团似乎和一英里宽的V字形船体相连接。 ”而且， 凯蒂博士在UFO漂浮在凤凰城的Paradise Valley区上空时拍摄了视频， 并将录像保留至今。 她说： “我们一直在努力分析所录制的不可思议内容。 ” 该飞行物体是体积非常巨大的黑三角， 估算其跨度至少为1.6公里。 该飞行物体是体积非常巨大的黑三角， 估算其跨度至少为1.6公里。 （示意图/图片来源： Adobe Stock） 政府隐瞒UFO事实 2007年2月5日晚， 凤凰城市中心上空再次出现该UFO。 当地媒体和警察局接到大量目击报告及咨询电话。 凤凰城附近的“尤马海军基地”（Yuma Navy Base）向大众称， 琥珀色闪光的物体是A-10战斗机训练中的目标， 并随后降落到地面。 但许多人表示， 这些闪光排成一列， 而且飞行很远距离， 其特点与飞行训练路线完全不同。 2007年， 刚卸任州长的希明顿通过CNN向人们披露， 10年前的凤凰城光团的确是UFO， 而且当年他也亲眼目击这个巨大飞行物。 他说： “如果你十年前在这儿， 站在那儿向上看着那些光， 你一定会大吃一惊。 ” 希明顿解释， 当年因为碍于州长身份等政治原因而将之否认， 但是他在卸任之后决定披露所知道的真相。 他说： “我曾做过飞行员及空军官员， 我绝对肯定那个飞行物， 而不是人类能制造出来的物体。 ” 关于空军的闪光弹、 气象气球之类说法， 他评论道： “我对空军的愚蠢解释非常不满意。 空中可以出现军事闪光弹， 但是我和其他几百个目击者所见到的东西根本不是什么闪光弹。 ” 希明顿说： “我们希望， 政府不要将所有的UFO神秘事件都描述成地球上的常规现象， 需要进行重新调查， 公开档案， 以及不阻止公开讨论。 ” 实际上， 2005年5月、 6月和8月、 2006年8月及2008年4月， “凤凰城光团”在凤凰城反复出现。 美国一个名为“杂交儿社区”（Hybrid Baby Community）的民间组织声称， “凤凰城光团”是一种外星人的母船， 里面住着外星人与地球人的杂交儿。 因为这些外星人有时要来地球看看地面的情况， 所以出现诸如“凤凰城光团”那样的UFO事件。 作者： 张秉开 本文网址:

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Dutch: Hallo, ik ben Mike Rugnetta, dit is Crash Course mythologie, en vandaag gaan we praten over een klein, makkelijk onderwerp: De schepping van het universum. Dit is de eerste van een aantal afleveringen over scheppingsverhalen, en deze zal zich richten op mythen die een universum geschapen uit het niets bespreken. Of misschien toch iets. Soms uit water- Waarschijnlijk water, maar het is magisch water. Het is het originele water. Hey Thot, drinken Egyptische goden water? [Intro Muziek] Mythen die de schepping omschrijven als afkomstig uit het niets zijn de moeilijkste om te begrijpen In het Latijn, wordt de uitdrukking "ex nihilo" gebruikt om deze soort schepping te beschrijven, en het kan een beetje existentiële angst veroorzaken voor mensen die ongemakkelijk zijn met het idee van het absolute niets. Geen tijd, geen ruimte, slechts een oneindige leegte. Net als de Wi-Fi plotseling verdwijnt. English: Hi, I'm Mike Rugnetta, this is Crash Course Mythology, and today, we're going to talk about a small, easy topic: The creation of the Universe. This is the first of several episodes on creation stories, and this one will center on myths that imagine a universe created out of nothing. Or possibly something. Sometimes out of water– Probably water, but it's magical water. It's primordial water. Hey Thot, do Egyptian gods drink water? [Intro Music] Myths that describe creation as coming out of nothing are some of the hardest to get our heads around. In Latin, the phrase "ex nihilo" is used to describe this type of creation, and it can cause a bit of existential dread for people who are uncomfortable with the idea of absolute nothing. No time, no space, just an infinite void. Like when the Wi-Fi suddenly goes down. German: Hi, ich bin Mike Rugnetta, dies ist Crash Course Mythologie und heute besprechen wir ein kleines, einfaches Thema: Die Schöpfung des Universums. Dies ist die erste von mehreren Folgen über Schöpfungsgeschichten und sie beschäftigt sich mit Mythen, in denen ein Universum aus dem Nichts erschaffen wird. Oder vielleicht auch aus einem Etwas. Manchmal aus Wasser-- Wahrscheinlich Wasser, aber es ist magisches Wasser. Es ist ursprüngliches Wasser. Hey Thot, trinken ägyptische Götter Wasser? [Titelmusik] Mythen, in denen die Schöpfung aus Nichts entsteht, sind vielleicht am schwersten zu verstehen. Im Lateinischen wird der Ausdruck "ex nihilo" für diese Art Schöpfung verwendet, und kann in Leuten, die die Vorstellung von absolut Nichts unheimlich finden, ein bisschen Existenzangst hervorrufen. und kann in Leuten, die die Vorstellung von absolut Nichts unheimlich finden, ein bisschen Existenzangst hervorrufen. Keine Zeit, kein Raum, nur eine unendliche Leere. Wie wenn das WLAN plötzlich ausfällt. Portuguese: Oi, Meu nome é Mike Rugnetta, esse é o Crash Course: Mitologia e hoje vamos falar sobre um assunto simples: A criação do universo Esse é o primeiro de alguns episódios sobre histórias de criação e nesse iremos focar em mitos que imaginam o universo sendo criado a partir de nada ou possivelmente algo, algumas da vezes da água, provavelmente água, mas é água mágica é a água primordial. Ei Toth, os deuses egípcios bebem água? (Música de Abertura) Mitos que descrevem a criação como vinda do nada são alguns dos mais difíceis de entender. Em Latim a frase Ex Nihilo é usada para descrever esse tipo de criação e isso pode causar um pouco de medo existencial para pessoas que não ficam a vontade com a ideia de Nada absoluto Nada, sem tempo, sem espaço, apenas um infinito vazio, como quando o Wi-fi Danish: Hej, jeg er Mike Rugnetta, det her er Crash Course Mytologi, og i dag skal vi snakke om et lille, nemt emne: Universets skabelse. Dette er den første af flere episoder om skabelsesberetninger, og i den her vil fokusere om myter, der handler om et univers, der skabes ud af intet. eller muligvis noget nogle gange ud af vand formentlig vand, men det er magisk vand Det er ur-vand Hey Thot, drikker de egyptiske guder vand? [♫ Kendingsmelodi ♫] Myter, der beskriver en skabelse fra intet, er nogle af de sværeste at forestile sig. På latin bruges udtrykkket "ex nihilo" til at beskrive denne type skabelse, og det kan forårsage en del eksistentiel gru for folk, der ikke er helt trygge ved tanken om absolut ingenting Ingen tid, intet rum, kun et uendeligt tomrum Som når Wi-Fi forbindelseen pludselig går ned Romanian: Bună, sunt Mike Rugnetta, acesta este Crash Course Mythology și astăzi o să vorbim despre o chestiune mică și ușoară: Crearea Universului. Acesta este primul din mai multe episoade despre poveștile creației și se va centra pe mituri care imaginează un Univers creat din nimic. Sau ceva cam în acest sens. Uneori ieșit din apă- probabil apă, dar o apă magică. Apă primordială. Hei Thot, zeii egipteni beau apă? muzică Miturile care descriu creația ca apărând din nimic sunt unele dintre cele mai grele de analizat. În latină, fraza ex nihilo e folosită pentru a descrie acest tip de creație și poate cauza puțină groază existențială oamenilor care nu se simt confortabil cu ideea nimicului absolut. Niciun timp, niciun spațiu doar un vid infinit. Ca atunci când Wi Fi -ul cade brusc. French: Bonjour ! Je m’appelle Mike Rugnetta, ceci est Crash Course Mythologie, et aujourd’hui nous allons aborder un sujet simple et léger : La création de l’Univers. Ce sera le premier de plusieurs épisodes sur les cosmogonies, et celui-ci se concentrera sur les mythes qui traitent d’un Univers créé à partir de rien. Ou peut-être de quelque chose. Parfois, à partir d’eau. Sans doute de l’eau, mais de l’eau magique. De l’eau primordiale. Hey Thot, les dieux égyptiens boivent de l’eau ? [Générique] Les mythes qui décrivent la création du monde à partir de rien sont les plus difficiles à s’imaginer. En latin, on utilise l’idiome « ex nihilo » pour décrire ce type de création, et cela peut mener à un peu d’angoisse existentielle si vous êtes mal à l’aise avec l’idée du vide absolu. Pas de temps, pas d’espace, juste le vide infini. Comme quand il n’y a soudainement plus de wifi. Spanish: ¡Hola! Soy Mike Rugnetta, esto es Crash Course Mitología y hoy vamos a hablar de un tema pequeño y fácil... La creación del universo. Este es el primero de varios episodios sobre historias de la creación y éste se va a centrar en mitos que imaginan un universo creado de la nada. O posiblemente algo. Algunas veces del agua, probablemente del agua, pero es agua mágica, agua primordial. Hey, Thot, ¿los Dioses egipcios toman agua? Los mitos que describen a la creación a partir de la nada son de los más difíciles de entender. En latín, la frase "Ex nihilo" es usada para describir este tipo de creación, y puede causar un terror existencial a la gente que está incómoda con la idea de la nada absoluta. Sin tiempo. Sin espacio. Sólo un vacío infinito. Como cuando el Wi-Fi se corta de repente, pero mucho, mucho peor. Russian: Привет, я Майк Рагнетта, это Crash Course Мифология, и сегодня мы поговорим на маленькую, простую тему: Сотворение Вселенной. Это первый из нескольких эпизодов об историях творения, и этот эпизод будет сосредоточен на мифах, которые представляют вселенную, созданную из ничего. Или, возможно, кое из чего. Иногда из воды… Наверно, воды, но волшебной воды. Первоначальной воды. Эй, Тот, а египетские боги пьют воду? Crash Course Мифология № 2 Сотворение из пустоты Мифы, описывающие мир как появляющийся из ничего, одни из самых трудных для нашего понимания. На латыни фраза «экс нихило» используется для описания этого типа творения и она может нагнать немного экзистенциального страха людям, которым неудобна идея абсолютного ничто. Ни времени, ни пространства, просто бесконечная пустота. Прямо как когда вай-фай внезапно падает. Portuguese: Oi, eu sou o Mike Rugnetta, este é Crash Course Mitologia, e hoje falaremos sobre um pequeno e fácil assunto: A criação do Universo. Este é o primeiro de vários episódios sobre histórias da criação, e este irá centrar-se em mitos que imaginam um universo criado a partir do nada. Ou, eventualmente, alguma coisa. Às vezes, a partir da água Provavelmente água, mas é água mágica. É água primordial. Ei, Thot, deuses egípcios bebem água? [música-tema] Mitos que descrevem a criação como vinda do nada são alguns dos mais difíceis de entrar nas nossas cabeças. Em latim, a expressão "ex nihilo" é usada para descrever este tipo de criação, e isso pode causar um pouco de medo existencial para as pessoas que se sentem desconfortáveis com a ideia do nada absoluto. Sem tempo, sem espaço, apenas um vazio infinito. Tipo quando o Wi-Fi de repente para de funcionar. Arabic: مرحباً، أنا "مايك ريجنيتا" أقدّم لكم كراش كورس: الميثولوجيا (علم الأساطير) وسنتحدث اليوم عن موضوع صغير وبسيط: نشأة الكون. هذه أول حلقة من مجموعة حلقاتٍ تتناول قصصاً تحكي عن نشأة الكون، وسنركّز في هذه الحلقة على الخرافات التي تعتقد بأن الكون قد نشأ من لا شيء، أو ربّما من شيء ما, أحياناً ما يكون الماء. على الأرجح من أنه الماء، ولكنّه ماءٌ سحري إنه ماء ما قبل الخليقة. مهلاً يا "تحوت"، هل تشرب الآلهة المصرية الماء؟ الأساطير التي تصف بداية الخليقة على أنها نشأة من لا شيء من أصعب الأساطير التي نحاول استيعابها. باللاتينيّة، تستخدم عبارة "اكس نيلو" لوصف هذا النوع من النشآت، ويمكن لها أن تسبب هلعاً وجودياً للأشخاص الذين تُربكهم فكرة "العدم". لا زمان ولا مكان، لا شيء سوى فراغٍ مُطلق كحالنا عندما يتعطل الراوتر فجأة, ولكن أسوأ... أسوأ بكثير. Swedish: Hej, jag heter Mike Rugnetta. Det här är Crash Course Mytologi och idag ska vi att prata om ett litet och lätt ämne: skapandet av universum. Det här är det första av flera avsnitt om skapelseberättelser och detta avsnitt kommer att handla om myter som berättar om en skapelse ur ingenting, eller möjligtvis någonting. Ibland ur vatten...förmodligen vatten, men det är magiskt vatten, det är 'urvatten'. Hej Thot, dricker egyptiska gudar vatten? Myter som berättar om en skapelse som kommer ur intet är några av de svåraste att förstå. På latin används frasen 'ex nihilo' för att beskriva den här sortens skapelse och det kan orsaka en del existentiell ångest hos personer som känner sig obekväma med idén om ett absolut intet. Ingen tid, inget rum, bara en oändlig tomhet, som när wifi:t plötsligt slutar fungera, men mycket värre. Chinese: 哈囉！我是麥克‧如格內塔 歡迎收看《神話速成班》 今天的題目非常非常簡單 「宇宙是怎麼創造的」 這是數集創世神話中的第一集 會著重在「無中生有」的創世神話 也不是完全什麼都沒有... 有時候會有水 可能就是水...但是是神水 是上古神...水 ㄟㄟ～圖特！ 埃及眾神喝不喝水？ 《神話速成班》 探討「無中生有」的神話 是最難去理解的神話 拉丁文 Ex Nihilo 正是用來形容 此類的創世神話 對有些人來說，完完全全的「真空」 會導致「存在恐懼」 沒有時間、沒有空間 就像網路突然斷線一樣的無限空虛 但是比沒有網路還要空虛 iw: היי, אני מייק רוגנטה, זהו קראש קורס במיתולוגיה והיום אנחנו הולכים לדבר על נושא קטן ופשוט: בריאת היקום. זהו הפרק הראשון מתוך כמה פרקים על הבריאה, והפרק הזה יתרכז במיתוסים שמציירים יקום שנוצר מכלום. או אולי ממשהו. לפעמים מתוך מים - כנראה שמים, אבל אלו מים קסומים. אלה מים קדומים. היי, ת'ות, האם אלים מצריים שותים מים? מוזיקת פתיחה מיתוסים שמסבירים בריאה מתוך כלום הם אלה שהכי קשים להבנה. בלטינית, משתמשים בביטוי "אקס ניהילו" כדי לתאר את הסוג הזה של יצירה, וזה יכול לגרום לחרדה קיומית עבור אנשים שמרגישים לא בנוח עם הרעיון של ריק מוחלט. אין זמן, אין חלל, רק ריק אינסופי. כמו כשהווי-פיי פתאום נופל. Danish: men bare meget meget værre spørg bare Hefaistos den græske smedegud den fyr ved en hel del om ustabil router arkitektur. Og hamrer. Sikkert den mest kendte "Ex nihilo" skabelsesberetning i vesten er genesishistorien I begyndelsen skabte Gud Himmelen og Jorden. Og Jorden var øde og tom; og der var Mørke over Verdensdybet. Men Guds Ånd svævede over Vandene. I denne beretning er hovedpersonen Gud. Og hey, lad os bruge et øjeblik på at huske, at vi snakker mytologi ikke religiøse studier, så vi vil henvise til den jødisk-kristne Gud som en karakter så brug et øjeblik på at blive komfortabel med det... og så går vi videre Denne karakter eksisterer før det, vi ville kalde "verden" Hvor eksistere Gud? Det er uklart. Der er et tomrum, der er vand, hvilket er brugbart hvis Gud har brug for opbevaringsrum og er tørstig... men ikke så meget andet. "Ex nihilo" skabelsesberetninger er almindelige i Nærøsten, Dutch: Maar, veel, veel erger. Vraag het maar aan Hephaestos, de Griekse god van de technologie. Die vent weet over instabiele dassen architectuur. En hamers. het waarschijnlijk bekendste ex nihilo scheppingsverhaal in het Westen komt uit het boek Genesis. In het begin schiep God de hemel en de aarde. En de aarde was zonder vorm en ledig; en er was duisternis. En de geest van God zweefde over de wateren. Dus, in dit verhaal, is de hoofdpersoon God. En hey, laten we ons snel herinneren dat dit mythologie is, en niet godsdienstwetenschap, dus we gaan verwijzen naar de joods-christelijke God als een karakter. Dus neem een moment om daar aan te wennen ... En laten we nu verder gaan. Dus, dit karakter bestaat voordat er iets bestaat van wat wij "de wereld" noemen Waar bestaat God? Het is onduidelijk. Er is een leegte, er is water, die handig zijn als God opslagruimte nodig heeft of dorst heeft, maar ... dat is het wel. Ex nihilo scheppingsverhalen zijn gebruikelijk in het oude Nabije Oosten, German: Nur viel, viel schlimmer. Fragt nur mal Hephaistos, den griechischen Gott der Technologie. Der Kerl kennt sich aus mit instabiler Rooter-Architektur. Und Hämmern. Die ex-nihilo-Geschichte, die im Westen wohl am Besten bekannt ist, stammt aus dem Buch der Genesis. "Am Anfang schuf Gott Himmel und Erde. Und die Erde war wüst und leer, und es war finster auf der Tiefe. Und der Geist Gottes schwebte auf dem Wasser." In dieser Geschichte ist die Hauptfigur also Gott. Und hey, rufen wir uns kurz ins Gedächtnis, dass wir in Mythologie und nicht Religionswissenschaft sind, weshalb wir den jüdisch-christlichen Gott als Figur bezeichnen werden. Also freundet euch gerade damit an... Und wir machen weiter. Also, diese Figur existiert bevor Allem, das wir als "die Welt" bezeichnen würden. Wo existiert Gott? Das ist unklar. Da ist Leere, da ist Wasser, was praktisch ist, wenn Gott Stauraum braucht oder durstig ist, aber... mehr auch nicht. Ex-nihilo-Schöpfungsgeschichten sind im antiken Nahen Osten weit verbreitet, Romanian: Doar că mult, mult mai rău. Întrebați-l doar pe Hefaistos, zeul grec al tehnologiei. Tipul ăsta știa despre arhitectura instabilă a rooter-ului.Și despre ciocane. Povestea despre creația ex nihilo probabil cea mai cunoscută în Occident este din cartea Genezei. "La început Dumnezeu a creat Paradisul și Pământul.Și Pământul era fără formă și gol; și întunericul domnea asupra sa.Ți spiritul lui Dumnezeu plutea deasupra apelor". Deci în această poveste principalul personaj este Dumnezeu. Și haideți să ne reamintim că aceasta e mitologie nu studii religioase, deci o să ne referim la Dumnezeul iudeo-creștin ca la un personaj. Deci stați o secundă să ne obișnuim cu asta...apoi să mergem. Deci , acest personaj există înainte de orice am putea numi lume. Unde există Dumnezeu? E neclar. E un vid, e apă, care e la îndemână dacă Dumnezeu are nevoie de spațiu sau îi e sete... Poveștile despre creația ex nihilo sunt comune în Orientul apropiat antic, Arabic: واسأل إله التكنولوجيا الإغريقي ( هيفيستوس) فذلك الرجل خبير بتصاميم الراوتر السيئة... والمطارق. و تأتينا أشهر قصص النشأة التابعة لأسلوب "إكس نيلو" في الغرب من إنجيل التكوين (أحد فصول كتاب الإنجيل) إقتباس من الإنجيل العربي: "فِي الْبَدْءِ خَلَقَ اللهُ السَّمَاوَاتِ وَالارْضَ وَكَانَتِ الارْضُ خَرِبَةً وَخَالِيَةً وَعَلَى وَجْهِ الْغَمْرِ ظُلْمَةٌ وَرُوحُ اللهِ يَرِفُّ عَلَى وَجْهِ الْمِيَاهِ." نرى أن الشخصية الرئيسية في هذه القصة هو الله. ولنأخذ دقيقة لنعيد ونتذكر أننا موضوعنا هو الميثولوجيا (علم الأساطير) وليس الدراسات الدينية وهذا يعني أننا سنتعامل مع إله أهل الكتاب كشخصية في قصة, لنحاول جميعاً أن نفهم هذه النقطة ونتقبلها... دعونا نواصل. ترى أن هذه الشخصية موجودة قبل وجود أي شيئ قد يسمى "العالم" أين يوجد الله بالضبط؟ ذلك غير واضح. لدينا ماء وفراغ... وتلك تنفع إذا أراد الله مستودعاً أو كان عطشان و لا شيء سوى ذلك. غالبا ما تأتي قصص النشأة التي تتبع أسلوب "إكس نيلو" (تذكير: قصص تدعي أن الكون نشأ من العدم) من الشرق الأدنى القديم. French: Mais en bien, bien pire. Demandez à Héphaïstos, dieu grec de la technologie. Il s’y connait en terme d’architecture de routeur instable. Et de marteaux. La cosmogonie ex nihilo probablement la plus connue en Occident vient du Livre de la Genèse. Au commencement, Dieu créa les cieux et la terre. La terre était informe et vide : il y avait des ténèbres à la surface de l'abîme, et l'esprit de Dieu se mouvait au-dessus des eaux. Donc, dans cette histoire, Dieu est le personnage principal. Et prenons une minute pour rappeler que nous sommes en mythologie, pas en études religieuses, donc nous allons considérer le dieu judéo-chrétien comme un personnage. Prenez une seconde pour vous y habituer... Et on peut continuer. Donc, ce personnage existe avant l’apparition de quoi que ce soit qu’on puisse appeler « le monde ». Où existe-t-il ? Ce n’est pas très clair. Il y a du vide, de l’eau, ce qui est pratique si Dieu a besoin d’espace de stockage ou s’Il a soif, mais... Ça s’arrête là. Les cosmogonies ex nihilo sont nombreuse en Proche-Orient ancien, English: But just, much, much worse. Just ask Hephaestus, Greek god of technology. That guy knows about unstable rooter architecture. And hammers. The ex nihilo creation story that's probably the best known in the West comes from the Book of Genesis. In the beginning God created the Heaven and the Earth. And the Earth was without form, and void; and darkness was upon the face of the deep. And the spirit of God moved upon the face of the waters. So, in this story, the main character is God. And hey, let's take just a quick minute to remember that this is mythology not religious studies, so we're gonna be refering to the judeo-christian God as a character. So take a second, to just get confortable with that... And now let's move on. So, this character exists before anything we would call "the world." Where does God exist? It's unclear. There's a void, there's water, which are handy if God needs storage space or is thirsty but... that's about it. Ex nihilo creation stories are common in the ancient Near East, Chinese: 不信就問問希臘的科技之神赫菲斯托斯 他透徹瞭解路由器的不穩定架構 還有鎚子 西方世界最熟悉的「無中生有」神話 莫過於聖經創世紀裡的神話 「起初，神創造天地。 地是空虛混沌，淵面黑暗。 神的靈運行在水面上。」 在這個故事當中，主角就是神 記得嗎？我們在討論神話，不是宗教論述 所以我們將猶太/基督教的神稱為「角色」 深呼吸，平靜下來 接著討論下去... 這個角色比我們所謂的世界還要早存在 那麼神存在哪裡？ 不清楚 有虛空、有水 如果神口渴了，或是需要儲存空間 那就十分方便 但...僅此而已 無中生有神話在古近東很普遍 iw: אבל הרבה, הרבה, יותר גרוע. רק תשאלו את הפייסטוס, אל הטכנולוגיה היווני. הבחור הזה מבין בארכיטקטורת רוט. ופטישים. סיפור הבריאה האקס ניהילו הוא ככל הנראה הידוע ביותר במערב, הוא הגיע מספר בראשית. "בראשית ברא אלוהים את השמיים ואת הארץ. והארץ הייתה תוהו ובוהו; וחושך על פני תהום. ורוח אלוהים מרחפת על פני המים". אז, בסיפור הזה, הדמות הראשית היא אלוהים. והיי, בואו ניקח דקה כדי להיזכר שזה קורס במיתולוגיה ולא בלימודי דת, אז אנחנו נתייחס לאל היהודי-נוצרי כאל דמות. אז קחו שנייה, רק כדי להרגיש בנוח עם זה... ועכשיו בואו נמשיך. אז, הדמות הזו קיימת לפני כל דבר שנוכל לקרוא לו "העולם". איפה אלוהים קיים? זה לא ברור. יש ריק, יש מים, שיעילים עם אלוהים צריך מקום אחסון או שהוא צמא אבל... זה בערך הכל. סיפורי בריאה "אקס ניהילו" נפוצים במזרח הקרוב הקדום, Russian: Но гораздо, гораздо хуже. Просто спросите Гефеста, греческого бога технологии. Этот парень знает о нестабильной структуре роутеров. И о молотах. История творения из ничего, наверно, самая известная на Западе история из книги Бытия. В начале сотворил Бог небо и землю. Земля же была безвидна и пуста, и тьма над бездною, и Дух Божий носился над водою. Итак, в этой истории главным персонажем является Бог. Эй, давайте возьмём перерыв на минуту и вспомним, что мы изучаем мифологию, а не религию, поэтому мы будем относиться к иудео-христианскому Богу как к персонажу. Так что подождите секунду, просто чтобы переварить это… А теперь поехали. Итак, этот персонаж существовал до того, что мы называем «мир». Где существует Бог? Это неясно. Вот пустота, вот вода, имеющиеся под рукой, если Богу будет нужно место для хранения вещей или если он захочет пить, но… на этом всё. Истории про творение из ничего общие для древнего Ближнего Востока, Swedish: Fråga bara Hefaistos, grekisk gud av teknologi. Den karlen vet allt om ostabil router-arkitektur och hammare. Den mest kända ex nihilo-berättelsen i västvärlden är nog från Första Moseboken eller Genesis. "I begynnelsen skapade Gud himmel och jord. Och jorden var öde och tom, och mörker var över djupet, och Guds Ande svävade över vattnet." I den här berättelsen är alltså Gud huvudpersonen. Och kom ihåg att det här är mytologi, inte religiösa studier, så vi kommer att referera till den judisk-kristna guden som en karaktär. Så ta en stund att vänja dig vid det...och låt oss nu gå vidare. Så den här karaktären fanns innan någonting som vi kallar för världen fanns. Var existerar Gud? Det är oklart. Det finns ett tomrum, det finns vatten, vilka är händiga om Gud behöver förvaringsutrymme eller är törstig, men det är ungefär allt. Ex nihilo-berättelser är vanliga i det forntida Mellanöstern. Spanish: Sólo pregúntenle a Hefesto, dios griego de la tecnología. Ese tipo sabe sobre arquitectura de routers inestables... y martillos. La historia de la creación Ex Nihilo que probablemente es la más conocida en Occidente viene del Libro de Génesis: "En el principio, creó Dios los cielos y la tierra. Y la tierra estaba desordenada y vacía; y las tinieblas estaban en la faz del abismo. Y el Espíritu de Dios se movía sobre la faz de las aguas." Entonces, en esta historia, el personaje principal es Dios. Y tomemos un minuto para recordar que estos son estudios mitológicos, no religiosos, así que nos referiremos al Dios judeo-cristiano como un personaje. Así que tómense un segundo para acostumbrarse a eso... y sigamos. Entonces, este personaje existe antes de todo lo que llamaríamos "el mundo" ¿En dónde existe Dios? No está claro. Hay un vacío, hay agua, los cuales son útiles si Dios necesita un lugar para almacenar cosas o si tuviera sed pero... ...no sirven para más. Las historias de la creación Ex Nihilo son comunes en el antiguo Oriente Próximo. Los mundos mediterráneos donde las religiones abrahámicas, Portuguese: cai de repente, mas muito, muito pior. Pergunte a Hefesto deus grego da tecnologia, esse cara sabe tudo sobre instabilidade de roteadores … E martelos. A história de criação do nada mais conhecida no oeste é a do livro do Genesis: No princípio Deus criou o céu e a terra e a terra estava disforme e vazia e havia trevas sobre a face do abismo e o Espírito de Deus se movia sobre a face das águas. Nessa história o personagem principal É Deus, espere um segundo: Vamos lembrar que isso é mitologia não ensino religioso então nós vamos nos referir ao deus judaico cristão como um personagem. Espere um segundo para você ficar confortável com isso E agora continuemos: Então esse personagem existia antes de qualquer coisa que pudéssemos chamar de mundo Onde Deus existia não é claro. Havia o vazio, havia água. Que seriam úteis se Deus precisasse guardar as coisas ou tivesse sede Mitos de criação a partir do nada eram comuns no antigo Oriente Próximo. A região mediterrânea Portuguese: Mas, assim, muito, muito pior. Basta perguntar pro Hefesto, deus grego da tecnologia. Esse cara sabe sobre arquitetura instável. E martelos. A história da criação ex nihilo que é provavelmente a mais conhecida no Ocidente vem do livro de Gênesis. No princípio, Deus criou o céu e a terra. E a terra era sem forma e vazia; e havia treva sobre a face do abismo. E o Espírito de Deus se movia sobre a face das águas. Assim, nesta história, o personagem principal é Deus. E ei, vamos dar apenas um minuto rápido para lembrar que isso é mitologia, não estudos religiosos, então estaremos nos referindo ao deus judaico-cristão como um personagem. Então, tome um segundo, apenas para ficar confortável com isso... E vamos seguir em frente. Assim, este personagem existe antes de qualquer coisa que chamaríamos de "mundo". Onde Deus existe? Não está claro. Há um vazio, há água, que são úteis se Deus precisa de espaço de armazenamento ou está com sede, mas... é isso aí. Histórias de criação ex nihilo são comuns no antigo Oriente Próximo, French: le monde méditerranéen où les religions abrahamiques, le Judaïsme, la Chrétienté et l’Islam, trouvent leur origine. L'Égypte faisait partie d’un système méditerranéen interconnecté, et l'une de ses cosmogonies présuppose lui aussi un Univers né à partir de rien, comme on peut le voir dans ce fragment. « Je suis l’esprit éternel, je suis le soleil qui s’est élevé des eaux primitives. Mon âme est Dieu, je suis le créateur du monde. Le mal est mon abomination, je ne le vois point. Je suis le créateur de l’ordre dans lequel je vis, je suis le monde, qui jamais ne sera annihilé en cela mon nom « d’esprit ». En mettant de côté le pronom à la première personne et les déclarations impérieuses, on voit les similitudes avec l’histoire de la Genèse. Il y a un dieu éternel qui crée le monde, et des eaux d’où sortent... et bien dans ce cas c’est le soleil, ce qui est sympa. Demandez à Rê, le dieu soleil égyptien. Parce qu’au bout d’un moment les humains réalisent que certains d’entre nous sont plus beaux bronzés, en particulier moi. Je ne sais pas pour vous, mais j’ai beaucoup de mal à visualiser le néant. J’ai plus l’habitude... qu'il y ait des trucs. Spanish: el judaísmo, el cristianismo y el islam, se originaron. Egipto fue parte de un sistema mediterráneo interconectado, y uno de sus mitos de creación también plantea un universo que viene de la nada, como podemos ver en este fragmento: "Soy el espíritu eterno, soy el Sol que se alzó de las aguas primitivas. Mi alma es Dios, soy el creador de la Palabra. El mal es mi abominación, no lo veo. Soy el creador del orden en el cual vivo, soy la Palabra, la cual nunca será aniquilada en este, mi nombre de "alma". Saquen los pronombres en primera persona y las declaraciones audaces y podrán ver las similitudes con la historia del Génesis. Hay un Dios eterno, quien crea el mundo, y después hay aguas desde las cuales se alza... bueno, en este caso es el Sol, lo cual está bien, sólo pregúntenle a Ra, Dios egipcio del Sol, porque eventualmente los humanos se darían cuenta de que algunos de nosotros nos vemos mejor bronceados, especialmente yo. No sé ustedes, pero a mí me cuesta concebir la nada. Estoy más acostumbrado a... algo. Russian: для средиземноморского мира, где возникли авраамические религии — иудаизм, христианство и ислам. Египет был частью взаимосвязанной средиземноморской системы, а один из её мифов о творении также утверждает, что вселенная появилась из ничего, как мы можем увидеть в этом фрагменте. «Я вечный дух, Я солнце, что встало из первобытных вод. Моя душа — Бог, Я создатель слова. Зла я отвращаюсь, не вижу я его. Я создатель порядка, в котором живу, Я — слово, которое никогда не упразднится в этом моём имени „душа“». Уберите местоимение первого лица и смелые претензии, и вы сможете увидеть сходство с историей книги Бытия. Есть вечный Бог, создающий мир, и ещё воды, из которых он появляется… ну, в этом случае это солнце, клёво. Просто спросите у Ра, египетского бога солнца. Потому что со временем люди поймут, что некоторые из нас выглядят лучше с загаром, особенно я. Не знаю как вы, но у меня большие трудности с пониманием концепции ничего. Я больше привык к… «чего». English: the Mediterranean world where the Abrahamic religions–Judaism, Christianity, and Islam–originated. Egypt was part of an interconnected Mediterranean system, and one of its creation myths also posits a universe coming from nothing, as we can see in this fragment. "I am the eternal spirit, I am the sun that rose from the primeval waters. My soul is God, I am the creator of the word. Evil is my abomination, I see it not. I am the creator of the order wherein I live, I am the word, which will never be annihilated in this my name of "soul." Take away the first person pronoun and the bold claims, and you can see the similarities to the Genesis story. There is an eternal God who creates the world, and then there are waters out of which rise... well, in this case it's the sun, which is nice. Just ask Ra, Egyptian sun god. Cause eventually humans would realize that some of us look better with a tan, me especially. I don't know about you, but I have a hard time conceiving of nothingness. I'm a lot more accustomed to... "thingness". German: in der mediterranen Welt, in der die abrahamitischen Religionen - Judentum, Christentum und Islam - entstanden. Ägypten war Teil eines vernetzten, mediterranen Systems, und einer seiner Schöpfungsmythen setzt ebenfalls voraus, dass das Universum aus dem Nichts kam, wie wir in diesem Fragment sehen. "Ich bin der ewige Geist, ich bin die Sonne, die aus den Urwassern stieg. Meine Seele ist Gott, ich bin der Schöpfer der Welt. Das Böse ist mir ein Gräuel, ich sehe es nicht. Ich bin der Schöpfer der Ordnung, in der ich lebe, ich bin das Wort, das nie vernichtet werden wird, in diesem meinem Namen "Seele"." Wenn man die Pronomen der ersten Person und die gewagten Behauptungen ignoriert, sieht man die Ähnlichkeiten zur Genesis-Geschichte. Es gibt einen ewigen Gott, der die Welt erschafft, und dann ist da Wasser, aus dem... gut, in diesem Fall die Sonne aufsteigt, was nett ist. Fragt nur Ra, den ägyptischen Sonnengott. Weil die Menschen irgendwann erkannten, dass manche von uns braungebrannt besser aussehen, vor allem ich. Ich weiß nicht, wie es mit euch ist, aber ich kann mir Nichts kaum vorstellen. Ich bin eher an... Dinge gewöhnt. Dutch: de mediterrane wereld waar de Abrahamitische godsdiensten -- jodendom, het christendom en de islam zijn ontstaan. Egypte maakte deel uit van een onderling verbonden mediterraan systeem, en een van zijn scheppingsmythes noemt ook een universum wat ontstaat uit het niets, zoals we kunnen zien in dit fragment. "Ik ben de eeuwige geest, ik ben de zon die opkwam uit de oerwateren. Mijn ziel is God, ik ben de schepper van het woord. Het kwaad is mijn gruwel, ik zie het niet. Ik ben de maker van de orde waarin ik leef, ik ben het woord, dat nooit zal worden vernietigd in deze mijn naam de "ziel". Neem de eerste persoon en de beweringen weg, en je kunt de overeenkomsten met de Genesis zien. Er is een eeuwige God die de wereld schept, en dan zijn er wateren waaruit rijst.. Nou, in dit geval is het de zon, wat leuk is. Vraag het maar aan Ra, Egyptische zonnegod. Want uiteindelijk zou de mens beseffen dat sommigen van ons er beter uitzien met een kleurtje, ik in het bijzonder. Ik weet hoe jij erover denkt, maar ik ik vind het moeilijk om het idee van het niets te kunnen begrijpen. Ik ben veel meer gewend aan ... "ietsheid". Chinese: 也就是亞伯拉罕諸教（猶太教、基督教、伊斯蘭教） 所發源的的地中海地區 埃及也處在這個交互連結的地帶 而埃及的創世神話也包含了這類 「無中生有」的元素 例如下面這段： 「我是永恆的靈。 我是由初始之水升起的太陽。 我的靈魂是神，我創造了道。 我的眼中容納不下邪惡。 我創造了我所在的秩序。 我就是不可磨滅的道。 此是我靈魂之名。」 去掉第一人稱的「我」 還有各種「狂言」 就能夠發現它與《創世紀》故事的相似之處 有個永恆之神創造了天地 然後從水中升起了... 呃...在本文中是太陽，很好 不信就問問埃及太陽神：拉 人類最終會發現，有些人曬成小麥色比較帥 尤其是我... 我不知道你是怎麼想的，但是我... 我很難理解「無」的概念 我比較習慣...看得見的東西 Arabic: وهي المناطق القريبة من البحر الأبيض المتوسط والتي نشأت منها الديانات الإبراهيمية (اليهودية والمسيحية والإسلام). كانت مصر إحدى الدول التي يصلها البحر المتوسط, وإحدى أساطير النشأة لديها تفترض كذلك أن الكون نشأ من العدم. كما نرى في هذا الإقتباس: "أنا هي الروح الأبدية, أنا هي الشمسُ التي أشرقت من مياه ما قبل الخليقة, روحي هي الإله, وأنا خالق الكلمة, الشر رِجسي, ولا أراه. أنا من خلق النظامَ حيث أعيش, أنا هي الكلمة التي لن تمحى أبداً في الروح التي هي اسمي." إذا تخلصنا من ضمير المتكلم والإدعاءات الجريئة, سنجد أن هذه القصة تشابه قصة النشأة من الإنجيل. فلدينا إله أبدي يخلق العالم, ولدينا كذلك مياه تخرج منها... الشمس في هذه الحالة. وهذا رائع, واسأل إله الشمس المصري (رع). فالناس أدركوا بعد فترة أن البشرة السمراء تحسن من مظهر بعضهم, وخاصة مظهري... لا أعرف إذا كان ما سأقوله ينطبق عليك, ولكنني أواجه صعوبة شديدة عندما أحاول أن أتخيل "العدم" فأنا معتاد على... "الأشياء". Romanian: lumea mediteraneeană de unde sunt originale religiile abrahamice- Iudaismul, Creștinismul și Islamul. Egiptul era parte a unui sistem mediteraneean interconectat și unul dintre miturile sale ale creației de asemenea postulează un univers apărut din nimic așa cum putem vedea în acest fragment. "Eu sunt spiritul etern, sunt soarele care răsare din apele primordiale. Sufletul meu e Dumnezeu, eu sunt creatorul lumii.Răul îmi provoacă scârbă, nu-l accept. Sunt creatorul ordinii în care trăiesc, Eu sunt cuvântul care nu va fi niciodată anihilat în acest nume al meu de suflet." Dați la o parte pronumele la persoana I și pretențiile arogante și puteți vedea asemănări cu povestea Genezei. Există un Dumnezeu etern care creează lumea și apoi există ape din care ies... ei bine, în acest caz e Soarele ceea ce e drăguț.Întrebați-l pe Ra, zeul egiptean al Soarelui. Pentru că în cele din urmă oamenii și-au dat seama că unora dintre noi le stă mai bine bronzat, mie în special. Nu știu despre voi dar m-am gândit mult timp la nimic. Sunt destul de obișnuit cu... lipsa lucrului. Portuguese: onde as religiões abraâmicas; Judaísmo, Cristianismo e Islamismo; surgiram. O Egito era parte do sistema interconectado do Mediterrâneo e um dos seus mitos de criação também mostra o universo surgindo do nada. Como podemos ver nesse fragmento: Eu sou o espírito eterno, eu sou o sol que se levantou das águas primordiais Minha alma é deus, eu sou o criador da palavra. O mal é minha abominação, eu não o vejo. Eu sou o criador da ordem, onde eu vivo Eu sou a palavra que nunca será aniquilada, assim meu nome é alma. Esqueça do pronome na primeira pessoa e as afirmações ambiciosas e você pode ver as similaridades com a história do Gênesis. Há um deus eterno que cria o mundo e há águas das quais o mundo surge … nesse caso é o sol, o que é legal, pergunte Rá, deus grego do Sol por que os egípcios perceberam que alguns de nós ficam melhor bronzeados, eu especialmente. E não sei vocês, mas eu acho difícil imaginar o 'nadismo', eu estou mais acostumado com o 'coisismo'. Quer dizer o nada é uma coisa? Swedish: Medelhavsvärlden där de abrahamitiska religionerna, judendomen, kristendomen och islam, kommer ifrån. Egypten var del av ett sammanlänkat medelhavssystem och en av dess skapelseberättelser beskriver också ett universum som kommer ur intet, som vi ser i det här fragmentet: "Jag är den eviga anden, jag är solen som reste sig ur urvattnet. Min själ är Gud, jag är Ordets skapare. Ondskan är min styggelse, jag ser den inte. Jag är skaparen av ordningen i vilken jag lever, jag är Ordet som aldrig skall förintas i detta mitt namn som "Själ". Ta bort jaget och de djärva påståendena och så ser du likheterna med Genesis-berättelsen. Det finns en evig gud som skapar världen och så finns det vatten ur vilket reser sig... ...nå ja, i det här fallet är det solen, som är trevligt. Fråga bara Ra, den egyptiska solguden. För så småningom kom folk att förstå att vissa av oss ser bättre ut med en solbränna. Jag i synnerhet. Jag vet inte om du håller med, men för mig är det svårt att föreställa mig 'ingenting'. Jag är mer van vid...'någonting'. Portuguese: o mundo Mediterrâneo, onde as religiões abraâmicas -- Judaísmo, Cristianismo, e Islã, originaram-se. O Egito era parte de um sistema Mediterrâneo interligado, e um de seus mitos da criação também postula um universo vindo do nada, como podemos ver neste fragmento. "Eu sou o espírito eterno, eu sou o sol que surgiu das águas primordiais. Minha alma é Deus, eu sou o criador da palavra. O mal é a minha abominação, eu não o vejo. Eu sou o criador da ordem em que eu vivo, eu sou a palavra, que nunca serão aniquiladas neste meu nome de "alma". Tirando o pronome em primeira pessoa e as afirmações ousadas, e você pode ver as semelhanças com a história do Gênesis. Há um Deus eterno que criou o mundo, e, em seguida, existem águas que ascendem... Bem, neste caso, é o sol, o que é legal. Basta perguntar pra Rá, deus egípcio do sol. Porque, eventualmente, os seres humanos iriam perceber que alguns de nós ficam melhor com um bronzeado, especialmente eu. Eu não sei você, mas eu tenho dificuldade em conceber o nada. Eu sou muito mais acostumado a... coisas. Danish: Middelhavsområdet hvor de Abrahamitiske religioner - jødedommen, kristendommen og islam - stammer fra. Egypten var en del af et forbundet middelhavssystem, og en af dets skabelsesberetninger forudsætter også et univers, der kommer fra intet, som vi kan se i dette fragment. "Jeg er den evige ånd, jeg er solen, der stod op fra urvandene. Min sjæl er Gud, jeg er skaberen af ordet. Ondskab er vederstyggeligt, jeg ser den ikke. Jeg er skaberen af den orden, i hvilken jeg bor, jeg er ordet, som aldrig vil blive udslettet i dette mit navn "sjæl" Fjern førstepersons stedordet og de dristige påstande, og så kan man se ligheder med Genesisfortællingen. Der er en evig Gud, som skaber verden , og så er der vandene, ud af hvilke opstår... tja, i dette tilfælde solen, hvilket er godt. Spørg bare den egyptiske solgud Ra. fordi mennesker ville en dag indse, at nogle af så ser bedre ud, når de er solbrune, især mig. Jeg ved ikke med dig, men jeg har det svært ved at forestille mig intetheden. Jeg er meget mere vant til... "heden" iw: העולם הים-תיכוני מתוכו דתות אברהם - יהדות, נצרות ואיסלאם - נוצרו. מצרים הייתה חלק ממערכת קשרים ים-תיכונית ואחד ממיתוסי הבריאה שלהם גם הוא יוצא מנקודת הנחה שהיקום נוצר מכלום, כפי שאנחנו יכולים לראות בקטע הזה. "אני הרוח הנצחית, אני השמש שזרחה מהמים הקדומים. הרוח שלי היא אלוהים, אני הוא היוצר את המילה. רוע הוא התועבה שלי, אינני רואה בו. אני הוא היוצר את הסדר בו אני חי, אני המילה, שלעולם לא תישמד בשמי זה, הוא הנשמה." תוציאו את הכינויים בגוף ראשון וההצהרות הנועזות, ותוכלו לראות את הדימיון לסיפור בבראשית. יש אל נצחי שיוצר את העולם, ואז יש מים שמהם עולה... טוב, במקרה הזה זוהי השמש, שזה נחמד. שאלו את רע, אל השמש המצרי. משום שבסופו של דבר בני אדם יבינו שחלק מאיתנו נראים טוב יותר כשהם שזופים, במיוחד אני. אני לא יודע לגביכם, אבל לי קשה להעלות על הדעת את הרעיון של כלום. אני הרבה יותר רגיל ל... "דבריות". Chinese: 「無」本身是個東西...嗎？ 更何況有這麼多的水，能叫做「無」嗎？ 幸好，還有一種方式來詮釋創世前的狀態： 「渾沌」 神話學家大衛‧李明定義「渾沌」如下： 多數創世神話中，在創造之前， 矇昧不明、混一虛無的狀態 許多的神話中，渾沌就是故事的背景設定。 例如在赫西俄德所著的《神譜》中 所描述的希臘創世神話 （赫西俄德是約在公元前8世紀的牧羊詩人） 在此版本中說：「確實，卡俄斯（渾沌）出現了， 此後是大胸脯的大地。」 才剛開始而已，但是我們可見有任何神或眾神出現 設立秩序前，混亂（或渾沌）就已存在 還有大地有「咪咪」！？ 大地～之母？ 地母，合理吧？ 在許多神話中，帶來秩序最簡單的莫過於照亮黑暗 Spanish: ¿No es la nada, algo en sí misma? Y más importante, ¿la podemos incluso llamar "nada" con toda esta agua alrededor? Afortunadamente, para la gente como yo, hay una palabra para describir la condición antes de la creación. Caos. Al cual es definida por el mitólogo David Leeming como: "El vacío primordal o estado de indiferenciación uniforme que precede la creación del mundo en la mayoría de mitos de la creación." El caos es como un fondo en muchos de estos mitos. Como lo es en la versión griega de la creación encontrada en la Teogonía, de Hesíodo, un poeta y pastor de ovejas que probablemente vivió en el siglo VIII A.C. De acuerdo con esta versión: "En primer lugar, el caos vino a ser, pero siguió la Tierra de amplio pecho." No mucho que sacar de ahí, pero como podemos ver, el caos es lo que tenemos antes de que una deidad, o deidades, se presentaran y proveyeran orden. Y también, aparentemente la Tierra tiene pechos. ¿Madre Tierra?, quizás, tiene sentido. En varios mitos de la creación, una forma inaugural de poner las cosas en orden es traer luz a la oscuridad. iw: אני מתכוון, האם כלום הוא לא... דבר כשלעצמו? והיי, אפילו חשוב יותר, האם אנחנו באמת יכולים לקרוא לזה "כלום" עם כל המים האלה מסביב? למרבה המזל עבור אנשים כמוני, קיימת מילה לתיאור המצב לפני הבריאה: כאוס. שהמיתולוג דייוויד לימינג מגדיר כ"ריק הראשוני, או המצב הראשוני של חוסר הבחנה כולל, שקודם לבריאת העולם ברוב מיתוסי היצירה". כאוס משמש כמעין רקע בהרבה מהמיתוסים הללו. כפי שהוא בגרסה היוונית של הבריאה מתוך התאוגוניה של הסיודוס, המשורר ורועה הכבשים, שחי ככל הנראה במאה ה-8 לפני הספירה. לפי גרסה זו, "ואמנם בתחילה כאוס נוצר, ואחריו כדור הארץ רחב החזה". אין הרבה בגרסה הזו, אבל כפי שניתן לראות, כאוס הוא מה שיש לנו לפני שאל או אלים מגיעים, ויוצרים סדר. ומסתבר שלאדמה יש גם חזה. אמא אדמה, אני מניח? הגיוני. French: Je veux dire, est-ce que le néant n’est pas une chose, en soi ? Et puis, encore plus important, est-ce qu’on peut vraiment appeler ça « le néant » avec toute cette eau ? Heureusement pour les gens comme moi, il existe un mot pour décrire l’état avant la création : Le Chaos. Ce que le mythologue David Leeming définit en tant que « le vide primitif ou l’état de non-différenciation uniforme qui précède la création du monde dans la plupart des cosmogonies. » Le Chaos est comme un arrière-plan dans nombre de ces mythes. Comme par exemple dans la version grecque de la création, originaire de La Théogonie d’Hésiode, un poète et éleveur de moutons, Qui a probablement vécu au VIIIe siècle avant notre ère. Selon cette version, « Au commencement exista le Chaos, puis la Terre à la large poitrine ». Pas grand chose à étudier ici, mais comme on peut le voir, le Chaos est ce qui existe avant qu’une ou plusieurs déités apparaissent, et apportent l’ordre. Aussi, la Terre a des seins. La Terre Mère, je suppose ? Ça colle. Romanian: Vreau să spun că nu este nonexistența...un lucru în sine? Și chiar mai important o putem numi nonexistență cu toate aceste ape în jur? Din fericire pentru oameni ca mine există un cuvânt care descrie condiția de dinaintea Creației: Haos. Pe care mitologistul David Leeming îl definește ca "vidul primordial sau stare nediferențiere uniformă care precede creația lumii în cele mai multe mituri ale creației." Haosul face parte din background-ul multor dintre aceste mituri. La fel este în versiunea greacă a creației descoperită în Teogonia lui Hesiod, un poet și crescător de vite care a trăit probabil în secolul VIII î.Hr. Conform acestei versiuni: Într-adevăr, mai întâi a fost Haosul urmat de Pământul ieșit din străfunduri. Nu mergem mai departe dar așa cum am văzut Haosul este ceea ce am avut înainte ca o divinitate sau toate divinitățile să apară și să instaureze ordinea. Și de asemenea Pământul aparent are sâni.Pământul Mamă, pot să ghicesc? Are sens. Arabic: أليس "العدم" شيئا بحد ذاته؟ والأهم من ذلك... هل يصح أن نسميه "عدماً" على الرغم من وجود الماء فيه؟ لحسن حظ من هم مثلي, هنالك كلمة تصف حال ما قبل نشأة الكون... ألا وهي "الفوضى" وتعريفها كمصطلح علمي في هذا السياق بناء عى كلام عالم الأسطير ديفيد ليمينق: "الفراغ الموجود قبل الخليقة أو حالة التماثل التام اللذي لا فروق فيه والتي تسبق خلق الكون في معظم أساطير نشأة العالم. " تعتبر الفوضى خلفية لمعظم هذه الأساطير, ومنها أسطورة النشأة الإغريقية, كما نرى في قصيدة "الثيونوجيا" لهزيود, وهو شاعرٌ وراعٍ للغنم عاش على الأرجح في العصر الثامن قبل الميلاد. وتقول هذه الرواية: "في البدء وُجدت الفوضى بلا ريب, وبعدها أتت الأرض بحضنها الرحيب." لا تخبرنا هذه الجزئية الكثير, ولكننا نرى أن هناك فوضى تعمّ قبل أن يأتي إلهٌ أو آلهة ويقومون بوضع نظام. ويبدو أن للأرض...أثداء. شيء معقول, فهي الأرض الأم. إيجاد النور من الظلمة طريقة افتتاحية شائعة لجلب النظام في العديد من أساطير النشأة. Russian: В смысле, разве ничто — это не вещь, сама по себе? И что более важно, мы правда можем называть это «ничто» с учётом всей этой воды вокруг? К счастью для таких людей как я, есть слово, описывающее состояние до творения: хаос. Которое мифолог Дэвид Лиминг определяет как «изначальную пустоту или состояние единообразия, предшествующее сотворению мира в большинстве мифов о творении». Хаос — это что-то вроде фона во многих таких мифах. Прямо как в греческой версии творения, которую можно найти в «Теогонии» Гесиода, поэта и овцевода, жившего примерно в VIII веке до н. э. Согласно его версии, «Прежде всего во вселенной Хаос зародился, а следом широкогрудная Земля». Не так уж много произошло, но как мы можем увидеть, Хаос — это то, что у нас было до того, как божество или божества подкатили и обеспечили порядок. А также у Земли, по всей видимости, есть грудь. У Матери-Земли, я полагаю? Имеет смысл. Danish: Jeg mener, er intetheden ikke... en ting i sig selv? og hey endnu vigtigere kan vi virkelig kalde det "intethed" i betragtning af alt vandet? Heldigvis for folk som mig, er der et ord til at beskrive forholdene før skabelsen: kaos. Som mytologen David Leeming definerer som "ur-tomrummet eller en tilstand af ensartet ikke-differentiation" som går forud for verdens skabelse i de fleste skabelsesberetninger" Kaos er lidt af et fællestræk i mange af disse myter: Som det findes i den græske version af skabelsen i Theogonien af Hesiod, en digter og fårehyrde, som nok levede i det 8. århundrede fvt. Iføgle denne version "sandelig først skabtes kaoset, men derefter den storbarmede jord." Der er ikke meget at komme efter her, men som vi kan se, er Kaos, hvad vi har, før en eller flere guder springer frem og skaber orden. Og også at jorden åbenbart har bryster. Moder Jord, vil jeg tror? Det giver mening. Portuguese: Quero dizer, não é "nada"... uma coisa, em si mesma? E ei, ainda mais importante, nós realmente podemos chamá-lo de "nada" com toda essa água ao redor? Felizmente para pessoas como eu, há uma palavra para descrever a condição antes da criação: Caos. O que o mitologista David Leeming define como "o vazio primordial ou estado de não-diferenciação uniforme que antecede a criação do mundo, na maioria dos mitos da criação". Caos é tipo um fundo em muitos desses mitos. Como é na versão grega da criação, encontrada na "Teogonia" de Hesíodo, poeta e fazendeiro de ovelhas, que provavelmente viveu no século 8 AEC. De acordo com esta versão: "No verdadeiro princípio veio o Caos a ser, mas depois a Terra de seios fartos." Não há muito paraelaborar aí, mas como podemos ver, O Caos é o que temos antes de uma divindade ou divindades aparecerem a dar ordem ao mundo. E também a Terra, aparentemente, tem seios. Mãe-Terra, eu acho? Faz sentido. German: Ich meine, ist Nichts nicht... ein Ding, an und für sich? Und hey, noch wichtiger, können wir es wirklich "Nichts" nennen, wenn da so viel Wasser ist? Zum Glück gibt es für Leute wie mich ein Wort, um den Zustand vor der Schöpfung zu beschreiben: Chaos. Was der Mythologe David Leeming als "die erste Leere oder den Zustand gleichförmiger Nichtdifferenzierung" bezeichnet, "der in den meisten Schöpfungsmythen der Erschaffung der Erde vorausgeht." Chaos ist so etwas wie der Hintergrund in vielen dieser Mythen. Wie etwa in der griechischen Version der Schöpfung aus der Theogenie von Hesiod, einem Dichter und Schafhirt, der wahrscheinlich im 8. Jahrhundert v.u.Z. lebte. Diese Version sagt: "vor allem zuerst ward Chaos; aber nach diesem ward die gebreitete Erd'". Ziemlich wenig Info, aber wir können sehen, dass Chaos da ist, bevor eine Gottheit oder Gottheiten vorbeikommen und Ordnung erzeugen. Und dass die Erde (in der englischen Übersetzung) Brüste hat. Mutter Erde, oder so? Ergibt Sinn. Portuguese: Mais importante nós podemos realmente chamar isso de nada com toda essa água, felizmente para pessoas como eu há uma palavra para descrever a condição antes da criação: "Caos" que o mitologista David Liman define como o vazio primordial ou estado de não diferenciação uniforme que precede a criação do mundo na maioria dos mitos de criação. O Caos é como um fundo em muitos desses mitos, como no mito grego da criação encontrado na Teogonia de Hesíodo um poeta e criador de ovelhas que provavelmente viveu Oito séculos antes de Cristo. De acordo com esse mito, primeiramente o Caos passou a existir depois a terra de amplo seio Nada muito diferente, como podemos ver mas o Caos é o que existia antes de um deus ou deuses aparecessem e criassem a ordem. Além disso a terra tem seios. Mãe Terra... Eu acho que faz sentido. Em muitos mitos de criação uma forma de colocar as coisas English: I mean isn't nothingness... a thing, in and of itself? And hey even more importantly, can we really call it "nothingness" with all this water around? Fortunately for people like me, there's a word to describe the condition before creation: Chaos. Which mythologist David Leeming defines as "the primal void or state of uniform nondifferenciation that precedes the creation of the world in most creation myths." Chaos is something of a background in many of these myths. As it is in the Greek version of creation found in The Theogony by Hesiod, a poet and sheep farmer, who probably lived in the 8th century BCE. According to this version, "Verily at the first Chaos came to be, but next wide-bosomed Earth." Not much to go on there, but as we can see, Chaos is what we have before a deity or deities roll up, and provide order. And also the Earth apparently has breasts. Mother Earth, I guess? Makes sense. Dutch: Ik bedoel is het niets niet... een ding, op en van zichzelf? En hey wat nog belangrijker is, kunnen we het echt het "niets" noemen met al dat water erbij? Gelukkig voor mensen zoals ik, is er een woord om de toestand te beschrijven van voor de schepping: Chaos. Welke mytholoog David Leeming definieert als "de oerleegte of de toestand van uniforme nondifferentiatie dat voorafgaat aan de schepping van de wereld in de meeste scheppingsverhalen." Chaos speelt op de achtergrond in veel van deze mythen. Zoals in de Griekse versie van de schepping in de theogonie van Hesiodus, een dichter en schapenboer, die waarschijnlijk leefde in de 8ste eeuw voor Christus. Volgens deze versie, "Voorwaar, eerst ontstond er Chaos, maar daarna de wijd-geboezemde aarde." Niet veel van te begrijpen, maar zoals we kunnen zien, Chaos is wat we hebben voordat een god of goden opdraven, die voor orde zorgen. En de aarde heeft blijkbaar borsten. Moeder Aarde, denk ik? Klinkt logisch. Swedish: Är 'ingenting' inte också ett någonting i sig? Men ännu viktigare: kan vi verkligen kalla det 'ingenting' när det finns så mycket vatten? Som tur är, finns det ett ord för att beskriva tillståndet före skapelsen: 'kaos'. Vilket mytologen David Leeming definierar som: "Det ursprungliga tomrummet eller tillståndet av enformig icke-uppdelning som föregår skapandet av världen i de flesta skapelsemyterna." Kaos fungerar som en bakgrund i många av de här myterna. Till exempel i den grekiska skapelseberättelsen som finns i Theogonin av Hesiodos, en poet och fårherde som antagligen levde i 700 före vår tideräkning. Enligt den här versionen: Sannerligen, först kom kaos, men sedan storbystade Jorden." Inte så mycket att gå på här, men som ni ser är kaos det som finns före en gud eller gudar tar tag i saken och skapar ordning, och Jorden har uppenbarligen också bröst. Moder Jord, inte helt ologiskt. Dutch: In vele mythen, een voorspellend manier om dingen op orde te brengen is om het licht in de duisternis te brengen. In één scheppingsverhalen van de Kono bevolking van Guinea, wordt de duisternis vóór de schepping bewoond door de dood, zijn vrouw en zijn dochter. In het begin was er duisternis. En in het leefde de Dood genoemd Sa met zijn vrouw en dochter. Hun drieën waren alles dat was. Er was niets voor hen om comfortabel te leven, dus Sa maakte het. Hij gebruikte magische kracht en hij maakte een eindeloze modder zee. In deze modderplek bouwde Sa zijn huis. Daarna kwam de god Alatangana Sa bezoeken Hij vond Sa's huis vies en donker. Alatangana dacht Sa moet het beter doen dan dat en hij zei het zo. "Niets kan leven in een dergelijke plaats," vertelde de god Sa. "Dit huis moet opknappen, alles is te donker." Dus Alatangana dacht dat hij het beter kon overnemen. Hij maakte de modder hard -- wij kennen het nu als de aarde. "De aarde voelt zich verdrietig," zei God. "Ik zal planten en dieren maken om erop te leven." Dat deed hij. English: In many myths, an augural way to put things in order is to bring light out of darkness. In one creation myths from the Kono people of Guinea, the darkness before creation is inhabited by Death, his wife and his daughter. In the beginning, there was darkness. And in it lived Death called Sa with his wife and daughter. The three of them were all that was. There was nowhere for them to live comfortably, so Sa started it. He used magic power and he made an endless mud sea. In this mud place Sa built his house. After that the god Alatangana came to visit Sa. He found Sa's house dirty and dark. Alatangana thought Sa should do better than that and he said so. "Nothing can live in such a place," the god told Sa. "This house needs fixing up, everything is too dark." So Alatangana thought he'd better take things in hand. He made the mud solid– we now know it as Earth. "The Earth feels sad," God said. "I will make plants and animals to live on it." So he did. Portuguese: Em muitos mitos, uma maneira augural para colocar as coisas em ordem é trazer a luz para as trevas. Em um mitos da criação do povo Kono da Guiné, a escuridão antes da criação é habitada por Morte, sua esposa, e sua filha. No início, havia escuridão. E nela viveu Morte, chamado de Sa, com sua esposa e filha. Os três eram tudo o que existia. Não havia nenhum lugar para eles viverem confortavelmente, então Sa começou tudo. Ele usou poderes mágicos e ele fez um mar de lama sem fim. Neste lugar de lama, Sa construiu a sua casa. Depois o deus Alatangana veio visitar Sa. Ele achou que a casa de Sa era suja e escura. Alatangana pensou que Sa deveria fazer melhor do que isso e ele disse que sim. "Nada pode viver em tal lugar", o deus disse a Sa. "Esta casa precisa de consertos, tudo é muito escuro." Então Alatangana pensou que tinha melhor botar a mão na massa. Ele fez a lama sólida - conhecemos hoje como a Terra. "A Terra sente-se triste", disse o deus. "Eu vou fazer plantas e animais para viver nela." Então ele fez. Arabic: ونرى في إحدى أساطير النشأة التي تأتينا من شعب (كونو) الغيني أن (الموت) وزوجته وابنته كانوا يعيشون في ظلمة ما قبل الخليقة. في البدء كانت هناك ظلمة... وعاش فيها الموت, واسمه (ساه), مع زوجته وابنته, ولم يكن هناك شيء غيرهم. لم يكن هناك مكان مريح ليعيشوا فيه, فبدأ ساه بإنشاء مكان, وقام باستخدام قواه السحرية لخلق بحر لا ينتهي من الوحل, وبنى بيته في هذا المكان. وبعدها أتى الإله (آلا-تانغانا) لزيارته وأحس أن بيته وسخ ومظلم, وأحس أن على ساه أن يحسن من وضعه, وقال التالي: "لا يمكن أن يعيش شيء في مكان كهذا." قال الإله لساه. "هذا البيت يحتاج الإصلاح. كل ما فيه مظلم." وأحس آلا-تانغانا أن عليه أن يتولى الأمر بنفسه, فجعل الوحل صلباً, مكوناً ما نسميه بالأرض. "إن الأرض لتحزن." قال الإله. "سأخلق الحيوان والنبات ليعيشوا عليها." وقام بذلك. وهكذا أصبح لدينا... Portuguese: em ordem é trazer luz das trevas. Em um mito de criação do povo Kono da Guiné a escuridão anterior à criação era habitada pela morte sua esposa e sua filha. No princípio havia a escuridão e nela vivia a morte chamada de Sá com sua esposa e sua filha. Eles eram tudo que havia Não havia lugar onde pudessem morar com conforto. Então Sá começou a usar seus poderes e fez um mar infinito de lama e nesse mar de lama ele construiu sua casa. Posteriormente o deus Alatangana veio visitar Sá e sua família e viu que a casa estava suja e escura. Alatangana achou que Sá deveria fazer melhor que isso e ele disse que nada poderia viver naquele lugar, o deus disse a Sá, essa casa precisa ser consertada Tudo está muito escuro. Alatangana achou melhor ele assumir as coisas ele tornou a lama sólida, Hoje nós chamamos isso de terra. “A terra parece triste” o deus disse. Eu vou fazer plantas e animais para viver na terra e assim ele fez Chinese: 幾內亞的科諾人的創世神話中 創世前的黑暗中住著死神、他的妻子和女兒 起初只有黑暗，黑暗中住著死神「薩」 薩與他的妻子、女兒同住在一起 全世界就只有他們三個 因為住得不太舒適，所以薩就動手了。 他用他的法術變出了無垠的泥海 在泥海中，薩建起了他的房子。 之後，阿拉坦嘉納神來探望薩 他覺得薩的房子又髒又暗 阿拉坦嘉納神覺得薩可以住的好一點，就說了： 「沒有人能住在這樣的地方， 這個房子需要改建， 到處都黑濛濛的。」 阿拉坦嘉納神覺得他應該來動手修改 他將泥海凝固成大地 「大地太寂寞了，我要將植物與動物佈滿大地」 Spanish: En un mito de la creación de la etnia Kono en Guinea, la oscuridad antes de la creación estaba habitada por la Muerte, su esposa y su hija. Al principio había oscuridad, y en ella vivía la Muerte, llamada Sa, con su esposa e hija. Ellos tres eran todo lo que había. No había lugar para ellos en el cual vivir cómodos, por lo que Sa lo creó. Usó su poder mágico e hizo un infinito océano de barro. En este lugar de barro, Sa construyó su casa. Después de eso, el Dios Alatangana fue a visitar a Sa. Encontró su casa sucia y oscura. Alatangana pensó que Sa debería hacerlo mejor, y lo dijo: "Nada puede vivir en un lugar como este" le dijo el Dios a Sa, "Esta casa necesita arreglarse. Todo está muy oscuro" Alatangana pensó que debería hacerse cargo de las cosas. Solidificó el barro, que ahora conocemos como Tierra. "La Tierra se siente triste" dijo Dios, "haré plantas y animales para que vivan en ella." Y lo hizo. Y así... French: Dans de nombreux mythes, une méthode augurale de mettre de l’ordre est de sortir la lumière des ténèbres. Dans une cosmogonie du peuple kono de Guinée, dans les ténèbres avant la création résident la Mort, sa femme et sa fille. Au commencement, il y avait les ténèbres. Et là vivaient la Mort appelé Sa avec sa femme et sa fille. Eux trois étaient tout ce qui existait. Il n’y avait nulle part où vivre confortablement, donc Sa l’a créé. Il utilisa son pouvoir magique pour créer une mer de boue infinie. Dans cette boue, Sa construisit sa maison. Après ça, le dieu Alatangana vint visiter Sa. Il trouva la maison de Sa sale et sombre. Alatangana se dit que Sa pouvait faire mieux que ça, et il le dit. « Rien ne peut vivre dans un tel endroit, le dieu dit à Sa. Cette maison a besoin d’être rénovée, tout est trop sombre. » Donc Alatangana se dit qu’il ferait mieux de prendre les choses en main. Il solidifia la boue, ce que nous appelons la Terre. « La Terre est triste, dit Dieu. Je vais créer des plantes et des animaux pour qu’ils y vivent. » Et ainsi il le fit. Russian: Во многих мифах, божественным способом упорядочить вещи является привнести свет во тьму. В одном из мифов творения народа коно, проживающего в Гвинее, тьма перед творением была заселена Смертью, его женой и дочерью. В начале была тьма. И в ней жила Смерть по имени Са со своей женой и дочерью. Существовали только эти трое. Не было места, где бы они могли удобно жить, поэтому Са начал обустраиваться. Он использовал волшебную силу и он создал бесконечное море грязи. В этом грязевом месте Са построил себе дом. После этого бог Алатангана пришёл навестить Са. Он увидел, что в доме Са грязно и темно. Алатангана подумал, что Са достоин лучшего, и сказал об этом. «Ничто не может жить в таком месте, — сказал он Са. — Этот дом нужно подправить, всё слишком темно». И Алатангана подумал, что ему лучше взять процесс в свои руки. Он сделал грязь твёрдой — мы знаем её теперь как Землю. «Земле грустно, — сказал бог. — Я создам растения и животных, чтобы они жили на ней». Так он и сделал. Danish: I mange myter åbningsmetode til at skabe orden er at bringe lys ud af mørke. I en skabelseberetning fra Kono-folket i Guniea, er mørket før skabelse beboet af Døden, hans kone og hans datter. I begyndelse var mørket. Og i det levede Døden kaldet Sa med sin kone og datter. De tre var alt, der var. Der var intetsteds, hvor de kunne bo bekvemt, så Sa satte det igang. Han brugte magi og skabte et endeløst mudderhav. I dette mudder byggede Sa sit hus. Efter dette besøgte guden Alatangana Sa. He opdagede at Sas hus var beskidt og mørkt. Alatangana syntes Sa kunne gøre det bedre end det, og det sagde han. "Intet kan leve sådan et sted" fortalte guden Sa. "Dette hus trænger til at blive repareret, alt er for mørkt." Så Alatangana mente, at han hellere måtte gøre noget ved det. Han gjorde mudderet solidt- vi kender det nu som Jorden. "Jorden føles trist" sagde gud "Jeg vil skabe planter og dyr, så de kan leve på den" Og det gjorde han. Romanian: În multe mituri, o cale de început de a pune lucrurile în ordine este să se aducă lumina din întuneric. Într-unul din miturile creației al poporului Kono din Guinee întunericul de dinaintea Creației e locuit de Moarte, soția sa și fiica sa. La început era întuneric. Și în el locuiau Moartea numită Sa cu soția și fiica . Cei trei erau tot ceea ce exista. Nu trăiau confortabil așa că Sa a început. El a folosit puterea magiei și a făcut o mare de noroi fără sfârșit. În acest noroi și-a construit Sa casa. După asta zeul Alatangana a venit să-l viziteze pe Sa. El a găsit casa lui Sa murdară și întunecoasă.Alatangana s-a gândit că Sa ar trebui să facă mai mult decât asta și i-a spus: "Nimeni nu poate trăi într-un asemenea loc, i -a spus Zeul lui Sa. Casa asta are nevoie de reparații, totul e prea întunecat." Așa că Alatangana s-a gândit că e mai bine să ia lucrurile în propriile mâini. El a făcut noroiul solid- acum îl știm ca Pământ. "Pământul se simte trist, a zis Zeul, voi face plante și animale să trăiască pe el."Și așa a făcut. iw: במיתוסי בריאה רבים, דרך המבשרת עתיד שיביא דברים לסדרם, היא להביא אור מתוך החשיכה. במיתוס בריאה אחד של אנשי הקונו מגינאה, החשיכה שטרם הבריאה מאוכלסת על ידי המוות, אשתו ובתו. תחילה, הייתה חשיכה. ובתוכה חי המוות, ששמו סא, עם אשתו ובתו. שלושתם היו כל מה שהתקיים. לא היה להם אף מקום להתגורר בו בנוחות, אז סא התחיל ליצור אחד. הוא השתמש בכוחות שלו ויצר ים אינסופי של בוץ. בבוץ הזה סא בנה לו בית. לאחר מכן האל אלטנגאנה בא לבקר את סא. הוא ראה שביתו של סא מלוכלך וחשוך. אלטנגאנה חשב שראוי שסא ייצור משהו טוב יותר ואמר זאת. "שום דבר לא יכול לגור במקום כזה", אמר האל לסא. "הבית הזה צריך שיפוץ, הכל כל כך חשוך." אלטנגאנה חשב שעדיף שייקח את הדברים לידיו. הוא הפך את הבוץ למוצק - אנו קוראים לו היום אדמה. "האדמה עצובה," אמר האל. "אני אכין צמחים וחיות שיחיו עליה." וכך עשה. German: In vielen Mythen ist der erste Akt, um Dinge in Ordnung zu bringen, das Erzeugen von Licht in der Finsternis. In einem Schöpfungsmythos der Kono in Guinea ist die Finsternis vor der Schöpfung von Tod, seiner Frau und seiner Tochter bewohnt. Am Anfang herrschte Finternis. Und darin lebte der Tod, genannt Sa, mit seiner Frau und Tochter. Die drei waren alles, was es gab. Sie hatten keinen angenehmen Ort zu leben, darum fing Sa damit an. Er nutzte magische Kräfte und erschuf ein endloses schlammiges Meer. In diesem Schlamm baute Sa sein Haus. Danach besuchte der Gott Alatangana Sa. Er fand Sas Haus schmutzig und dunkel. Alatangana dachte, dass Sa es besser machen sollte, und sagte das auch. "Nichts kann an so einem Ort leben", erklärte der Gott. "Das Haus muss renoviert werden, alles ist zu dunkel." Und Alatangana beschloss, die Dinge selbst in die Hand zu nehmen. Er verfestigte den Schlamm - wir nennen ihn heute Erde. "Die Erde wirkt traurig", sagte Gott. "Ich werde Pflanzen und Tiere schaffen, die darauf leben." Und er tat es. Swedish: I många skapelsemyter börjar man med att skapa ordning genom att framkalla ljus ur mörkret. I en skapelsemyt från Kono-folket i Guinea bebos mörkret före skapelsen av Döden, hans fru och dotter. "I begynnelsen var mörker och i det bodde Döden, som hette Sa, med sin fru och dotter. De tre var allt som fanns. Det fanns ingenstans för dem att leva bekvämt, så Sa satte igång allt. Han använde sina magiska krafter och gjorde ett oändligt hav av slam. I detta slam byggde Sa sitt hus. Efter det kom guden Alatangana och hälsade på Sa. Han tyckte att Sas hus var smutsigt och mörkt. Alatangana tyckte att Sa skulle göra bättre än så och det sa han också: 'Ingenting kan leva i ett sådant ställe,' sa guden till Sa. 'Detta hus behöver fixas, allt är för mörkt.' Så Alatangana tyckte att det vore bättre att göra det själv. Han gjorde slammet solitt och vi kallar det nu för Jorden. 'Jorden känns trist,' sa gud. 'Jag ska skapa växter och djur för att bo på den.' Och det gjorde han. Spanish: .. es como obtuvimos las reparaciones domésticas. Sólo bromeo. Amo este mito. Amo que Dios piense que la Tierra está triste y entonces le da a la Tierra un cachorrito para animarla. Un cachorrito, y unas plantas. Ya saben, arreglar el lugar. Pero noten que hay muchas similitudes entre este mito y el mito egipcio. Ambos describen un vasto mar. Uno de barro, uno de agua. Y también hay un Dios que existe previamente y fuera del vacío y la oscuridad. Aunque, el mito Kono difiere en que implica que la Muerte es la única constante en el universo. ¡Oh no! Ahora estoy preocupado por el cachorrito. Pero, ¿por qué toda esta charla sobre el agua? Bueno, no sabemos exactamente. Pero, si viven en una sociedad antigua, e intentan pensar bien en algo tan grande como la creación del universo, probablemente dirigirían sus pensamientos hacia lo más extenso de lo que estén conscientes: El cielo. Y el mar. Incluso si sólo experimentan al océano desde la relativa seguridad de la costa, hay algo desconocido y eterno en torno a él, Chinese: 然後他就這樣做了，這才叫房屋改建...開開玩笑 我愛死了這則神話 我喜歡這神話中神覺得大地太寂寞了， 就給他隻狗狗陪伴他。 狗狗還有盆栽。好好裝飾一番 但你有沒有注意到這則神話與埃及神話的相似之處？ 兩者都描述了廣大的海洋 一個是泥海、一個是水海 還有在虛空與黑暗之外、之前就存在了一位神 但是科諾神話中不同的是， 它指出「死亡」是宇宙中唯一不變的定理 完了，狗狗怎麼辦？ 但是為什麼總是有水呢？ ㄚ知？我們也不知道為什麼 但是如果你活在古代社會 你想要理解像「宇宙創造」這樣的大課題 你可能會去想你所認知最廣最大的東西： 天與海 就算你只從安全的海岸上觀察大海 大海還是最未知、無窮的事物 French: Et c’est comme ça... qu’est né la rénovation domiciliaire. Je plaisante, j’adore ce mythe. J’aime que Dieu trouve que la Terre soit triste et lui offre un chiot pour lui remonter le moral. Un chiot et des plantes. Vous savez, pour égayer l’endroit. Mais remarquez qu’il y a de nombreuses similitudes entre ce mythe et le mythe égyptien. Les deux décrivent un vaste océan. Un de boue, un autre d’eau, et il y a toujours un dieu qui existe avant, et en dehors, du néant et des ténèbres. Mais le mythe kono est différent, en cela qu’il implique que la Mort est la seule constante dans l’Univers. Oh non ! Je suis inquiet pour le chiot maintenant. Mais pourquoi on retrouve toujours de l’eau ? Et bien, on ne sait pas exactement, mais si vous vivez dans une société antique, et vous essayez de concevoir quelque chose d’aussi gigantesque que la création de l’Univers, vous vous tournez sans doute vers la chose la plus vaste que vous connaissez : le ciel, et l’océan. Même si vous n’observez l’océan que depuis la sécurité relative de la rive, il y a là quelque chose d’inconnaissable et d’éternel, Portuguese: E isso ... é como chegamos a ter reformas em casa - tô brincando, eu amo esse mito. Eu amo que o deus pensa que a terra é triste e assim dá à terra um filhotinho de cachorro para animá-la. Um filhote de cachorro, e algumas plantas. Você sabe, pra animar o lugar. Mas note que há uma série de semelhanças entre esse mito e o mito egípcio. Em que ambos descrevem um vasto mar. Um de lama, um de água, e que há um deus que existe anteriormente, fora do vazio e da escuridão. Embora o mito Kono seja diferente, e implica que a Morte é a única constante no universo. Ah não! E agora eu estou preocupado com o cachorrinho. Mas, por que toda essa conversa sobre água? Bem, nós não sabemos exatamente, mas se você está vivendo em uma sociedade antiga, e você tenta pensar em algo tão grande como a criação do universo, você provavelmente transfere os seus pensamentos para a coisa mais vasta da qual você está ciente: o céu e o mar. Mesmo que você só experimente o mar a partir da relativa segurança da costa, há algo desconhecido e eterno sobre isso, Portuguese: e foi assim que surgiu a reforma de casas. Brincadeira. Eu adoro esse mito e eu adoro como esse deus pensou que a terra estava triste e criou um bichinho para a terra cuidar um bichinho e as plantas. Você sabe... que há semelhanças entre esse mito e o Egípcio e ambos descrevem um grande oceano, um de lama e um de água e há um deus que existe anteriormente e fora do vazio e a escuridão A versão do Kono é diferente e implica que a morte é constante no universo Oh não... Agora eu fiquei preocupado com o bichinho, mas agora vamos falar de água Nós não sabemos com certeza mas se você vivesse em uma sociedade antiga e você tentasse Imaginar algo tão grande quanto a criação do universo você provavelmente levaria seus pensamentos para as maiores coisas que você conhecida, o céu e o mar, mesmo conhecendo o oceano apenas da relativa segurança da praia, há algo insondável e eterno sobre ele, que torna German: Und so... bekamen wir die Sanierung von Häusern - kleiner Scherz, ich liebe diesen Mythos. Ich find es klasse, dass Gott denkt, die Erde sei traurig, und ihr einen Welpen besorgt, um sie aufzumuntern. Einen Welpen und ein paar Pflanzen. Um den Laden auf Vordermann zu bringen. Aber ihr merkt, dass es viele Ähnlichkeiten zwischen diesem und dem ägyptischen Mythos gibt. Beide beschreiben ein weites Meer - einmal aus Schlamm, einmal aus Wasser - und es gibt einen Gott, der schon vor, und auch außerhalb der Leere und der Finsternis existiert. Aber der Kono-Mythos ist anders, und besagt, dass der Tod die einzige Konstante im Universum ist. Oh nein! Jetzt habe ich Angst um den Welpen. Aber warum all das Gerede von Wasser? Nun, wir wissen es nicht genau, aber wenn man in einer antiken Gesellschaft lebt, und man sich etwas so Großes wie die Schöpfung des Universums vorstellen will, dann denkt man wahrscheinlich an die größte Sache, die man kennt: den Himmel und das Meer. Selbst wenn man den Ozean nur vom vergleichsweise sicheren Land aus erfährt, hat er etwas Unfassbares und Ewiges an sich, Dutch: En dat ... is hoe we Huis Opknappen kregen -- grapje, ik hou van deze mythe. Ik hou van dat God denkt dat de aarde is triest en dat hij een puppy geeft aan de aarde om haar op te vrolijken. Een puppy, en een paar planten. Je weet wel, om de boel op te fleuren. Maar zie dat er veel overeenkomsten zijn tussen deze mythe en de Egyptische mythe. In beide wordt een enorme zee beschreven. Eén van modder, een van water, en dat er een god is die eerder bestond, en de buitenkant van de leegte, en de duisternis. Maar de Kono mythe verschilt, en dat betekent dat de Dood de enige constante is in het heelal. Oh nee! En nu ben ik bezorgd over de pup. Maar, waarom al dit gepraat over water? Nou, we weten niet precies, maar als je leeft in een oude samenleving, en je probeert te denken over iets zo groot als de schepping van het universum, gaan je gedachten waarschijnlijk uit naar het meest uitgestrekte wat je op dat moment kent: de lucht en de zee. Zelfs als je de oceaan alleen ervaart vanaf de relatieve veiligheid van de kust, is er iets onkenbaar en eeuwig over, Russian: И так… у нас появилась передача «Квартирный вопрос». Я шучу, я люблю этот миф. Мне нравится, что Бог думает, что земле грустно, и поэтому он дарит земле щенка, чтобы развеселить её. Щенка и цветы. Ну знаете, чтоб веселее было. Но заметим, что тут много сходства между этим мифом и египетским мифом. В обоих описано огромное море. Одно из грязи, другие из воды, и в обоих случаях есть бог, уже существующий вне пустоты, и тьма. Хотя миф коно и отличается, и он подразумевает, что Смерть — единственная постоянная во вселенной. О нет! А теперь я начал переживать о щенке. Но почему все они говорят о воде? Ну, мы точно не знаем, но если вы живёте в древнем обществе и вы попробуете подумать о чём-то столь же великом, сколь является сотворение вселенной, вы, возможно, обратите ваши мысли к самой большой вещи, о которой вы знаете: к небу и к морю. Даже если вы видели океан только с относительно безопасного берега, вы всё равно заметите, что в нём есть что-то неизведанное и непреложное, Arabic: تجديد المنازل! أنا أمزح. كم أحب هذه الأسطورة, ويعجبني فيها أن الإله يحس بأن الأرض حزينة ولذلك جلب جرواً ليسعدها. جرو وبعض النباتات... لكي يجعل المكان أكثر أناقة. لاحظ أن هناك العديد من نقاط التشابه بين هذه الأسطورة والأسطورة المصرية, حيث يصف كلٌ منهما بحراً واسعاً, من وحل أو من ماء, وإلاهاً يعيش قبل الفراغ والظلمة وخارجهما. ولكن أسطورة الـ(كونو) تختلف في نقطة معينة... فهي تشير إلى أن الموت هو العامل الثابت الوحيد في الكون. لا! أنا قلق على الجرو الآن... ولكن لما كل هذا الحديث عن الماء؟ في الحقيقة نحن لا نعرف بالضبط, ولكن إذا كنت تعيش في مجتمعٍ عتيق, وحاولت التفكير بشيء بحجم... نشأة الكون, فمن المحتمل أن يذهب بالك إلى أكبر الأشياء التي تعرفها: السماء والبحر. حتى ولو كنت ترى المحيط من بُعد على الشاطئ الآمن, هناك شيء مجهول وأبدي عنه, Swedish: Och så blev hemrenovering till. Skojar bara. Jag älskar den här myten. Jag älskar att Gud tror att Jorden är trist och därför skaffar han en valp till Jorden för att pigga upp den. En valp och några växter. Du vet, för att piffa upp stället. Men lägg märke till att det finns många likheter mellan denna myt och den egyptiska myten. I och med att båda beskriver ett vidsträckt hav. Ett av slam, ett av vatten. Och att det finns en gud som existerar före och utanför tomrummet och mörkret. Fast Kono-myten skiljer sig åt i och med att den antyder att döden är det enda beständiga i universum. Å nej, nu är jag bekymrad över valpen. Men varför allt detta snack om vatten? Det vet vi inte precis, men om du lever i ett forntida samhälle och du försöker att begripa någonting så stort som hur universum blev till, så tänker du nog på de största sakerna som du vet om. Himlen. Och havet. Även om du bara upplever havet från den relativa säkerheten av kusten, så finns det något ofattbart och evigt om det, Romanian: Și astfel... iată cum avem Casa Renovată- glumesc, iubesc acest mit. Îmi place că Zeul se gândește că Pământul e trist și astfel îi dă un cățeluș să-l înveselească. Un cățeluș și niște plante.Știți, i-a dat un rost. Dar rețineți că aici sunt o mulțime de asemănări între acest mit și mitul egiptean. În ambele se descrie o mare vastă.Una de noroi, alta de apă, și că acolo există un zeu dinainte, în afară vidului și a întunericului. Deși, mitul Kono diferă totuși, reiese că Moartea este constantă în Univers. O, nu! Acum sunt îngrijorat pentru cățeluș. Dar de ce această discuție despre apă? Ei bine, nu știm exact dar dacă trăiești într-o societate antică, și încerci să te gândești la ceva la fel de monumental precum crearea Universului probabil te gândești la cele mai întinse lucruri pe care le poți concepe: cerul și marea. Chiar dacă ai experiența Oceanului de pe malul relativ sigur, e ceva misterios și etern aici Danish: Og sådan... fik vi Home Renovation- det er bare for sjov, jeg elsker den her myte. Jeg elsker, at gud synes, at jorden er trist, og derfor giver han jorden en hundehvalp for at muntre den op. En hundehvalp og nogle planter. I ved for at pynte lidt på tingene. Men læg mærke til at der er mange ligheder mellem denne myte og den egyptiske myte Da begge beskriver et endeløst hav. Et af mudder, et af vand, og at der er en gud, som eksisterer før og udenfor tomheden og mørket. Selvom Kono-myten er anderledes, og dette insinuerer, at Døden er den eneste konstante ting i universet. Åh nej! Nu er jeg bekymret for hundehvalpen. Men hvorfor al denne snak om vand? Tja, vi ved ikke præcist hvorfor, men hvis man levede i oldtidens samfund, og man prøvede at tænke over noget så stort som universets skabelse, ville man sikkert vende tankerne mod den største ting, man kendte til: himlen og havet. Selv hvis man kun oplevede havet sikkert fra kysten, er der noget ukendt og evigt over det, English: And that... is how we got Home Renovation–just kidding, I love this myth. I love that God thinks that the earth is sad and so he gets the earth a puppy to cheer it up. A puppy, and some plants. You know, spruce up the joint. But notice that there are a lot of similarities between this myth and the Egyptian myth. In that both describe a vast sea. One of mud, one of water, and that there is a god who exist previous to, and outside of the void, and the darkness. Though the Kono myth differs, and that implies that Death is the one constant in the universe. Oh no! And now i'm worried about the puppy. But, why all this talk about water? Well, we don't know exactly, but if you're living in an ancient society, and you try to think through something as big as the creation of the universe, you probably turn your thoughts to the vastest thing you were aware of: the sky, and the sea. Even if you only experience the ocean from the relative safety of the shore, there is something unknowable and eternal about it, iw: וכך.. קיבלנו את שיפוץ הבית - סתם בצחוק, אני אוהב את המיתוס הזה. אני אוהב את זה שהאל חושב שהאדמה עצובה ונותן לה כלבלב כדי לעודד אותה. כלבלב, וכמה צמחים. אתם יודעים, כדי להחיות את המקום. אבל שימו לב שיש הרבה דימיון בין המיתוס הזה למיתוס המצרי. שניהם מתארים ים נרחב. אחד של בוץ, אחד של מים, ובשניהם יש אל שקיים לפני ומחוץ לריק ולחשיכה. אבל המיתוס של הקונו שונה, ומרמז שהמוות הוא הקבוע היחיד ביקום. אוי לא! עכשיו אני מודאג לגבי הכלבלב. אבל, למה כל הדיבורים האלה על מים? טוב, אנחנו לא יודעים בדיוק, אבל אם אתם חיים בתרבות עתיקה, ואתם מנסים לחשוב על משהו גדול כמו בריאת היקום, אתם כנראה תפנו את מחשבותיכם לדבר הנרחב ביותר שאתם מכירים: השמיים, והים. גם אם אתם רק חווים את האוקיינוס מהביטחון היחסי של החוף, יש משהו לא ידוע ונצחי בו, Chinese: 所以很自然會將大海想像成自古就存在， 甚至在時間之前就存在 而且根據演化論，「生命出自海洋」 是很正確的說法 不過我們不用去講演化論 那是杭克跟《生物速成班》那群科學家他們的事 你知道嗎？西半球也有海洋 所以這邊也有自己的「無中生有」創世神話 其中最有趣、最迷人的是瓜地馬拉的瑪雅神話 出自《波布.兀》，即「社群之書」 翻譯出來感覺比較俗 在這個比較複雜的神話中，創世發生了四次 不過開頭就像新約《約翰福音》一樣 從「道」（或譯「聖言」）開始 我覺得看看〈思想泡泡〉要怎麼畫「無」 我們就進入〈思想泡泡〉來看看這則神話 嘿！圖特，我也要吃爆米花。 很久很久以前，世界從一個叫做 「奇切」的地方開始誕生 起初，什麼都沒有 沒有動物，沒有鳥、魚、或樹 English: that makes it possible to imagine the sea existing for all time. And even before time itself. And according to theories of evolution, the idea that all life came from the sea is fairly accurate. But let's not get into evolution here, we'll leave that to Hank and the scientists over at Crash Course Biology. Hey fun fact, though: the western hemisphere has water too. And we have some ex nihilo creation stories of our own One of the most difficult and fascinating comes from the Maya of Guatemala, and is recorded in the Popul Vuh, or "the book of the community." It's not as catchy in translation. In this complex story, creation occurs four times. But it begins, like the Gospel of John in the New Testament, with the Word. And just because I think it's going to be fun to watch Thought Bubble animate nothingness, let's see this myth there. Hey, Thoth. Pass the popcorn. The world began long ago in a place called Quiché, where the Quiché people lived. There no one, at first. There was not one animal yet. iw: שמאפשר לדמיין את הים כקיים מאז ומתמיד. ואפילו לפני הזמן עצמו. ולפי תיאוריית האבולוציה, הרעיון שהחיים הגיעו מהים הוא די מדויק. אבל בואו לא ניכנס לאבולוציה פה, אנחנו נשאיר את זה להאנק והמדענים בקראש קורס בביולוגיה. אז, עובדה מעניינת: בחצי הכדור המערבי יש מים גם כן. ויש לנו כמה סיפורי בריאה "אקס ניהילו" משלנו. אחד ההכי קשים ומרתקים מגיע מאנשי המאיה בגווטמאלה, והא מתועד ב- "פופול וו", או ב- "ספר הקהילה". זה לא כזה קליט כשמתרגמים את זה. בסיפור המסובך הזה, בריאה מתרחשת ארבע פעמים. אבל היא מתחילה, כמו הבשורה על פי יוחנן בברית החדשה, עם המילה. ורק כי אני חושב שזה יהיה כיף לראות את "בועת מחשבה" עושים אנימציה לכלום, בואו נראה את המיתוס הזה שם. היי ת'ות, תעביר את הפופקורן. העולם התחיל לפני המון זמן במקום שנקרא קיצ'ה, היכן שאנשי הקיצ'ה חיו. לא היה שם אף אחד בהתחלה. לא הייתה עדיין אפילו חיה אחת. German: das es einem ermöglicht, zu glauben, dass das Meer für alle Zeit existiert. Und sogar vor der Zeit selbst. Und laut den Evolutionstheorien ist die Vorstellung, dass alles Leben aus dem Wasser kam, ziemlich akkurat. Aber überlassen wir die Evolution Hank und den Wissenschaftlern drüben in Crash Course Biologie. Hey, Fun Fact: Die westliche Hemisphäre hat auch Wasser. Und wir haben ein paar eigene ex-nihilo-Schöpfungsgeschichten. Eine der schwierigsten und faszinierendsten kommt von den Maya in Guatemala und ist im Popul Vuh, oder dem "Buch des Rates" verzeichnet. Ist übersetzt nicht ganz so griffig. In dieser komplexen Geschichte geschieht die Schöpfung vier Mal. Aber sie beginnt, wie im Johannes-Evangelium des Neuen Testaments, mit dem Wort. Und nur weil ich es witzig finde, zu sehen, wie die Thought Bubble das Nichts animiert, gucken wir uns diesen Mythos dort an. Und nur weil ich es witzig finde, zu sehen, wie die Thought Bubble das Nichts animiert, gucken wir uns diesen Mythos dort an. Hey, Thot. Reich mal das Popcorn rüber. Die Welt begann vor langer Zeit an einem Ort namens Quiché, wo das Volk der Quiché lebte. Am Anfang gab es niemanden. Es gab noch kein einziges Tier. French: qui rend possible d’imaginer que l’océan a toujours existé. Et peut-être même avant que le temps lui-même n’existe. Et selon les théories de l’évolution, l’idée que la vie vient de l’océan est assez correcte. Mais nous n’allons pas parler de l’évolution ici, nous allons laisser ça à Hank et les scientifiques du côté de Crash Course Biologie. Mais hé, petite anecdote : l’hémisphère occidental a de l’eau, aussi. Et nous avons nos propres cosmogonies ex nihilo nous aussi. L’une des plus complexes et fascinantes vient des mayas du Guatemala, e elle est transcrite dans le Popol-Vuh, ou le « Livre de la Communauté ». On perd un peu en traduction. Dans cette histoire complexe, la création se produit quatre fois. Mais comme dans le Gospel de Jean dans le Nouveau Testament, cela commence avec le Verbe. Et comme j’imagine que ça va être amusant de voir Thought Bubble animer le néant, allons voir ce mythe avec eux. Hé, Thot. Fais passer le popcorn. Le monde commença il y a longtemps dans un lieu appelé Quiché, où vivait le peuple quiché. Il n’y a personne, au commencement. Il n’y avait pas encore un seul animal. Danish: som gjorde det muligt at forestille sig, at havet havde eksisteret altid. Og endda før tiden selv. Og ifølge evolutionsteorier er ideen om, at livet har sin oprindelse i havde rimelig nøjagtig. Men lad os ikke gå i gang med evolution her, vi vil lade Hank og videnskabsmændene ovre i Crash Course Biology om det. Her er en sjov fakta: den vestlige halvkugle har også vand. Og vi havde vores egne "ex nihilo" skabelsesberetninger En af de sværeste og mest fascinerende kommer fra mayaerne i Guatemala, og er nedskrevet i Popul Vuh eller "fælleskabets bog." Det er ikke så fængende en oversættelse. I denne komplekse historie, finder skabelsen sted fire gange. Men det starter, som i Johannesevangeliet i Det Nye Testamente, med Ordet. Og fordi jeg synes, det vil være sjovt at se Thought Bubble animere intetheden, så lad os se myten der. Hej Thoth. Ræk mig lige popkornene. Verden begyndte for længe siden i et sted kaldet Qiuché, hvor Quiché folket levede. I begyndelse var der ingen. Der var endnu ingen dyr. Portuguese: possível imaginar que ele existiu o tempo todo e mesmo antes do tempo e de acordo com a teoria da evolução a ideia de que toda vida veio do mar é bem correta, mas não vamos falar de evolução aqui, vamos deixar isso para Hank e os cientistas nos Crash Course de Biologia Olhem só que coisa engraçada... O Hemisfério Ocidental também tem água e nós temos nossas histórias de criação do nada também. Um dos mais difíceis de entender e fascinantes é o dos maias da Guatemala e foi registrado no Popol vu ou livro da comunidade, não fica tão legal depois de traduzido, nessa complexa história A criação acontece quatro vezes mas ela começa como o evangelho de João no Novo Testamento com a palavra, quero ver a Bolha do Pensamento animar o nada, vamos ver... Esse mito lá. Ei Toth, passe a pipoca O mundo começou muito tempo atrás em um lugar chamado Quiche onde o povo Quiche vivia, não havia Swedish: som gör det möjligt att tro att havet alltid har funnits. Och även före själva tiden. Och enligt utvecklingsläran är idén att allt liv kom från havet rätt korrekt. Men låt oss inte gå in på utvecklingsläran här. Det är upp till Hank och forskarna i 'Crash Course Biologi'. Ett roligt faktum: västra halvklotet har också vatten och vi har ett par av våra egna ex nihilo-berättelser. En av de svåraste och mest fascinerande kommer från Mayaindianerna i Guatemala och är nedskriven i Popul Vuh eller 'gemenskapens bok'. Låter inte lika bra i översättning. I denna komplicerade berättelsen händer skapelsen fyra gånger. Men den börjar - som Johannesevangeliet i Nya Testamentet - med Ordet. Och bara för att jag tycker det kommer bli roligt att se Thought Bubble animera intet, tittar vi på myten där. Hej Thot, skicka hit popcornen. Ordet började för länge sedan på ett ställe som heter K'iche' där K'iche'-folket levde. Det fanns ingen i början. Inte ett enda djur än, och inga fåglar, fiskar eller träd. Portuguese: o que torna possível imaginar o mar existente desde todos os tempos. E antes mesmo do próprio tempo. E de acordo com as teorias da evolução, a ideia de que toda a vida veio do mar é bastante precisa. Mas não vamos entrar em evolução aqui, vamos deixar isso para Hank e os cientistas lá da Biologia. Ei, curiosidade: o hemisfério ocidental tem água também. E temos algumas histórias ex nihilo de criação de nossa própria conta. Um dos mais difíceis e fascinantes vem dos Maya, na Guatemala, e está registrada no Popol Vuh, ou "o livro da comunidade." Não é tão cativante na tradução. Nesta história complexa, a criação ocorre quatro vezes. Mas começa, como o Evangelho de João, no Novo Testamento, com a Palavra. E só porque eu acho que vai ser divertido de assistir a Bolha do Pensamento animar o nada, vamos ver esse mito lá. Ei, Thoth. Passe a pipoca. O mundo começou há muito tempo em um lugar chamado Quiché, onde o povo Quiché viveu. Não há ninguém, em primeiro lugar. Não havia um animal ainda. Russian: что даёт нам возможность представить, что море существовало всегда. Даже до начала времён. И согласно эволюционным теориям, идея, что жизнь вышла из моря, довольно точна. Но давайте не вдаваться здесь в эволюцию, мы оставим её Хэнку и учёным из Crash Course Биологии. А вот ещё забавный факт: в западном полушарии тоже есть вода. И у нас есть свои истории творения из ничего. Одну из самых трудных и очаровательных придумали майя Гватемалы, и она записана в Пополь-Вух, или в «Книге совета». В оригинале звучит красивее. В этой сложной истории творение происходит в четыре этапа. Но начинается оно, как Евангелие от Иоанна из Нового Завета, со Слова. И просто потому что я думаю, что будет прикольно посмотреть на мультик о ничто, давайте посмотрим на этот миф в Пузыре мысли. Эй, Тот. Передай попкорн. Мир возник давным-давно в месте под названием Киче, где жил народ киче. Сначала не было никого. Не было даже ни одного животного. Romanian: care ne face să ne imaginăm că marea există dintotdeauna.Chiar de dinaintea timpului însuși. Și conform teoriei evoluției, ideea că toate formele de viață provin din mare e clară. Dar să nu mergem acum spre evoluționism aici, să-l lăsăm pe Hank și pe oamenii de ștință de la Crash Course Biology. Un fapt amuzant, totuși: emisfera occidentală are tot apă. Și avem și aici ceva povești despre creația ex nihilo. Una dintre cele mai complexe și fascinante vine de la poporul Maya din Guatemala și este povestită în Popol Vuh sau cartea comunității. Nu e ușor de tradus. În această poveste complexă Creația are loc în patru momente. Începe precum în Evanghelia lui Ioan din Vechiul Testament, cu Cuvântul. Și doar pentru că cred o să fie amuzant să privim animația despre nimic a Balonului de Gânduri. să vedem acest mit aici. Hei, Thots. Dă încoace popcornul. Lumea s-a născut acum mult timp într-un loc numit Quiche, unde trăia poporul Quiche. Nu exista altul, la început. Nu era încă niciun animal. Dutch: dat maakt het mogelijk om de zee als altijd bestaand voor te stellen. En zelfs vóór de tijd zelf. En volgens de evolutietheorie, is het idee dat al het leven kwam uit de zee vrij nauwkeurig. Maar laten we het niet over evolutie hebben, dat laten we aan Hank en de wetenschappers over bij Crash Course Biology. Hey leuk feitje: het westelijk halfrond heeft ook water. En we hebben zelf ook een aantal ex nihilo scheppingsverhalen Een van de moeilijkste en meest fascinerende is afkomstig van de Maya's van Guatemala, en is opgenomen in de Popul Vuh, of "het boek van de gemeenschap." Het is niet zo catchy in de vertaling. In dit complex verhaal, creatie komt vier maal voor. Maar het begint, net als het Evangelie van Johannes in het Nieuwe Testament, met het Woord. En juist omdat ik denk dat het zal leuk zijn om te kijken naar hoe ToughtBubble het niets zal animeren, laten deze mythe we eens bekijken. Hey, Thoth. Geef de popcorn door. De wereld begon lang geleden in een plaats genaamd Quiché, waar de Quiché mensen leefden. Aan het begin is er niemand. Er was niet één dier. Arabic: شيء يجعل من الممكن أن تتصور أن البحر قد وجد للأبد, وحتى قبل وجود الوقت. ووفق كلام نظريات التطور, فإن فكرة نشوء الحياة من البحر... لها درجة من الصحة. لنتفادى الدخول إلى موضوع التطور, ولنتركه لـ(هانك) و العلماء في (كراش كورس) علم الأحياء. معلمومة جديدة: نصف الأرض الغربي فيه ماء أيضاً. ولدينا في الغرب قصص نشأة خاصة بنا تتبع أسلوب (إكس نيلو), وإحدى أكثرها صعوبة وإثارة للإهتمام تأتينا من شعب (المايا) من غواتيمالا, في كتاب (بوبل فوه) أو (كتاب الجماعة). ليس اسماً جذاباً عندما نترجمه. تحصل النشأة في هذه القصة المعقدة... أربع مرات! وتبدأ بـ(الكلمة) كما بدأ إنجيل (يوحنا) في العهد الجديد من كتاب الإنجيل. لنتسعرض هذه الأسطورة في فقرة (فقاعة الفكر), فأنا أعتقد أنه سيكون من الممتع أن نرى كيف سيرسموا (العدم). أعطني بعض الفشار يا تحوت. بدأت الكلمة منذ فترة طويلة في مكان اسمه (كويشي), حيث يعيش شعب الكويشي. لم يكن هناك أحد في البداية, ولم يكن هناك أي حيوانٍ بعد, لم يكن هناك طيور أو أسماك أو أشجار, Spanish: que hace posible imaginar al mar existiendo todo el tiempo, incluso antes del tiempo mismo. Y de acuerdo a teorías de la evolución, la idea de que toda la vida vino del mar es... ...bastante correcta. Pero, no nos metamos en la evolución aquí, se lo dejaremos a Hank y a los científicos en Crash Course Biología. ¡Hey! Dato curioso: El hemisferio Oeste... ...también tiene agua. Y tenemos historias de creación Ex Nihilo propias. Una de las más difíciles y fascinantes viene de los Mayas de Guatemala, y está grabada en el Popul Vuh, o "el libro de la comunidad" No es tan atractivo cuando se traduce. En esta historia compleja, la creación ocurre... cuatro veces. Pero comienza, como el Evangelio de Juan en el Primer Testamento, con la Palabra. Y sólo porque pienso que va a ser divertido mirar a Thought Bubble animar a la nada, veamos este mito ahí. Hey, Thot. Pasa las palomitas. La Palabra comenzó hace mucho, en un lugar llamado Quiché, donde la gente Quiché vivía. No había nadie al principio. No había ni un animal todavía. Nada de pájaros, peces ni árboles. German: Und keinen Vogel, Fisch oder Baum. Es gab keinen Stein oder Wald, kein Tal, keine Wiese. Es gab den Himmel, getrennt von allen Dingen. Der Erdboden war unsichtbar. Es gab nichts, das ein Geräusch verursachen konnte. Es gab das Meer, ganz still und ganz allein. Es gab Dunkelheit und Nacht und Meeresrauschen. Aber in Dunkelheit und Nacht und Meer gab es den Schöpfer, und es gab die gefiederte Schlange. Und sie vereinigten ihre Worte. Vereinten sie mit ihren Gedanken. Planten die Schöpfung. Ihr Worte und Gedanken waren so klar, dass alles, was sie sagten, Wirklichkeit wurde. Und die Schlange und der Schöpfer dachten über das Wesen der Welt nach. Was Licht und Dunkel sein würde, wer das Essen bringen würde und wie alles aussehen sollte. Und dann ließen sie die Welt entstehen, indem sie ihre Gedanken aussprachen. Zunächst die Erde und dann ihre Merkmale, wie Berge und Bäume. Gefolgt von wilden Tieren. Aber es gab ein Problem: die wilden Tiere konnten die Namen des Schöpfers und der gefiederten Schlange nicht aussprechen. Spanish: No habían rocas, o bosques, tampoco cañones ni praderas. Había cielo, separado de todas las cosas. La faz de la Tierra era invisible. No había nada que pudiera hacer sonido. Estaba el mar, tan calmo y solitario. Había oscuridad, y la noche , y los murmullos del mar. Ondulaciones. Aún así, entre la oscuridad, la noche y el mar, estaba el Creador. Y estaba la serpiente emplumada. Y juntaron sus palabras, las unieron con sus pensamientos, planearon la creación. Sus palabras y pensamientos eran tan claros, que sea lo que fuere que djeran, pasó a ser. Y la serpiente y el Creador pensaron en la naturaleza del mundo. Qué sería claro y oscuro, quién traería comida y qué forma tendría todo. Entonces, al pronunciar sus pensamientos, trajeron al mundo a la existencia. Empezando por la tierra, y siguiendo con sus características, como montañas y árboles, seguidos de animales salvajes. Pero había un problema. Los animales salvajes eran incapaces de decir los nombres del Creador y la serpiente emplumada, como también los de los otros dioses que ayudaron en la creación. Russian: И ни одной птицы, рыбы или дерева. Не было ни скал, ни лесов, ни ущелий, ни лугов. Было Небо, отделённое от всех вещей. Лицо Земли никто не видел. Не было ничего, что могло бы издать звук. Было море, спокойное и одинокое. Была тьма, и ночь, и журчание моря, рябь. Но вместе с тьмой, ночью и морем был создатель и был пернатый змей. И они свели свои слова вместе. Соединили их своей мыслью. Задумали творение. Их слова и мысли были такими чистыми, что всё, что они сказали, возникало. И змей, и создатель подумали о природе мира. Что будет светлым и тёмным, кто будет приносить пищу и как всё должно выглядеть. И затем, выражая свою мысль, они привели мир к существованию. Начиная с Земли, а затем перейдя к его чертам, например, к горам и деревьям. Вслед за дикими животными. Но была проблема: дикие животные не могли назвать имён создателя и пернатого змея. Danish: Og ingen fugle, fisk eller træer. Der var ingen klipper eller skove, ingen kløfter, ingen lysninger. Der var Himlen, adskilt fra alle ting. Jordens overflade var usynlig. Det var intet, der kunne sige en lyd. Der var havet, så roligt og alene. Der var mørke, og nat, og hav susende og bølgende. Og dog indeni mørket og natten og havet var der skaberen, og der var den fjerede slange. Og de bragte deres ord sammen. forenede dem med deres tanker. Planlagde skabelsen. Deres ord og tanker var så klare, at hvad end, de sagde, blev skabt. Og slangen og skaberen tænkte på verdens natur. Hvad skulle være lyst og mørkt, hvem skulle bringe føden, og hvordan alt skulle se ud. og så sagde de deres tanker og bragte verden til verden. Startende med jorden og derefter dens overflade som bjergene og træerne. efterfulgt af vilde dyr. Men der var et problem: De vilde dyr kunne ikke sige skaberens og den fjerede slanges navne. English: And no bird fish or tree. There was no rock, or forest, no canyon, no meadow. There was Sky, separated from all things. The face of the Earth was invisible. There was nothing that could make a sound. There was the sea, so calm and all alone. There was dark, and night, and sea murmurings, ripplings. Yet within the dark, and night, and sea, there was the maker, and there was the feathered serpent. And they brought their words together. Joined them with their thoughts. Planned creation. Their words and thoughts were so clear, that whatever they said, came to be. And the serpent and the maker thought about the nature of the world. What would be light and dark, who would bring food, and what everything should look like. And then by speaking their thoughts, they brought the world into existence. Starting with Earth, and then moving on to its features like mountains, and trees. Followed by wild animals. But there was a problem: the wild animals were unable to speak the names of the maker and a feathered serpent. iw: לא ציפור, דג או עץ. לא היה סלע או יער, לא קניון, ולא אחו. היו שמיים, מופרדים מכל הדברים. פני העולם היו בלתי נראים. לא היה שום דבר שיכול להפיק צליל. היה הים, כה רגוע ובודד. היה חושך, ולילה, וים נוהם ורוחש. ובכל זאת בחשיכה, ובלילה, ובים, היה היוצר, והיה הנחש בעל הנוצות. והם צירפו את מילותיהם יחדיו. צירפו אותן עם המחשבות שלהם. תכננו את הבריאה. המילים והמחשבות היו כה ברוריות, שכל מה שהם אמרו נברא. והנחש והיוצר חשבו על טבע העולם. מה יהיה אור וחושך, מי יביא אוכל, ואיך צריך כל דבר להיראות. ואז באמירת מחשבותיהם, הם הביאו את העולם לכדי קיום. תחילה את האדמה, ולאחר מכן את תכונותיה כמו הרים ועצים. ולאחר מכן את חיות הבר. אבל הייתה בעיה: חיות הבר לא יכלו לומר את שמותיהם של היוצר והנחש בעל הנוצות. French: Et aucun poisson, oiseau ou arbre. Il n’y avait aucune pierre, ou forêt, aucun ravin, aucune prairie. Il y avait le Ciel, séparé de toute chose. La face de la Terre était invisible. Il n’y avait rien qui pouvait faire un son. Il y avait l’océan, si calme et si seul. Il y avait les ténèbres et la nuit, et les murmures et ondulations de l’océan. Mais au cœur des ténèbres, et de la nuit, et de l'océan, il y avait le créateur, et le serpent à plumes. Et ils mirent leurs paroles en commun. Les joignirent par la pensée. Planifièrent la création. Leurs paroles et pensées étaient tellement claires que tout ce qu’ils dirent fut. Et le serpent et le créateur réfléchirent à la nature du monde. Ce que seraient la lumière et les ténèbres, qui apporterait la nourriture, et à quoi tout ressemblerait. Et par la parole, ils créèrent le monde. En commençant par la Terre, et puis ses attributs comme les montagnes et les arbres. Puis vinrent les animaux sauvages. Mais il y avait un problème : les animaux sauvages étaient incapable de dire les noms du créateur et du serpent à plumes. Romanian: Nici păsări, pești sau copaci.Nu existatu munți sau păduri, nici canioane, nici iarbă. Era Cerul, separat de toate celelalte lucruri. Nu exista nimic ce ar fi putut produce un sunet.Exista mare, atât de calmă și de singură. Exista întunericul și noaptea și murmurul , clipocitul mării. Înăuntrul întunericului și al nopții și al mării exista Demiurgul și exista Șarpele cu pene. Și ei au strâns cuvintele la un loc. Le-au unit cu gândurile. Au planificat Creația. Cuvintele și gândurile lor erau atât de clare încât orice spuneau, se năștea. Și Șarpele și Demiurgul s-au gândit la natura lumii. Ce ar trebui să fie lumina și întunericul, cine ar trebui să producă hrana și cum ar trebui să arate totul. Și atunci, comunicându-și gândurile, ei au făcut ca lumea să existe. Au început cu Pământul și apoi au continuat cu elementele sale precum munții și copacii. Urmați de animale. Dar exista o problemă. Animalele sălbatice erau incapabile să articuleze numele Demiurgului și al Șarpelui cu pene. Dutch: En geen vogel vis of boom. Er was geen steen, of bos, geen berg, geen weide. Er was Lucht, gescheiden van alle dingen. Het de aarde was onzichtbaar. Er was niets dat een geluid kon maken. Er was de zee, zo kalm en helemaal alleen. Er was duisternis en nacht, en zeefluisteringen, kabbelen. Maar binnen de duisternis, en nacht, en zee, was er de maker, en er was de gevederde slang. En zij brachten hun woorden samen. Voegden ze samen met hun gedachten. Planden de schepping. Hun woorden en gedachten waren zo duidelijk, dat wat ze zeiden, werkelijkheid werd En de slang en de maker dachten na over de aard van de wereld. Wat zou licht en donker zijn, wie voedsel zou brengen, en hoe alles eruit moest zien. En door hun gedachten te spreken, brachten zij de wereld tot stand. Te beginnen met de aarde, en vervolgens eigenschappen zoals bergen en bomen. Gevolgd door wilde dieren. Maar er was een probleem: de wilde dieren waren niet in staat om de namen van de maker en een gevederde slang spreken. Portuguese: E nenhum peixe, pássaro ou árvore. Não houve uma pedra, ou floresta, um vale, nenhum prado. Houve o Céu, separado de todas as coisas. A face da Terra era invisível. Não havia nada que poderia fazer um som. Havia o mar, tão calmo e sozinho. Estava escuro e de noite, e murmurações do mar, algumas ondas. No entanto, dentro do escuro, e à noite, e no mar, havia o criador, e havia a serpente emplumada. E eles uniram as suas palavras. Uniram elas com os seus pensamentos. Uma criação planejada. Suas palavras e pensamentos eram tão claros, que tudo o que disseram veio a ser. E a serpente e o criador pensaram sobre a natureza do mundo. O que seria claro e escuro, que iria trazer comida, e que tudo deve se parecer. E, em seguida, falando seus pensamentos, eles trouxeram o mundo à existência. Começando com a Terra, e depois passaram para as suas características como montanhas e árvores. Seguido por animais selvagens. Mas havia um problema: os animais selvagens eram incapazes de falar os nomes do criador e da serpente emplumada. Swedish: Det fanns inga stenar, skogar, kanjoner eller ängar. Det fanns himmel som var avskild från allt annat. Jordens yta var osynlig, det fanns ingenting som kunde göra ett ljud. Det fanns havet, så lugnt och helt ensamt. Det fanns mörker och natt och havets brus och sorl. Ändock i mörkret och natten och havet fanns skaparen och den fjadrade ormen. Och de förde sina ord tillsammans, förenade de med sina tankar, planerade skapelsen. Deras ord och tankar var så klara att vad de än sa, blev verklighet. Och ormen och skaparen funderade över världens beskaffenhet. Vad skulle vara ljust och mörkt, vem skulle förse mat och hur allt skulle se ut. Och genom att uttala sina tankar skapade de världen. De började med Jorden och sedan dess särdrag, som berg, träd, och efter det vilda djur. Men det var ett problem. De vilda djuren kunde inte säga skaparens och den fjädrade ormens namn, eller de andra gudarnas namn som hade hjälpt till att skapa världen. Portuguese: ninguém lá, nenhuma animal ainda, nenhum pássaro, peixe ou árvore, não havia pedras ou florestas, desfiladeiro, nenhuma matéria, o céu estava separado de tudo, a face da terra estava invisível, não havia nada que pudesse fazer som, havia o mar tão calmo, sozinho, e havia a escuridão e a noite e o mar murmurava, ondeando. Nas profundezas da escuridão e do mar havia o criador e a serpente de penas e eles juntaram suas palavras com seus pensamentos, planejaram a criação, suas palavras e pensamentos eram tão claros que o que quer que eles diziam era criado e a serpente e o criador pensaram sobre a natureza do mundo, o que seria a luz e a escuridão quem traria comida e como as coisas deveriam ser e então ao dizerem o que pensavam, eles fizeram o mundo existir começando com a terra e então passando aos seus detalhes, como montanhas, árvores depois animais selvagens, mas havia um problema com os animais selvagens, eles não podiam falar o nome do criador e da serpente, nem de nenhum outro Chinese: 沒有岩石、叢林、峽谷、或草原 只有天空與眾物分離 沒辦法看見地面，什麼聲音都沒有 只有平靜、孤獨的海洋 只有黑暗、黑夜、海洋咕嚕咕嚕的聲音、漣漪 然而在一切黑暗、黑夜、黑水中 出現了造物者和羽蛇 他們一起討論 合併他們的想法 計畫如何創造 他們的言語與思想非常清晰 所以口說即事成 羽蛇與造物者思考世界的各種型態 何謂光和暗？誰應該收集食物？ 事物的樣貌？ 他們一邊討論，世界就一邊成形。 大地先形成，然後是 大地的樣貌：山川、樹林 還有各式飛禽走獸 但有個問題：這些禽獸不會說話 無法稱呼造物者和羽蛇的名字 以及其他幫忙創世的眾神 Arabic: ولم يكن هناك صخر ولم تكن هناك غابات, لم يكن هناك أودية ولم تكن هناك سهول. كانت هناك السماء, وكانت منفصلة عن كل شيئ, وكان وجه الأرض مخفياً, ولم يكن هناك ما قد يصدر صوتاً. كان هناك البحر, هادئاً أتم الهدوء, ووحيداً بشكل تام. كانت هناك ظلمة وكان هناك الليل و كانت هناك همسات في البحر وموجات صغيرة. وفي كل هذه الظلمة والليل والبحر... كان هناك الصانع والخادم المكسو بالريش. جَمَعا كلماتهما معاً, ووحداها مع أفكارهما, وخططا الخليقة. كانت كلماتهما وأفكارهما شديدة الوضوح, لدرجة أن كل ما قالاه وجد. فكر الصانع والخادم بطبيعة العالم, ما سيكون نوراً أو ظلاماً, ومن سيجلب الطعام, وكيف سيبدو كل شيء وبلفظهما لأفكارهما, أوجدا العالم. بدأً بالأرض, ثم تفاصيلها كالجبال والأشجار, ثم الحيوانات البرية. ولكن كانت هناك مشكلة... فالحيوانات البرية لم تكن قادرة على لفظ أسماء الصانع والخادم المكسو بالريش, وأسماء الآلهة الأخرى التي ساعدت على إيجاد الخليقة, Russian: Не могли и другие боги, помогавшие в творении. И они были неспособны славить богов. Поэтому первое творение потерпело неудачу. Создателю пришлось начать заново, но только после того, как он объяснил всем диким животным, что их участь будет хуже. Что, учитывая факт, что это создатель и пернатый змей организовали вещи таким образом, выглядит как минимум немного нечестно. Вы, птица, олень, вы останетесь там, где вы сейчас, где вы спите и едите, в лесу и в ущельях, среди деревьев и кустов. Вас будут есть, вы будете убивать и вас будут убивать. Вы останетесь внизу и будете служить, поскольку вы не можете говорить и славить вашего бога. Спасибо, Пузырь мысли. Этот конкретный миф привлекателен по ряду причин. Во-первых, он напоминает мне историю книги Бытия, о том, как Адам давал имена всем животным и устанавливал превосходство человека над неговорящими существами, предусматривая единственную причину, почему к людям нужен особый подход по сравнению с другими животными: у нас есть сила речи и, как следствие, власть придумывать и рассказывать наши собственные истории творения. Dutch: Evenals de andere goden die hadden bijgedragen aan de schepping. En ze waren niet in staat om de goden te prijzen. Zo werd de eerste creatie een mislukking. De maker moest opnieuw beginnen, maar niet alvorens uit te leggen aan alle wilde dieren dat hun lot omlaag werd gebracht Wat, gezien het feit dat de maker en de gevederde slang dingen op deze manier hadden georganiseerd, een beetje oneerlijk lijkt. U-vogel, herten, je zult blijven waar je bent, waar je slaapt en eet, in het bos en ravijnen, onder de boom en struik. Je zal worden opgegeten, je zal doden en gedood worden. Je blijft laag en dienen, omdat je niet kunt praten en je god aanbidden. Thanks ThoughtBubble. Deze mythe is fascinerend om een ​​aantal redenen. Allereerst, het herinnert me aan het verhaal in Genesis, dat Adam namen aan alle dieren geeft, en het vaststellen van de heerschappij van de mensheid op alle niet-sprekende wezens, het verschaffen van een reden waarom mensen speciaal zijn ten opzichte van alle andere dieren we hebben de macht van het woord, en in het verlengde daarvan, de macht om onze eigen scheppingsverhalen te bedenken en vertellen. iw: ולא את של שאר האלים שעזרו בבריאה. והם לא היו מסוגלים להלל את האלים. לכן היצירה הראשונה הייתה כישלון. היוצר נאלץ להתחיל מההתחלה, אבל לא לפני שהסביר לחיות הבר שייעודן יהיה נחות. בהתחשב בעובדה שהיוצר והנחש בעל הנוצות סידרו שכך יהיה, זה נראה קצת לא הוגן. אתם - ציפור, צבי, אתם תשארו היכן שאתם, היכן שתוכלו לישון ולאכול, ביער ובקניונים, בין העצים והשיחים. אתם תהיו למאכל, אתם תהרגו ותיהרגו. אתם תישארו נחותים ותשרתו, כיוון שאינכם יכולים לדבר ולהלל את אלוהיכם. תודה בועת מחשבה. המיתוס הספציפי הזה מרתק ממספר סיבות. קודם כל, זה מזכיר לי את הסיפור בבראשית, בו אדם נותן לחיות את שמותיהם, ומבסס את עליונותה של האנושות על פני כל היצורים שאינם יכולים לדבר, מספק סיבה אחת למה אנשים צריכים להיחשב מיוחדים מבין כל החיות: יש לנו הכח לדבר, ומעבר לכך, את הכח להמציא ולספר סיפורי יצירה משלנו. Swedish: Och de kunde inte prisa gudarna, så första skapelsen var ett misslyckande. Skaparen fick börja om, men inte förrän att förklara för alla vilda djur att deras öde skulle bli att placeras lägre. Vilket, med tanke på att skaparen och ormen organiserade allt på detta sätt, verkar ganska orättvist. "Ni - fågel, hjort - ni stannar där ni är, där ni sover och äter, i skogen och kanjonerna, bland träden och buskarna. Ni skall bli uppätna, ni skall döda och dödas, ni skall förbli låga och tjäna, eftersom ni inte kan tala och prisa er gud." Tack Thought Bubble. Den här myten är fascinerande av ett antal skäl. Först och främst påminner den mig om berättelsen i Genesis om Adam som namnger alla djur och som får herravälde över alla icketalande djur, vilket ger ett enda skäl till varför människor bör anses vara speciella bland alla djur. Vi har talets förmåga och därmed också förmågan att dikta upp och berätta våra egna skapelseberättelser. Fråga bara Anansi, afrikanska spindelguden av sagor. German: Und auch nicht die der anderen Götter, die bei der Schöpfung geholfen hatten. Und sie konnten die Götter nicht loben. So scheiterte die erste Schöpfung. Der Schöpfer musste von vorn anfangen, aber erst erklärte er den wilden Tieren, dass es ihr Schicksal war, erniedrigt zu werden. Was, wenn man bedenkt, dass der Schöpfer und die gefiederte Schlange die Dinge so organisiert hatten, zumindest ein bisschen unfair erscheint. Du - Vogel, Hirsch, du wirst bleiben, wo du bist, wo du schläfst und frisst, im Wald und im Tal, zwischen Bäumen und Büschen. Du - Vogel, Hirsch, du wirst bleiben, wo du bist, wo du schläfst und frisst, im Wald und im Tal, zwischen Bäumen und Büschen. Du wirst gefressen werden, du wirst töten und getötet werden. Du wirst niedrig bleiben und dienen, weil du nicht sprechen und deine Götter loben kannst. Du wirst gefressen werden, du wirst töten und getötet werden. Du wirst niedrig bleiben und dienen, weil du nicht sprechen und deine Götter loben kannst. Danke, Thought Bubble. Dieser spezielle Mythos ist aus verschiedenen Gründen faszinierend. Zunächst einmal erinnert es mich an die Geschichte in der Genesis, in der Adam die Tiere benennt und die Herrschaft des Menschen über alle nicht-sprechenden Kreaturen einführt, wo es nur einen Grund gibt, warum der Mensch von allen Tieren so besonders ist: wir können sprechen und sind so fähig, unsere eigenen Schöpfungsgeschichten zu erfinden und erzählen. French: Ainsi que les autres dieux ayant aidé à la création. Et ils étaient incapable de louer les dieux. Ainsi, la première création était un échec. Le créateur dû recommencer depuis le début, Mais pas avant d’expliquer à tous les animaux sauvages que leur lot serait rabaissé. Ce qui, étant donné que le créateur et le serpent à plumes avaient organisés les choses comme ça, semble un peu injuste. Vous, oiseau, cerf, vous resterez où vous êtes, là où vous dormez et mangez, dans les forêts et ravins, parmi les arbres et buissons. Vous serez dévorés, vous tuerez et serez tués. Vous resterez inférieurs et servirez, puisque vous ne pouvez pas parler et louer votre dieu. Merci Thought Bubble. Ce mythe-ci est fascinant pour de nombreuses raisons. Tout d’abord, il me rappelle l’histoire d’Adam dans la Genèse, où il donne leur nom à tous les animaux, établissant ainsi la domination de l’humanité sur les créatures sans parole, donnant la raison pourquoi les humains devraient être considérés spéciaux parmi les animaux : Nous avons la parole, et par extension, le pouvoir d’inventer et raconter nos propres mythes fondateurs. Romanian: La fel ca alți zei care-i ajutaseră la creație. Și ei erau incapabili să venereze zeii. Așa că prima creație a fost un eșec. Demiurgul a început din nou, dar nu înainte de a le explica tuturor animalelor sălbatice că sarcinile lor urmau să fie puține. Ceea ce, considerând faptul că Demiurgul și Șarpele cu pene organizaseră lucrurile în cest fel, pare să fie un pic necinstit. Tu- pasăre, cerb, vei sta acolo unde ești, unde dormi și mănânci, în pădure și în canion,printre copaci și tufișuri. Vei fi mâncată, vei ucide și vei fi ucisă. Vei fi supusă și vei sluji devreme ce nu poți să vorbești și să venerezi zeul. Mulțumesc, Balonule de Gânduri. Acest mit specific e fascinant pentru mai multe motive. Primul dintre ele, îmi amintește de povestea Genezei, a lui Adam dând nume tuturor animalelor și stabilind supremația omului asupra tuturor creaturilor nevorbitoare, furnizând un singur motiv pentru care oamenii ar trebui considerați speciali printre toate animalele: avem puterea de a vorbi țo prin extindere, puterea de a imagina și a spune povești despre noi și crearea noastră. Portuguese: Assim como dos outros deuses que ajudaram a fazer a criação. E eles não foram capazes de louvar os deuses. Assim, a primeira criação foi um fracasso. O criador teve que começar tudo de novo, mas não antes de explicar a todos os animais selvagens que a sua sina era ser abatido. Que, considerando o fato de que o criador e a serpente emplumada organizaram as coisas dessa maneira, parece, assim, um pouco injusto. Vocês - pássaro, cervos, vocês ficarão onde estão, onde dormem e comem, na floresta e nos vales, entre a árvore e o mato. Você vai ser comido, você vai matar e ser morto. Você vai ficar de cabeça baixa e servir, já que você não pode falar e louvar seu deus. Valeu, bolha do pensamento. Este mito em particular é fascinante por um número de razões. Primeiro de tudo, ele me lembra da história em Gênesis, de Adão dando nomes a todos os animais, e estabelecendo o domínio da humanidade sobre todas as criaturas não-falantes, fornecendo uma única razão pela qual os seres humanos devem ser considerados especiais entre todos os animais: nós temos o poder da expressão e, por extensão, o poder de inventar e contar histórias próprias da criação. Arabic: ولم تكن الحيوانات قادرة على تمجيد الآلهة, وبالتالي اعتبرت الخليقة الأولى فشلا. وكان على الصانع أن يبدأ من جديد, ولكن كان عليه قبل ذلك أن يبين للحيوانات البرية أنه سيُحَط من شأنهم. إذا أخذت بعين الاعتبار أن الصانع والخادم المكسو بالريش صمما كل شيء بهذه الطريقة, فقد ترى أن هذا ليس أمراً عادلاً. "يا أيه الطير والغزال - ستبقيان حيث أنتما, حيث تنامان وتأكلان, في الغابات والأودية, وعلى الأشجار و في الشجيرات. ستُؤكلون وستَقتلون وستُقتلون. ستكونوا من الأسفلين وستكونوا خدماً, فأنتم لستم بقادرين على تمجيد ربكم. شكراً يا فقاعة الفكر. تثير هذه الأسطورة اهتمامنا لعدة أسباب, أولا: تذكرني هذه الأسطورة بقصة جزء (التكوين) من كتاب الإنجيل, حيث قام آدم بتسمية جميع الحيوانات, وإعلانه سلطة الإنسان... على جميع المخلوقات اللتي لا تتحدث, وقدم مبررا واحدا لتمييز الإنسان فوق غيره من الحيوان: فنحن نملك القدرة على الحديث, وبفضلها نقدر أن نؤلف ونروي قصص نشأة خاصة بنا. واسأل إله القصص الأفريقي العنكبوت (أنانسي), English: As well as the other gods who helped bring about creation. And they were unable to praise the gods. Thus the first creation was a failure. The maker had to start over again, but not before explaining to all the wild animals their lot was to be brought low. Which, considering the fact that the maker and the feathered serpent organized things this way, seems at least a little unfair. You–bird, deer, you will stay where you are, where you sleep and eat, in the forest and canyons, among the tree and bush. You will be eaten, you will kill and be killed. You will stay low and serve, since you cannot talk and praise your god. Thanks Thought Bubble. This particular myth is fascinating for a number of reasons. First of all, it reminds me of the story in Genesis, of Adam giving names to all the animals, and establishing humanity's dominion over all non-speaking creatures, providing a single reason why humans should be considered special among all animals: we have the power of speech, and by extension, the power to invent and tell creation stories of our own. Spanish: Y fueron incapaces de alabar a los dioses. Así la primera creación fue fallida. El Creador tendría que empezar todo de nuevo, pero no sin antes explicarles a todos los animales salvajes que los suyos serían traídos a menos. Que, considerando el hecho de que el Creador y la serpiente emplumada organizaban las cosas así, parece un poco injusto. "Tu, pájaro, ciervo, te quedarás donde estás, donde duermes y comes, en los bosques y cañones, entre los árboles y arbustos. Serás comido, matarás y serás muerto, pasarás desapercibido y servirás, ya que no puedes hablar y alabar a tu Dios". ¡Gracias Thought Bubble! Este mito en particular es fascinante por varias razones: Primero, me recuerda a la historia en Génesis, de Adán dándoles nombres a todos los animales y estableciendo el dominio de la humanidad sobre las criaturas que no hablan, Proveyendo sólo una razón por la cual los humanos deberían ser considerados especiales entre todos los animales. Tenemos el poder del habla, y por extensión, el poder de inventar y contar nuestras historias de la creación. Sólo pregúntenle a Anansi, el dios-araña africano de las historias. Chinese: 所以他們無法詠讚牠們的神 所以第一次創世是個失敗品 造物者要從重新來過 但是造物者先和動物說明 為什麼牠們的地位被降低了 但它們畢竟是造物者和羽蛇所設計出來的 說真的，有點不公平... 羽蛇：「你們這些鳥群、鹿群就留在你的的位置上。 在叢林裡、峽谷中，在樹木與灌叢間覓食、藏身... 你們會被吃掉，獵食與被獵食， 你們要維持低姿態，並服務眾神 因為你們無法說話並詠讚你們的神。 」 謝謝〈思想泡泡〉 這則神話有許多有意思之處。 首先，這則神話就像《創世紀》中 亞當為各種動物取名，建立人類 比其餘無法說話的動物更優越的地位 提供唯一解釋人類作為「萬物之靈」的理由 因為人類會說話，所以能夠編造、流傳 屬於我們自己的創世故事 不信就問阿南西 非洲的蜘蛛故事神 Portuguese: deus que ajudou na criação e eles não podiam louvar as coisa dos deuses a primeira criação foi um fracasso, o criador precisou começar tudo de novo, mas não antes de explicar para todos os animais selvagens que o destino deles era o de serem dominados, o que considerando o fato que o criador e a serpente de penas organizaram as coisas desse jeito é ao menos um pouco injusto. “Você pássaro, cervo vocês ficarão onde estão, onde vão dormir e comer, nas florestas e desfiladeiros entre as árvores e arbustos, vocês serão comidos vocês matarão e serão mortos, vocês se conformarão e servirão, já que não podem falar e louvar a deus” Obrigado Bolha do Pensamento. Esse mito é especialmente fascinante por várias razões: Primeiro ele me lembra da história do gênesis, onde Adão dava nomes para todos os animais e estabelecia o domínio da humanidade sobre todas as criaturas não falantes, fornecendo uma razão única de por que os seres humanos deveriam ser considerados especiais entre todos os animais. Nós temos o poder da fala e por extensão o poder de inventar e dizer histórias de criação nossas, pode perguntar Danish: ej heller de andre guder, der hjalp til med skabelsen. Og de kunne ikke lovsynge guderne. Således var den første skabelse en fiasko. Skaberen var nødt til at starte forfra, men ikke før at have forklaret alle dyrene at deres lod var at blive fornedret. Hvilket, i betragtning af at skaberen og den fjerede slange havde organiseret tingene således, virker i hvert fald en smule uretfærdigt. Jer -- fugl, rådyr, I må blive, hvor I er, hvor I sover og spiser i skoven og kløfterne, mellem træer og buske. I vil blive spist, I vil dræbe og blive dræbt. I vil forblive lave og tjene, eftersom I ikke kan tale eller lovsynge jeres gud. Tak Thought Bubble. Særligt denne myte er fascinerende af en række årsager. For det første minder den mig om genesisfortællingen, om Adam der navngiver alle dyrene og etablerer menneskets plads, som hersker over alle ikke-talende væsner, og giver en grund til, hvorfor mennesket bliver betragtet som noget særligt blandt alle dyr: Vi har talens kunst, og derved, magten til at opfinde og fortælle vores egne skabelsesberetninger. Arabic: إياك أن تأكله يا تحوت! لسنا في أستراليا! قد لا تركز هذه الأسطورة على الفوضى أو الفراغ أو العدم, ولكننا نجد فيها فكرة عدم وجود شيء ما عدا الله أو (الكلمة) قبل الخليقة, وكما كان الحال مع أساطير النشأة اللتي ناقشنها مسبقاً, نجد فيها بحراً لا ينتهي, تجسيداً مادياً لأشياء مجهولة, وتجسيداً لمصدر الحياة كذلك, فلا يمكن لأي شي ء نراه أن يوجد بدون الماء, خاصة الناس, وأشد من ذلك... السمك. سنقضي بعض الوقت في نقاش المحيط الكوني في الحلقة المقبلة, حيث سنتحدث عن البيض, والبذور, و غواصي الأرض. هذه الأسطورة مفصلة, فبعد أن فشلت الخليقة رقم 1, عاد الصانع والخادم المكسو بالريش للعمل, ولم يتخلصا من جميع الاختلالات الكبرا حتى الخليقة رقم 4. وحتى بعد تلك المرحلة قد يكون عليهما إصدار بعض التحديثات لبرنامجهما القديم جدا... كتحديثات (سيرفس باك) لويندوز, ولكنها للوجود. Portuguese: a Anansi, deus aranha africano das histórias. E Toth não coma ele, isso não é Austrália, mesmo esse mito não tratando do caos ou do vazio ou do nada ele tem a ideia que antes da criação não havia nada, exceto deus ou a palavra e como os mitos de criação que vimos mais cedo, inclui um mar infinito, uma manifestação física de coisas desconhecidas mas também fonte de vida já que nada que podemos ver existe sem água especialmente gente, mas especialmente peixes, nós vamos ficar um pouco mais de tempo no oceano cósmico no nosso próximo episódio quando nós vamos olhar para ovos, sementes e exploradores da terra mas essa história de criação é sofisticada já que a criação inicialmente não deu muito certo o criador e a serpente de penas tentaram de novo e tiveram que voltar ao início antes que eles resolvessem todos os problemas e até eles provavelmente tiveram que lidar com algumas atualizações de programa, programas muito antigos como pacotes de serviço mas para a existência, antes de deixarmos o mundo English: Just ask Anansi, African spider god of stories– Thot, don't eat him. This is not Australia. Even though this myth doesn't focus on Chaos, or the void or nothingness, it does have the idea that before creation, there was nothing. Except God, or the Word. And like the creation myths we looked at earlier, it include an endless sea. A physical manifestation of things unknown. But also of the source of life, since nothing we can see exist without water. Especially people, but especially fish. We'll spend a little more time in the cosmic ocean in our next episode, when we look at eggs, seeds, and Earth-divers. But this creation story is elaborate. Since creation 1.0 doesn't go so well, the maker and the feathered serpent get back to work, and they have to get all the way to creation 4.0 before they resolve all of the major glitches. And even then they're probably still some software updates like ancient, ancient software like service packs but for existence. German: Fragt nur Anansi, einen afrikanischen Spinnengott der Geschichten - Thot, friss ihn nicht. Wir sind nicht in Australien. Obwohl dieser Mythos nicht das Chaos oder die Leere oder das Nichts erwähnt, hat auch er die Vorstellung, dass es vor der Schöpfung nichts gab. Außer Gott oder das Wort. Und wie die Schöpfungsmythen von vorhin beinhaltet er ein endloses Meer. Eine physikalische Manifestation unbekannter Dinge. Aber auch die Quelle des Lebens, weil wir nichts sehen können, das ohne Wasser existiert. Vor allem Menschen -- aber vor allem Fische. Wir werden uns in der nächsten Folge noch etwas länger im kosmischen Ozean aufhalten und uns Eier, Samen und Erdtaucher ansehen. Aber diese Schöpfungsgeschichte ist aufwändig durchdacht. Weil die Schöpfung 1.0 nicht funktioniert, machen sich der Schöpfer und die gefiederte Schlange wieder an die Arbeit, und erst bei Schöpfung 4.0 haben sie alle größeren Fehler ausgebügelt. Und selbst da gibt es wahrscheinlich noch Software-Updates, also sehr, sehr alte Software-Updates, sowas wie Service Packs, nur eben für das Leben. Spanish: Thot, no te lo comas... esto no es Australia. Incluso aunque este mito no se enfoca en el caos, el vacío o la nada, sí tiene la idea de que antes de la creación, no había nada. Excepto Dios, o la Palabra. Y como en los mitos de creación que vimos antes, incluye un océano sin fin. Una manifestación física de las cosas desconocidas, pero también, de la fuente de la vida, ya que nada de lo que podemos ver existe sin agua. Especialmente la gente... pero especialmente los peces. Pasaremos un poco más de tiempo en el océano cósmico en el próximo episodio, donde veremos huevos, semillas, y buceadores de la tierra. Pero esta historia de la creación es elaborada. Ya que la creación 1.0 no fue tan bien, el Creador y la serpiente emplumada volvieron al trabajo y tuvieron que pasar por todo hasta la creación 4.0 antes de resolver todas las fallas del sistema. E incluso así, probablemente hay actualizaciones de programa. Actualizaciones muy, muy antiguas. Como paquetes de servicio... pero para la existencia. French: Demandez à Anansi, dieu araignée africain des histoires... Thot, ne le mange pas. On est pas en Australie. Bien que ce mythe ne se concentre pas sur le Chaos, ou le vide ou le néant, il partage l’idée qu’avant la création, il n’y avait rien. Excepté Dieu, ou le Verbe. Et comme les autres cosmogonies que nous avons évoqué plus tôt, elle inclut un océan infini. Une manifestation physique de l’inconnu. Mais aussi une source de vie, puisque rien de ce que nous pouvons voir existe sans eau. En particulier les humains, mais surtout les poissons. Nous reviendrons sur l’océan cosmique dans notre prochain épisode, Où nous parlerons des œufs, des graines, et des plongeurs cosmogoniques. Mais cette cosmogonie est élaboré. Puisque la création 1.0 ne fonctionne pas bien, le créateur et le serpent à plumes reprennent le travail, et ils doivent aller jusqu’à la création 4.0 avant de résoudre les défaillances principales. Et même là, il y a probablement encore des mises à jour logiciel. Des vieux, vieux logiciels. Comme les service packs, mais pour l’existence. Dutch: Vraag het maar aan Anansi, Afrikaanse spin god -- Thot, eet hem niet op. Dit is niet Australië. Hoewel deze mythe richt zich niet op de chaos, of de leegte of niets, heeft het wel het idee dat voor de schepping er niets was. Behalve God of het Woord. En net als de scheppingsverhalen waar we eerder naar hebben gekeken, omvat het een eindeloze zee. Een fysieke manifestatie van de onbekende dingen. Maar ook van de bron van het leven, omdat niets wat wij kunnen zien kan bestaan ​​zonder water. Mensen, maar vooral ook vis. In onze volgende aflevering zullen we meer tijd door brengen in de kosmische oceaan wanneer we kijken naar eieren, zaden, en Aarde-duikers. Maar dit scheppingsverhaal is uitgebreid. Omdat schepping 1.0 niet zo goed gaat, gaan de maker en de gevederde slang weer aan het werk, en ze moeten helemaan naar schepping 4.0 voordat ze van alle grote fouten af zijn. En zelfs dan zijn er waarschijnlijk nog software-update, oeroude sofware zoals service packs, maar dan van het bestaan. Portuguese: Basta perguntar a Anansi, o deus-aranha africano das histó- Thot, não o coma. Esta não é a Austrália. Mesmo que esse mito não se concentrar no caos, ou no vazio ou no nada, ele tem a ideia de que antes da criação, não havia nada. Exceto Deus, ou a Palavra. E como os mitos da criação que examinamos anteriormente, inclue um mar infinito. Uma manifestação física de coisas desconhecidas. Mas também da fonte da vida, uma vez que nada existe sem água. Especialmente as pessoas, mas especialmente os peixes. Nós vamos gastar um pouco mais tempo no oceano cósmico no nosso próximo episódio, quando olhamos para os ovos, as sementes e mergulhadores-de-terra. Mas esta história de criação é elaborada. Já quee a criação 1.0 não foi tão bem, o criador e a serpente emplumada voltam ao trabalho, e eles têm que fazer todo o caminho para a criação 4.0 antes de resolver todas as principais falhas. E mesmo assim eles provavelmente ainda precisam de algumas atualizações de software nesse aí, super antigo como uns service packs, mas para a existência. Danish: Spørg bare Anansi, den afrikanske edderkoppegud for fortællinger -- Thoth, lad være med at spise ham. Vi er ikke i Australien. Selv om denne myte ikke fokuserer på Kaos, eller tomrummet eller intetheden, indeholder den ideen om, at før skabelsen var der intet. Bortset fra Gud eller Ordet. Og ligesom skabelsesberetningerne vi så på tidligere, havde den et endeløst hav. En fysisk manifestation af det ukendte. Men også kilden til livet, eftersom at intet af det vi ser kunne eksistere uden vand. Især mennesker, men i særdeleshed fisk. Vi vil bruge lidt mere tid i det kosmiske ocean i den næste episode, hvor vi ser på æg, frø og Jord-dykkere. Men denne skabelsesberetning er detaljeret. Da Skabelsen 1.0 ikke går som forventet, vender Skaberen og den fjerede slange tilbage til tegnebordet, og de når hele vejen til Skabelsen 4.0, før de får løst alle de største systemfejlene. Og selv da er der sikkert nogle software opdateringer som oldgammelt software som service pakken men for eksistens Chinese: 圖特，不能吃他 這裡不是澳洲 雖然這則神話沒有渾沌或無 但是他表明了在創世之前 除了神與道（聖言）... 什麼都沒有的概念 而且就像我們前面所討論的神話一樣 也有一個無垠的海洋： 未知事物的具體代表 但海洋又同時是生命的起源 因為我們所能見到的東西 沒有水都活不下去 尤其是人 更尤其是...魚 下一集再來講世界海 尤其我們會討論到蛋蛋、種子、 以及大地發掘者的神話。 這則神話還能夠更深入探討... 因為「創世1.0」的銷售不佳 造物者和羽蛇必須砍掉重練 一直到「創世4.0」才將所有的重要 bug 除掉 而且恐怕還有一些「軟體更新」 很古老的...軟體更新 創世的...「資料片」 在結束「無中生有」創世神話這個題目前 Russian: Прямо как Ананси, африканский паук и бог историй… Тот, не ешь его. Тут тебе не Австралия. Хотя этот миф даже не сосредоточен на Хаосе или пустоте, или на небытии, у него есть идея, что до творения не было ничего. Кроме Бога, или Слова. И как мифы о творении, которые мы рассматривали ранее, он включает в себя бесконечное море. Физическое проявление неизвестных вещей. А также источник жизни, поскольку ничего, что мы видим, не может существовать без воды. Особенно люди, и особенно рыбы. Мы потратим немного больше времени в космическом океане в нашем следующем эпизоде, в котором мы рассмотрим яйца, семена и ныряльщиков за землёй. Но эта история творения развивается. Поскольку творение 1.0 пошло не так хорошо, создатель и пернатый змей вернулись к работе и они должны пройти весь путь к творению 4.0, чтобы исправить все главные баги. И даже в этом случае у них, наверно, всё равно будут обновления как для очень-очень древних программ, как пакеты обновления, но для выживания. Romanian: Doar întrebați-l pe Anasi, zeul păianjen african- Thot nu-l mânca.Aici nu e Australia. Chiar dacă acest mit nu se axează pe Haos sau vid sau nimic, există ideea că înainte de Creație nu exista nimic.Cu excepția lui Dumnezeu sau a Cuvântului. Și la fel ca miturile creației la care am privit mai devreme, ele includ o mare fără sfârșit. O manifestare fizică a lucrurilor necunoscute. Dar de asemenea o sursă a vieții pentru că nimic din ce vedem nu poate exista fără apă. Mai ales oamenii dar mai ales peștii. Vom petrece ceva mai mult timp în oceanul cosmic în episodul nostru următor, când vom privi la ouă, semințe și Pământ în diversitatea lor. Dar această poveste a creației e elaborată. Deoarece creația 1.o n-a mers bine, demiurgul și șarpele cu pene s-au întors la muncă și ei au trebuit să ducă până la capăt creația 4.0. înainte de a rezolva toate scăpările majore. Și chiar dacă apoi probabil mai încă de servicii pentru existență. iw: רק תשאלו את אננסי, אל הסיפורים העכביש האפריקאי - ת'ות, אל תאכל אותו. זו לא אוסטרליה. למרות שהמיתוס הזה לא מתרכז בכאוס, או הריק או הכלום, יש לו את הרעיון שלפני הבריאה, היה כלום. חוץ מהאל, או המילה. וכמו מיתוסי הבריאה שכבר ראינו, הוא כולל ים אינסופי. ביטוי פיזי לדברים שאינם ידועים. אבל גם למקור החיים, שכן שום דבר שאנחנו רואים לא יכול להתקיים בלי מים. במיוחד אנשים, אבל במיוחד דגים. אנחנו נבלה עוד קצת באוקיינוס הקוסמי בפרק הבא, כשנסתכל על ביצים, זרעים, וצוללני אדמה. אבל סיפור הבריאה הזה מפורט. מכיוון שבריאה 1.0 לא הולכת טוב, היוצר והנחש בעל הנוצות חוזרים לעבודה, והם יגיעו עד לבריאה 4.0 לפני שיתקנו את כל הליקויים המשמעותיים. וגם אז הם כנראה יצטרו כמה עדכוני תוכנה. תוכנה ממש, ממש עתיקה כמו חבילות שירות, רק עבור הקיום. Swedish: Thot, ät inte upp honom. Det här är inte Australien. Även om denna myt inte fokuserar på kaos eller tomrummet eller intet, har den dock idén om att det fanns ingenting före skapelsen, förutom Gud eller Ordet. Och liksom skapelsemyterna som vi tittade på förut, innehåller den ett oändligt hav. En fysisk yttring av saker som är okända, men också av livets källa, eftersom inget vi ser kan existera utan vatten. I synnerhet människor, men mest av allt fiskar. Vi kommer att spendera lite mer tid i det komiska havet i nästa avsnittet, när vi tittar på ägg, frön och jorddykare. Men denna skapelseberättelse är detaljerad. Eftersom Skapelse 1.0 inte går så bra, sätter skaparen och den fjädrade ormen igång igen för att komma fram till Skapelse 4.0 innan de har löst de största buggarna. Och även då behövs det nog några till uppdateringar av mjukvaran. Alltså, uråldrig mjukvara. Servicepacks för tillvaron. Swedish: Innan vi lämnar ex nihilo-berättelserna bakom oss, vill jag gärna ge ett till exempel. Big Bang Och många av er stirrar nu förvirrat och förskräckt på er skärm, och säger att detta inte alls är en myt. Men kom ihåg, vi pratar om betydelsefulla och bestående berättelser, som Big Bang förvisso är. Så låt oss prova det här. Hank och Phil Plait har noggrant gått igenom det här i Crash Course Astronomi och vi har pratat om det i Big History. Här kommer vi att använda en version av Brian Swimme ur hans bok "The Universe is a Green Dragon". "Föreställ dig smältugnen som allt uppstod ur. "Detta var en eld som genomträngde universum - som var universum. "Det fanns ingen plats i universum som var befriad från denna eld. "Varje punkt i världsalltet var en punkt i denna explosion av ljus, "och alla universums partiklar snurrade i ytterligheter av hetta och tryck. "Allt som vi ser omkring oss, allt som nu existerar, fanns där i början, i denna stora, brinnande explosion av ljus." Portuguese: das criações do nada, eu quero dar mais um exemplo: O Big Bang e muitos de vocês agora vão olhar para a tela confusos e assustados dizendo que isso não é um mito, mas lembrem-se nós estamos falando de histórias importantes e que tem uma existência duradoura, o que o Big Bang com certeza é, então vamos tentar Hank e Phil Plaite falaram disso em detalhes no Crash Curse de Astronomia e nós falamos dele no Crash Course Big History, aqui nós vamos usar uma versão escrita por Brian Swimme no seu livro: O Universo é um dragão Verde. “Imagine a fornalha da qual tudo veio. Esse era o fogo que preencheu o universo Isso era o universo. Não havia lugar no universo livre disso. Todos os pontos do cosmos era um ponto dessa explosão de luz. Todas as partículas do universo se agitaram no calor e pressão extremos. Tudo que nós vemos sobre nós, tudo que atualmente existe estava lá no começo nessa grande explosão de luz” . Ei, isso parce muito com alguns dos French: Avant de quitter le domaine de la création ex nihilo, j’aimerais donner un autre exemple : le Big Bang. Et beaucoup parmi vous sont maintenant en train de regarder vos écrans avec horreur et confusion, en train de dire que ce n’est pas du tout un mythe. Mais rappelez-vous, un mythe est une histoire significative et durable, ce qui est définitivement le cas du Big Bang. Alors, essayons. Hank et Phil Plait ont exploré le sujet en détail dans la série Crash Course Astronomie, et nous en avons parlé dans la série Grande Histoire. Ici, nous allons utiliser la version transcrite par Brian Swimme dans son livre The Universe is a Green Dragon. « Imaginez la fournaise d’où tout ce qui existe provient. C’était un feu qui remplissait l’Univers, c’était l’Univers. Il n’y avait nulle part dans l’Univers où y échapper. Chaque point du cosmos était un point de cette explosion de lumière. Et toutes les particules de l’Univers étaient agitées dans des températures et pressions extrêmes, tout ce que nous observons, tout ce qui existe, était là au commencement dans cette grandiose explosion brûlante de lumière. » German: Bevor wir den Bereich der ex-nihilo-Schöpfung verlassen, will ich euch noch ein Beispiel geben: den Urknall. Und jetzt starren viele von euch verwirrt und entsetzt auf den Bildschirm, und sagen, dass das doch überhaupt kein Mythos ist. Und jetzt starren viele von euch verwirrt und entsetzt auf den Bildschirm, und sagen, dass das überhaupt kein Mythos ist. Aber erinnert euch, wir reden von signifikanten Geschichten mit Durchhaltevermögen, was der Urknall ist. Probieren wir's aus. Hank und Phil Plait haben ihn im Crash Course Astronomie detailliert besprochen, und wir haben in Große Geschichte davon geredet. Hier verwenden wir die Version, die Brian Swimme in seinem Buch 'Das Universum ist ein grüner Drache' erzählt. "Stellt euch den Ofen vor, aus dem alles kam. Das war das Feuer, das das Universum erfüllte-- das war das Universum. Es gab keinen Ort im Universum ohne es. Jeder Punkt des Kosmos war ein Punkt in dieser Explosion aus Licht. Und all die Partikel des Universums strudelten in extremer Hitze und Druck, alles, was wir sehen, alles, was jetzt existiert, war dort am Anfang in dieser großen, brennenden Explosion aus Licht." English: Before we leave the realm of ex nihilo creation, I want to give one more example: the Big Bang. And a lot of you are now staring at your screens in confusion and horror, and saying that this isn't a myth at all. But remember, we're talking about significant stories, with staying power which the Big Bang certainly is. So, let's try it out. Hank and Phil Plait have gone over this in detail, over at Crash Course Astronomy, and we've talked about it on Big History. Here, we're going to use the version related by Brian Swimme in his book The Universe is a Green Dragon "Imagine that furnace out of which everything came forth. This was a fire that filled the Universe– that was the Universe. There was no place in the Universe free from it. Every point of the cosmos was a point of this explosion of light. And all the particles of the Universe churned in extremes of heat and pressure, all that we see about us all that now exists was there at the beginning in that great burning explosion of light." Arabic: أود أن قدم مثالا إضافيا على أساطير الخليقة اللتي تتبع أسلوب (إكس نيلو) قبل أن ننهي الحديث عنها: (الانفجار العظيم) وأدرك أن الكثير منكم الآن يحدقون بشاشاتهم بحيرة وذعر, قائلين "تلك ليست بأسطورة!" ولكن تذكروا هذا: إننا نتحدث عن قصص مهمة بقيت لفترة طويلة. والانفجار العظيم... تنطبق عليه هذه الصفات. لنجربها, ومن الجدير بالذكر ان (هانك) و (فيل بليت) تحدثوا عن هذا الموضوع بكامل تفاصيله في كراش كورس : علم الفلك. وأننا قد تحدثنا عنها في كراش كورس: التاريخ الكبير. وسنستخدم رواية من هذه القصة أتى بها (برايان سويم) في كتابه المسمى (المجرة تنينٌ أخضر). وها هي الرواية: تخيل فرناً أتى من داخله كل شيء نارٌ تملأ المجرة - بل قد كانت هي المجرة. لم تسلم منها أي بقعة في المجرة. كان كل جزء من الكون جزءا من هذا الانفجار الضوئي. وكانت كل ذرات المجرة تهتز من الحرارة والضغط الشديدين. كل ما نراه من حولنا وكل ما هو موجودٌ الآن وجد في البداية في ذلك الانفجار الضوئي المحترق الهائل. Romanian: Înainte de a părăsi domeniul creației ex nihilo, vreau să vă mai dau un exemplu: Big Bang-ul. Și mulți dintre voi priviți acum screenurile cu confuzie și oroare spunând că acesta nu este deloc un mit. Dar amintiți-vă, noi vorbim despre povestiri semnificative care persistă ceea ce Big Bang-ul cu certitudine este. Deci să încercăm. Hank și Phil Plait au vorbit despre asta în detaliu la Crash Course Astronomy și noi am vorbit la Big History. Aici o să folosim versiunea relatată de Brian Swimme în cartea sa Universul e un Dragon Verde. "Imaginați-vă acest cazan din care totul primește energie.Acesta a fost focul care a umplut Universul- asta a fost Universul.Nu există loc în Univers care să nu provină din el. Fiecare punct al Cosmosului este un punct al acestei explozii de lumină. Și toate particulele Universului se agită în căldură și presiune extremă, tot ceea ce vedem, tot ceea ce există acum a fost acolo de la început în marea explozie de lumină." Russian: Пока мы не покинули сферу творения из ничего, я хочу дать ещё один пример: Большой взрыв. И многие из вас сейчас пялятся на экраны со смятением и ужасом и говорят, что это вовсе не миф. Но вспомните, мы говорим о значимых историях с сохраняющемся влиянием, которой определённо является Большой взрыв. Итак, давайте проверим его. Хэнк и Фил Плейт подробно о нём рассказали в Crash Course Астрономии, и мы говорили о нём в Универсальной истории. Здесь мы собираемся использовать версию, описанную Брайаном Свиммом в его книге «Вселенная – зеленый дракон». «Представьте себе печь, из которой всё выплавилось. Это был огонь, наполнивший Вселенную – он и был Вселенной. Не было места во Вселенной, свободной от него. Каждая точка космоса была точкой этого взрыва света. А все частицы Вселенной смешивались в крайностях температуры и давления, всё, как мы рассматриваем то, что существует сейчас, возникло тогда, в начале этого великого палящего взрыва света». Chinese: 我還要再舉一個例子 大爆炸理論 很多人現在可能準備翻桌 心裡在OS說：「這不算神話！」 但記得嗎？我們現在在說的是 有重大意義、有流傳性的故事 而「大爆炸理論」確實算是這樣的故事 我們來試試看。杭克和菲爾‧普雷特已經在 〈天文學速成班〉詳細探討過這個題目... 我們在〈大歷史〉系列中也講過了 這裡我要引用布萊恩‧史溫的描述版本 在他的書《宇宙是條青龍》裡是這麼寫的： 想像一座打造萬物的熔爐。 這是佈滿宇宙的烈火。 那火本身就是宇宙。 宇宙間沒有不被這火所覆蓋的角落。 天地間的每個點都是源自這一點灼光 宇宙中每一顆粒子在高溫與高壓下擠壓融合， 現在所能見、所存在的， 原本都在那初始之點 在那熠熠烈焰的灼光中 Danish: Før vi forlader "ex nihilo" skabelsen vil jeg give et sidste eksempel: Big Bang Og mange af jer stirrer nu på jeres skærm med forvirring og rædsel og siger at det overhovedet ikke er en myte. Men husk på, vi taler om signifikante historier med vedholdenhed, hvilket Big Bang bestemt er. Så lad os afprøve det. Hank og Phil Plait har gennemgået detaljerne på Crash Course Astronomy, og vi talte om det på Big History. Her bruger vi versionen fra Brian Swimme i hans bog The Universe is a Green Dragon Forestil dig den esse fra hvilken alt kommer. Dette var en ild, som fyldte universet-- Det var universet. Det var intet sted i universet, der var undtaget. Alle steder i kosmos var et sted, hvor der var en eksplosion af lys. Og alle universets partikler blev kværnet under ekstremt varme og tryk, alt, som vi ser omkring os, alt ,der eksisterer nu, var der i begyndelsen i den store brændende eksplosion af lys." Dutch: Voordat we het rijk van ex nihilo schepping verlaten, wil ik nog een voorbeeld geven: de Big Bang. En veel van jullie staren nu naar je schermen in verwarring en verschrikking, en te zeggen dat dit helemaal geen mythe is. Maar vergeet niet, we hebben het over belangrijke verhalen met uithoudingsvermogen, die de Big Bang zeker is. Dus, laten we het uitproberen. Hank en Phil Plait hebben dit uitgebreid besproken bij Crash Course Astronomie, en we hebben het bij Big History besproken. Hier gaan we de versie gebruiken verteld door Brian Swimme in zijn boek Het Universum is een Groene Draak "Stel je voor een oven waaruit alles voortkwam. Dit was een vuur die het universum vulde dat was het heelal. Er was geen plaats in het heelal vrij van. Elk punt van de kosmos was een punt van deze explosie van licht. En alle deeltjes van het heelal gekarnd in extreme hitte en druk, alles wat we om ons heen zien alles wat nu bestaat, was er in het begin in die grote branden explosie van licht." iw: לפני שנעזוב את ממלכת האקס ניהילו, אני רוצה לתת לכם עוד דוגמא אחת: המפץ הגדול. והרבה מכם בוהים עכשיו במסכים שלכם בבלבול ואימה, ואומרים שזה בכלל לא מיתוס. אבל תזכרו, אנחנו מדברים על סיפורים משמעותיים עם כח עמידה, והמפץ הגדול אכן כזה. אז, בוא ננסה. האנק ופיל פלייט עבור על זה בפרטים, בקראש קורס באסטרונומיה, ודיברנו על זה בקראש קורס בהיסטוריה גדולה. כאן, אנחנו נשתמש בגרסה שהוצאה על ידי בריין סווים בספרו "היקום הוא דרקון ירוק". "דמיינו כבשן שממנו הכל בא. זו הייתה אש שמילאה את היקום- זה היה היקום. לא היה מקום ביקום חופשי ממנה. כל נקודה בקוסמוס הייתה נקודה בפיצוץ האור הזה. וכל החלקיקים של היקום נדחסו בחום ולחץ קיצוניים, כל מה שאנחנו רואים על עצמנו שקיים עכשיו היה שם בהתחלה, בפיצוץ האור הגדול הזה." Spanish: Antes de salir del reino de la creación Ex Nihilo, quiero dar un último ejemplo... El Big Bang. Y muchos de ustedes ahora están mirando sus pantallas confundidos y horrorizados diciendo que este no es un mito. Pero recuerden, estamos hablando de historias significativas con poder de permanencia. Y el Big Bang... lo es. Entonces, vamos a intentarlo. Hank y Phil ya hablaron de esto en detalle en Crash Course Astronomía y ya hablamos de ello en Historia pero, aquí usaremos una versión relatada por Brian Swimme en su libro El Universo es un Dragón Verde: "Imaginen ese horno del cual salió todo. Esto fue un fuego que llenó el universo — eso fue el universo. No había lugar en el universo libre de ello. Cada punto del Cosmos era un punto de esta explosión de luz. Y todas las partículas del Universo revueltas en extremos de calor y presión, todo lo que vemos en nosotros, todo lo que ahora existe estuvo al principio, en esa gran ardiente explosión de luz." Portuguese: Antes de deixar o reino da criação ex nihilo, eu quero dar mais um exemplo: o Big Bang. E um monte de vocês agora está olhando para suas telas em confusão e horror, e dizendo que este não é um mito. Mas lembre-se, estamos falando de histórias significativas, com poder de permanência, o que o Big Bang certamente é. Então, vamos experimentá-lo. Hank e Phil Plait falaram sobre isso em detalhes, no Crash Course Astronomia, e nós já conversamos sobre isso na Grande História. Aqui, nós estamos usaremos a versão relatada por Brian Swimme em seu livro "O Universo é um dragão verde". "Imagine a fornalha a partir da qual tudo veio por diante. Este era um incêndio que encheu o Universo- e isso foi o Universo. Não havia lugar no Universo livre dele. Cada ponto do cosmos era um ponto desta explosão de luz. E todas as partículas do universo agitaram-se em condições extremas de calor e pressão, tudo o que vemos ao nosso redor, tudo o que existe agora, estava lá no início, na grande explosão de luz". Dutch: Hé, dat klinkt als een aantal van de meest oude mythen nietwaar? "Net als alle andere ex nihilo scheppingsverhalen start de Big Bang in een tijd voor de tijd en geeft ons een oorsprong gebeurtenis, een waarbij licht uit de duisternis komt, warmte van de kou." En OK, in tegenstelling tot eerdere mythen is er geen god, of water, maar je kunt nog steeds van de structurele overeenkomsten genieten. En wat is er zo geweldig aan vissen? Oh! Sorry Thoth. Dus ja. Ex nihilo scheppingsmythen zijn verontrustend. Ze vragen ons leegte voor te stellen. Afwezigheid. Chaos. Maar dan zien we hoe elke traditie daar orde in schept. Orde en licht. En soms modder. Bedankt voor het kijken. Zie je volgende week! Crash Course Mythologie is gefilmd in de Chad en Stacey Emigholz Studio in Indianapolis, Indiana en wordt geproduceerd met de hulp van al deze aardige mensen. Ons animatieteam is Thought Café, en Crash Course bestaat dankzij de genereuze steun van onze opdrachtgevers bij Patreon Russian: Эй, это звучит довольно похоже на древнейшие мифы, не правда ли? «Как все истории о творении из ничего, Большой взрыв начинается во времени до времени и даёт нам исходное событие, которое чудесным образом вызывает свет из тьмы, жару из холода». Ну ладно, в отличие от тех мифов, Большой взрыв не поддерживает идею бога или воды, но вы всё равно можете оценить структурное сходство. И кстати, что же такого классного в рыбе? Ой! Прости, Тот. В общем, да. Мифы о творении из ничего тревожат нас. Они просят нас представить пустоту. Небытие. Хаос. Но потом мы видим, как каждая традиция привносит в него порядок. Порядок и свет. И иногда грязь. Спасибо, что смотрели. Увидимся на следующей неделе! Crash Course Мифология была снята в студии Чеда и Стейси Эмиггольцев в Индианаполисе (Индиана) и сделана с помощью всех этих милых людей. Наша анимационная команда — Thought Café, а Crash Course существует благодаря щедрой поддержке наших покровителей на Patreon. Portuguese: mais antigos mitos não parece? Como todas as histórias de criação do nada o Big Bang começa em um tempo antes do tempo e nos mostra um evento de origem, um que parece trazer luz à escuridão, calor do frio” E Ok diferente dos mitos anteriores ele não nos dá um deus ou água mas você ainda pode apreciar as similaridades estruturais. O que tem de mais nos peixes de qualquer forma? Oh, desculpe Toth. E sim mitos de criação do nada são inquietantes, eles nos levam a imaginar o vazio ausência, caos, mas então vemos como cada cultura traz alguma ordem a isso, ordem e luz e algumas vezes lama. Obrigado por assistir, vejo vocês na semana que vem. Crash Course mitologia é filmado no Chad and Stacey Emigholz Studio em Indianápolis Indiana e é produzido com a ajuda de todas essas pessoas legais, nosso time de animação é o Though Café e o Crash Course existe graças à generoso suporte de nossos patrões no patreon Patreon é um sistema de assinatura voluntária onde vocễ pode ajudar o Danish: Hey, det lyder lidt ligesom nogle af de gamle myter, gør det ikke? "Som alle ex nihilo skabelsesberetninger begynder Big Bang i tiden før tiden og giver os en oprindelsesbegivenhed, en der synes at skabe lys fra mørket, varme fra kulden." og OK, modsat tidligere myter er der ingen gud, eller vand, men man kan stadig værdsætte de strukturelle ligheder. Og hvad er så fantastisk ved fisk, når det kommer til stykket? Åh! Undskyld Thoth. Så, ja. "Ex nihilo" skabelsesberetninger er foruroligende. De beder os om at forestille os tomrum. Fravær. Kaos. Men så ser vi, hvordan hver tradition skaber orden i kaoset Orden og lys. Og nogle gange mudder. Tak fordi I så med. Vi ses næste uge! Crash Course Mytologi er filmet i Chad & Stacey Emigholz studiet i Indianapolis, Indiana og er produceret med hjælp fra alle disse rare mennesker. Vores animationsteam er Thought Cafe, og Crash Course eksisterer takket være den generøse støtte fra vores protektorer fra Patreon. Spanish: ¡Hey! Eso suena muy parecido a algunos de los mitos más antiguos, ¿no? "Como todas las historias de la creación Ex NIhilo, el Big Bang empieza en un tiempo antes del tiempo y nos da un evento de origen, uno que parece conjurar luz de la oscuridad, calor del frío". Y bueno, a diferencia de mitos anteriores, no provee un Dios o agua pero, igual pueden apreciar las similitudes estructurales en ellos. ¿Y qué es tan genial sobre los peces, de todas formas? Oh, perdón Thot. Y si, los mitos de creación Ex Nihilo son...inquietantes. Nos piden que imaginemos vacío, ausencia, caos. Pero después vemos cómo cada tradición trae algo de orden en eso. Orden y luz. Y algunas veces barro. Gracias por ver. Nos vemos la semana que viene. Crash Course Mitología es filmado en el estudio Chad & Stacey Emigholz en Indianápolis, Indiana y es producido con la ayuda de toda esta buena gente. Nuestro equipo de animación es Thought Café y Crash Course existe gracias al generoso soporte de nuestros colaboradores en Patreon. French: On dirait certains des mythes les plus anciens, pas vrai ? « Comme toutes les cosmogonies ex nihilo, le Big Bang commence à une époque avant le temps, et nous offre un événement à l’origine, qui semble conjurer la lumière des ténèbres, la chaleur du froid. » Et d’accord, contrairement aux mythes précédents, il n’y a pas de dieu ou d’eau, mais il est tout de même possible d’apprécier les similarités structurelles. Et qu’est ce que les poissons ont de si formidable, de toute façon ? Oh ! Désolé Thot. Donc, oui. Les cosmogonies sont perturbantes. Ils nous demandent de concevoir le néant. L’absence. Le Chaos. Mais après cela, on peut voir comment chaque tradition y apporte de l’ordre. L’ordre et la lumière. Et parfois la boue. Merci d’avoir regardé. A la semaine prochaine ! La série Crash Course Mythologie est filmée au studio Chad et Stacy Emigholz à Indianapolis, Indiana Elle est produite grâce à toutes ces gentilles personnes. Nos animations sont réalisées par Thought Café, et Crash Course existe grâce à la générosité de nos patrons sur Patreon. Romanian: Hei, asta sună mult ca unele dintre cele mai vechi mituri, nu? La fel ca poveștile despre creația ex nihilo, Big Bang-ul începe într-un timp de dinaintea timpului și ne lasă un eveniment original, unul dintre acelea care par să invoce lumina din întuneric, căldura din rece. Și ok, spre deosebire de vechile mituri, nu presupune un zeu sau apă dar puteși totuși aprecia asemănările de structură. Și ce e atât de important peștele, oricum? Oh! Îmi pare rău Thoth. Deci, da. Miturile creației ex nihilo sunt neliniștitoare. Ne cer să ne imaginăm vidul.Absența.Haosul. Dar apoi vedem cum fiecare tradiție aduce ceva ordine în asta. Ordine și lumină.Și uneori noroi. Mulțumesc pentru atenție.Ne vedem săptămâna viitoare! Crash Course Mytholgy e filmat în Chad and Stacey Emigholz Studio în Indianapolis, Indiana. și e produs cu ajutorul tuturor acestor oameni drăguți.Echipa noastră de animație e Thought Cafe și Crash Course există mulțumită suportului generos al patronilor noștri de la Patreon. iw: היי, זה נשמע ממש כמו כמה מיתוסים עתיקים, הלא כן? כמו כל סיפורי הבריאה "אקס ניהילו", המפץ הגדול התחיל בזמן שלפני הזמן ונתן לנו אירוע התחלתי, כזה שמוציא אור מתוך חושך, חום מתוך קור." ואוקיי, בשונה מהמיתוסים הקודמים אין בו אל, או מים, אבל אתם יכולים להעריך את הדימיון המבני. ומה כל כך טוב בדגים בכל מקרה? או! סליחה ת'ות. אז, כן. מיתוסי בריאה "אקס ניהילו" הם מטרידים. הם מבקשים מאיתנו לדמיין ריק. חוסר. כאוס. אבל אז אנו רואים איך כל מסורת מביאה סדר אל תוך זה. סדר ואור. ולפעמים בוץ. תודה שצפיתם. נתראה בשבוע הבא! קראש קורס במיתולוגיה מצולם באולפן צ'אד וסטייסי אמיגולז באינדיאנפוליס, אינדיאנה ומופק בעזרתם של כל האנשים הנחמדים הללו. צוות האנימציה שלנו הוא Thought Café, וקראש קורס קיים הודות לעזרתם הנדיבה של תומכינו ב- Patreon. Chinese: 這聽起來不正像是許多古代的創世神話嗎？ 與許多「無中生有」創世故事一般，大爆炸理論 從時間的起點開始，並描述了一則「第一因」事件 一則「由黑暗中召喚光，冰冷中召喚熱」的事件 OK，雖然它不像其他神話裡一樣有神、有水 但你能注意到結構上的相似之處 而且魚有什麼好吃的？ 喔，圖特，歹勢！ 的確，「無中生有」神話很令人不安 他要我們去想像「空」、「無」、「渾沌」 但我們又能見到各種帶來秩序的傳統 秩序及光明 有時候有泥巴 謝謝收看 下週見 German: Hey, das klingt schon nach ein paar dieser antiken Mythen, oder? "Wie alle ex-nihilo-Schöpfungsgeschichten beginnt der Urknall in einer Zeit vor der Zeit und gibt uns ein Ursprungsereignis, das Licht aus Dunkelheit und Wärme aus Kälte zu zaubern scheint." Und ja, anders als ältere Mythen hat er keinen Gott oder Wasser, aber man kann die strukturellen Ähnlichkeiten doch einsehen. Und ja, anders als ältere Mythen hat er keinen Gott oder Wasser, aber man kann die strukturellen Ähnlichkeiten doch einsehen. Und was ist schon so toll an Fisch? Oh! Sorry, Thot. Also ja. Ex-nihilo-Schöpfungsmythen sind beunruhigend. Sie wollen, dass wir uns Leere vorstellen. Verlassenheit. Chaos. Aber dann sehen wir, wie jede Tradition Ordnung hineinbringt. Ordnung und Licht. Und manchmal Schlamm. Danke fürs Zugucken. Bis nächste Woche! Crash Course Mythologie wird im Chad & Stacey Emigholz-Studio in Indianapolis, Indiana, gefilmt und mit Hilfe all dieser netten Leute produziert. Unser Animationsteam ist Thought Café und Crash Course existiert dank der großzügigen Unterstützung unserer Patreons auf Patreon. Swedish: Hej, det låter mycket som några av de äldsta myterna, eller hur? "Liksom alla ex nihilo-berättelser börjar Big Bang i en tid före tiden och ger oss en ursprungshändelse, en händelse där ljus verkar kallas fram ur mörker, värme ur kyla." Och okej, i motsats från tidigare myter finns det ingen gud eller vatten, men du kan fortfarande uppskatta de strukturella likheterna. Och vad är det som är så fantastiskt med fiskar? Oj, förlåt Thot. Så ex nihilo-berättelser är oroande, de kräver att vi tänker oss tomhet, frånvaro, kaos. Men sedan ser vi hur varje tradition skapar någon ordning i det hela. Ordning och ljus. Och ibland slam. Tack för att ni tittade. Vi ses nästa vecka. Portuguese: Ei, isso soa muito parecido com alguns dos mitos mais antigos, não é? "Como todas as histórias ex nihilo de criação, o Big Bang começa em um tempo antes do tempo e dá-nos um evento de origem, que parece evocar a luz a partir da escuridão, o calor do frio ". E ok, ao contrário de mitos anteriores ele não fornece um deus, ou a água, mas você ainda pode apreciar as semelhanças estruturais. E o que é tão legal sobre os peixes dequalquer maneira? Oh! Thoth. Desculpe. Então sim. Mitos da criação ex nihilo são inquietantes. Eles nos pedem para imaginar o vazio. Ausência. Caos. Mas, depois, vemos como cada tradição traz alguma ordem para isso. Ordem e luz. E, às vezes, lama. Obrigado por assistir. Vejo você na próxima semana! Arabic: ألا تشبه هذه القصة العديد من أقدم الأساطير والخرافات؟ "كجميع قصص النشأة اللتي تتبع أسلوب (إكس نيلو), تبدأ قصة الانفجار العظيم في زمنٍ قبل الزمن وتعطينا حدثاً هو أصل كل شيء ..حدثاً يوجد النور من الظلمة والحرارة من البرد." إنه لا ذكر إلهاً أو ماءً كالأساطير اللتي ذكرناها مسبقاً ولكنك تستطيع أن تميّز أماكن التشابه في بنية هذه القصص. ولسنا بحاجة السمك أصلاً... آه... آسف يا تحوت. قد تكون أساطير النشأة اللتي تتبع أسلوب (إكس نيلو) مخيفة, فهي تتطلب منا أن نتخيل الفراغ والغيبة الفوضى, ولكننا نرى كيف تأتي بعض الثقافات بنظام في تلك الفوضى. النظام والنور... وأحياناً الوحل. نشكركم على المتابعة ونراكم في الأسبوع المقبل! يتم تصوير البرنامج في استوديو تشاد وستيسي اميغولتس في إنديانا أبيلوس إنديانا ويتم إنتاجه بمساعدة هؤلاء الأشخاص الرائعين. فريق رسومنا المتحركة هو (ثوت كافيه). والبرنامج بأكمله موجود بفضل دعم المشاهدين على موقع patreon.com English: Hey, that sounds a lot like some of the most ancient myths doesn't it? "Like all ex nihilo creation stories the Big Bang start in a time before time and gives us an origin event, one that seems to conjure light from darkness, heat from cold." And OK, unlike earlier myths it doesn't supply a god, or water, but you can still appreciate the structural similarities. And what's so great about fish anyway? Oh! Sorry Thoth. So, yes. Ex nihilo creation myths are unsettling. They ask us to imagine void. Absence. Chaos. But then we see how each tradition brings some order to that. Order and light. And sometimes mud. Thanks for watching. See you next week! Crash Course Mythology is filmed in the Chad and Stacey Emigholz Studio in Indianapolis, Indiana and is produced with the help of all of these nice people. Our animation team is Thought Café, and Crash Course exists thanks to the generous support of our patrons at Patreon Dutch: Patreon is een vrijwillige abonnementsdienst waar u de inhoud die je leuk vindt kan ondersteunen middels een maandelijkse donatie te helpen gratis voor iedereen altijd te bewaren Crash Course. Bedankt voor het kijken, en als je het kan helpen, probeer om geen spinnen eten. Vooral niet Anansi. Danish: Patreon er en frivilling abonnements service hvor du kan støtte det indhold du elsker gennem en månedlig donation og hjælpe til med at sørge for at Crash Course er gratis for alle for evigt Tak fordi I så med, og hvis du kan undgå det så lad være med at spise edderkopper. Især Anansi. Romanian: Patreon e un serviciu de subscripție voluntară unde puteți sprijini materialele care vă plac printr-o donați lunară, pentru a ajuta Crash Course să fie gratis pentru toți, totdeauna. Mulțumesc pentru atenție și dacă puteți ajuta, încercați să nu mâncați păianjeni. Mai ales Anansi. Spanish: Patreon es un servicio de suscripción voluntaria donde puedes apoyar al contenido que amas a través de una donación mensual para ayudar a mantener Crash Course gratis para todos y para siempre. Gracias por ver, y si pueden, intenten no comer ninguna araña, especialmente a Anansi. Portuguese: Obrigado por assistir, e se você conseguir, tente não comer nenhuma aranha. Especialmente Anansi. iw: זהו שירות הרשמה התנדבותי שבו אתם יכולים לתמוך בתוכן שאתם אוהבים על ידי תרומה חודשית, כדי דנכול לשמור את קראש קורס בחינם, לכולם ולתמיד. תודה שצפיתם, ואם אתם יכולים לעמוד בזה, תנסו לא לאכול עכבישים. במיוחד לא אננסי. Portuguese: conteúdo que você gosta com doações mensais. Ajude a manter o Crash Course livre para todos para sempre. Obrigado por assistir, se você puder ajude, tente não comer nenhuma aranha, especialmente Anansi English: Patreon is a voluntary subscription service where you can support the content that you love though a monthly donation, to help keep Crash Course free for everyone forever. Thanks for watching, and if you can help it, try not to eat any spiders. Especially Anansi. French: Patreon est un service de souscription qui vous permet de soutenir le contenu que vous aimez via un don mensuel qui aide Crash Course à rester gratuit pour tout le monde, pour toujours. Merci d’avoir regardé, et si vous y arrivez, ne mangez aucune araignée. Surtout Anansi. Arabic: بيتريون خدمة طوعية تدعم من خلالها الأشياء التي تحبها عن طريق التبرع الشهري وذلك يساعدنا على إبقاء برنامجنا مجانياً لكل الناس في كل الأوقات. نشكركم على المتابعة, و نذكركم أن لا تأكلوا أية عناكب إذا استطعتم , وخاصة العنكبوت (أنانسي) German: Patreon ist ein freiwilliger Aboservice, durch den ihr mit einer monatlichen Spende Dinge unterstützen könnt, die ihr liebt, und so helft, dass Crash Course für immer für jeden kostenlos bleibt. Danke fürs Zugucken, und wenn es geht, esst keine Spinnen. Vor allem nicht Anansi. Russian: Patreon — это сервис по добровольной подписке, где вы можете поддержать контент, который вы любите, ежемесячным пожертвованием, чтобы помочь Crash Course всегда оставаться бесплатным для всех. Спасибо, что смотрели, и если можете, постарайтесь не есть пауков. Особенно Ананси.

Japanese: あなたは本当に素敵。 私はあなたと一緒にいるよ。 そして今でもお前のようにあり。 あなたのために、背景も変え与えることができ、 心に入って？ それとも...こんな？ 今日はかなりハードな一日だったそう？ 知っている。知っている。 気分がちょっと良い感じ？ 良い。良い。好き - そして風... うん。風の音... 鳥の鳴き声... うん。音良く。そいつ？ 雨音... Korean: 넌 정말 멋져. 난 너랑 같이 있을거야. 그리고 지금도 너랑 같이 있고. 널 위해 배경도 바꿔줄 수 있어 마음에 들어? 아니면... 이런거? 오늘 꽤 힘든 하루였지.그렇지? 알아. 알아. 기분이 좀 나아졌어? 좋아. 좋아. 좋아- 그리고 바람... 응. 바람소리... 새소리... 응. 소리 좋지. 그치? 빗소리... Japanese: そして火。 あなたがほしいどんな音でも作ってくれることができている。 こんにちは。 あなたは大丈夫？ あなたすごく疲れて不安に見える。 うん。そこに座って。 大丈夫。 すべて大丈夫。 うん。ただリラックスしてもいい。 リラックス - 私はあなた楽に眠りに落ちることができるようお手伝いします。 分かる？ 良い。 Korean: 그리고 불. 너가 원하는 어떤 소리든 만들어줄 수 있어. 안녕. 너 괜찮아? 너 엄청 피곤하고 불안해보인다. 응. 거기 앉아도 돼. 괜찮아. 다 괜찮아. 응. 그냥 릴렉스 해도 돼. 릴렉스- 내가 너가 편하게 잠들 수 있게 도와줄게. 알겠지? 좋아. Japanese: 大丈夫。あなたは今大丈夫。 あなたは完全大丈夫。 うん。あなたは本当に素敵。 あなたのすべてのもの...本当に素敵。 美しく.... 素晴らしい。 大丈夫。 うん。あなたは大丈夫です。 完全大丈夫。 Korean: 괜찮아. 너 지금 괜찮아. 너 완전 괜찮아. 응. 넌 정말 멋져. 너에 관한 모든 것들... 정말 멋져. 아름다워.... 훌륭해. 괜찮아. 응. 넌 괜찮을 거야. 완전 괜찮아. Japanese: あなたは大丈夫。 大丈夫。大丈夫。 リラックスして... 私と一緒に楽にいよう。 もしかしたらあなたの手の音が好きですか？ 好きですか？ 非常に良い。 だから...私はあなたのために今から手の音を聞かせてあげる。 うん。リラックスするために その後、目をそっと閉じてみましょう。 そして、この音は、私の手の音を聞くよ Korean: 넌 괜찮아. 괜찮아. 괜찮아. 릴렉스해... 나와 함께 편하게 있자. 혹시 너 손소리 좋아하니? 좋아해? 아주 좋아. 그럼.. 내가 너를 위해 지금부터 손소리를 들려줄게. 응. 릴렉스 하기 위해서 그럼 눈을 살며시 감아보자. 그리고 이 소리, 내 손소리를 듣는거야 Korean: 너가 원한다면, 너가 원한다면... 나를 봐. 응. 그래도 돼. 다 괜찮아. 너가 하고 싶은대로 해. 넌 눈을 감을 수도 있고, 나를 볼 수도 있고... 그냥... 너가 하고 싶은대로 해도 돼. 지금은 널 위한 시간이야. 나를 위한 시간도 아니고, 다른 사람을 위한 시간도 아니야. 널 위한 시간이지. 너...넌 너무 너무너무 소중해. Japanese: あなたなら、あなたがしたい場合は...私を見て。 うん。それでもいい。 すべて大丈夫。 あなたしたいままにして。 あなたの目を感もあり、 私を見ることもでき... ただ...お前したいようにしてもいい。 今は君のための時間です。 私のための時間もなく、他の人のための時間もない。 君のための時間だ。 あなた...あなたはとてもとても大切。 Japanese: あなたも大事... あなたは贈り物だ... 貴重な贈り物のような存在だよ。 天国から送ってくれた... あなたはまるで天使のように美しく。 あなたも素晴らしい。 天使のように美しく。 うん。天使のように。 大丈夫。だから大丈夫。大丈夫。 あなたは素敵。大丈夫。 多大丈夫になるだろう。 あなたは大丈夫になるだろう。 リラックス - ただリラックスして... Korean: 넌 너무 소중해... 너는 선물이야... 귀중한 선물같은 존재야. 천국에서 보내준... 넌 마치 천사처럼 아름다워. 넌 너무 훌륭해. 천사처럼 아름답지. 응. 천사처럼. 괜찮아. 그러니까 괜찮아. 괜찮아. 넌 멋져. 괜찮아. 다 괜찮아질거야. 넌 괜찮아질거야. 릴렉스- 그냥 릴렉스해... Korean: 왜냐면, 너도 알다시피, 난 여기 너랑 같이 있을거야. 그리고 지금도 너랑 같이 있고. 그러니까 넌 아무것도 걱정할 필요없어. 응. 걱정할 것 하나 없어. 알겠지? 아주 좋아. 배경은 마음에 드니? 마음에 들어? 만약 배경이 마음에 들지 않는다면, 내가 바꿔줄 수 있어. 마음에 들어? 아니면... 이건 마음에 들어? Japanese: なぜなら、あなたが知って、私はここお前のようになるだろう。 そして今でもお前のようにあり。 だからあなたは何も心配する必要はありません。 うん。心配することは一つない。 分かる？ 非常に良い。 背景には、心にドニ？ 心に入って？ もし背景が気に入らなければ、私は変え与えることができている。 心に入って？ それとも... これ気に入って？ Japanese: これ気に入って？好き！ だから...今の気持ちはどうですか？ 気分がちょっと良い感じ？ 良い良い良い良い。 良い。 Korean: 이게 마음에 들어? 좋아! 그래서...지금 기분은 어때? 기분이 좀 나아졌어? 좋아좋아좋아좋아. 좋아. Korean: 오늘 정말 힘든 하루였지. 그치? 나도 알아. 알아. 알아. 응. 다 느낄 수 있어. 그래서 난 네가 걱정이야. 그치만... 너도 알다시피, 괜찮아. 괜찮아질거야. 다.. 전부 다 괜찮아질거야. 응.. 넌... 넌 내가 아는 사람 중에 정말 멋진 사람이야. 얼마나 네가 멋있는 사람인지...! 얼마나 네가 아름다운지...! 얼마나 네가 완벽한지...! Japanese: 今日は本当にハードな一日だった。そいつ？ 私知っている。知っている。 知っている。 うん。多感じることができている。 だから、私はあなたが心配だ。 でも...あなたが知っているように、大丈夫。 大丈夫になるだろう。 だ..全部大丈夫になるだろう。 うん..お前... あなたは私知っている人の中、本当に素敵な人だ。 どの君素敵な人なのか...！ どの君美しいか...！ どのよう君の完璧なまで...！ Korean: 나도 알아. 알아 알아. 알지. 응 알아. 알아. 괜찮아. 괜찮아. 괜찮아. 걱정하지마. 괜찮아. 다 괜찮아질 거야. 릴렉스 응. 릴렉스 해도 돼. 이게 느껴지니? 응. 엄청 편안하지. Japanese: 私知っている。知っている知っている。 知っている。うん知っている。 知っている。大丈夫。大丈夫。 大丈夫。心配しないで。 大丈夫。 多大丈夫になるだろう。 リラックス うん。リラックスしてもいい。 これ感じますか？ うん。すごく快適ではない。 Korean: 엄청 차분하고... 편안하고... 그리고 안정되고..... 응. 편하게 있어. 그래서 지금... 너 이 소리를 들을 수 있겠니? 자연의 소리들... 물소리 같은... 그치? 그리고 바람... 응. 바람소리... 그리고 새들... Japanese: すごく落ち着いて...リラックスして... そして安定して..... うん。楽だ。 だから今... あなたが音を聞くことができるでしょ君？ 自然の音に... 水音のような... そいつ？ そして風... うん。風の音... そして鳥... Japanese: 鳥。 うん。音いいじゃない？ そして雨音... そして火 うん。私はあなたが任意の音も作り出すことができている。 だからただ言葉だけいい。 あなたが望む言って。 私はあなたのためにここにいる。 良い。 あなたは素晴らしい。 リラックス。 Korean: 새들. 응. 소리 좋지 않니? 그리고 빗소리... 그리고 불 응. 난 네가 원하는 어떤 소리도 만들어 낼 수 있어. 그러니까 그냥 말만하면 돼. 네가 원하는 걸 말해줘. 난 널 위해 여기에 있어. 좋아. 넌 훌륭해. 릴렉스. Japanese: だから...全部大丈夫になるだろう。 リラックスリラックス。 リラックス...リラックス 私は何か接触を眺めた？ どのガールたいですか？ オ...悪いエネルギーを抜き出してくれるたいですか？ そうじゃない？ これ大変ではない。 私は君のためだくれることだ。 あなたのためにすべてしてくれることができている。 だから心配しないで。分かる？ Korean: 그래서.. 전부 다 괜찮아질 거야. 릴렉스릴렉스. 릴렉스... 릴렉스 내가 뭔가 해주기를 바라니? 어떤 걸 원해? 오... 나쁜 에너지를 뽑아내주길 원하는 거야? 그렇지 않니? 이건 큰일이 아니야. 난 널 위해서 다 해줄 수 있어. 널 위해 다 해줄 수 있어. 그러니까 걱정하지마. 알겠지? Korean: 좋아. 이제 네 안의 나쁜 에너지가 없어졌어. 응. 이제 됐어. 내가 이제 좋은 에너지를 네게 줄게. Japanese: 良い。 今あなたの中の悪いエネルギーがなくなっ。 うん。もういい。 わたしは良いエネルギーをあなたにあげる。 Japanese: うん。私はあなたに良いエネルギーを与えた。 今だ大丈夫になるだろう。 すべて。 全部大丈夫になるだろう。 すべて、すべて。 あなたは大丈夫。あなたは大丈夫。 うん。大丈夫。心配しないで。 Korean: 응. 내가 네게 좋은 에너지를 줬어. 이제 다 괜찮아질 거야. 전부 다. 전부 다 괜찮아질 거야. 전부, 전부 다. 넌 괜찮아. 넌 괜찮아. 응. 괜찮아. 걱정하지마. Korean: 응. 걱정마. 걱정하지마렴. 괜찮아. 응. 전부 괜찮아질 거야. 좋아. 그럼 안녕. 네가 만약 내 목소리를 듣고 싶다면, 네가 만약 날 찾고 싶다면, 네가 만약 내 목소리를 듣고 싶다면, 그냥. 날 찾아오렴. 난 여기에 있단다. 여기에 있어. 언제든지. 좋아. 안녕 잘 가렴. Japanese: うん。心配しないで。心配しないで簾。 大丈夫。うん。すべて大丈夫になるだろう。 良い。それではさようなら。 君もし私の声を聞きたければ、 あなたの場合は私を探してたい場合は、 君もし私の声を聞きたければ、 ただ。私を見つけるおいで。 私はここにいるんだよ。 ここにいる。 いつでも。 良い。 こんにちは ボン・ヴォヤージュ。

It’s great to see so many friends here this evening and so many people who are friends for the future, I said to Suganthi our Head of Department as everybody was coming in, I said my life is flashing in front of my eyes, as people I’ve known for a long time and fairly recently, all came along so it’s very nice to see everybody. This is going to be quite a casual talk which is a way, a polite way of saying you may not learn anything very new, and it is very much some personal reflections on Corpus Linguistics into 2017. I do remember being old enough when Corpus Linguistics was a very new thing, and I remember going to a meeting of the Linguistics Association of Great Britain when it was described as this new fashion. Of course it has moved on very much since then and it’s moved on so much that I must admit I’m beginning to feel a little bit like a dinosaur in the world of Corpus Linguistics. Partly because that is how I really feel, and partly because clip art has a lot of cool pictures of dinosaurs, I’ve got quite involved in that. So I’m going to talk structure my talk around five moves or turns in Corpus Linguistics which I think are observable. I’ll be thinking about the influence of Corpus Linguistics on various aspects of linguistics but also about the influence of these changes on Corpus Linguistics itself. It looks as though I’m going to say five important things but actually there are only two main takeaway notes. One is that I think the statistical manipulation of corpora is the new corpus driven and construction grammar offers a reinterpretation of units of meaning and grammar patterns. But the first thing I’m going to walk about is the continued trend towards specialisation in corpus linguistics by which I mean simply compiling corpora of quite specific text types. It isn’t a particularly new trend of course but perhaps worth commenting on. And if we doubted it that corpus linguistics increasingly looks at specialised text here are some examples from this year’s conference. And I’m just going through this from the programme, very specific genres such as Academic bio-data or school text books, specific topics such as Romanian Migrants, Harassment, Careers and Employability, specific sources such as the Daily Express or on line forums and just some more, there we go. So we are of course familiar with the role Corpus Linguistics plays in assisting the investigation of discourse and the contribution it makes to other disciplines, whether this is a humanities discipline such as stylistics or the many social sciences assisted by for example the CASS Centre at Lancaster University. As Baker, Partington, Toole and Malberg and many others have pointed out combining corpus techniques with discourse analysis makes the corpus analysis more robust and enables latent patterns to be observed, and by latent patterning I mean word collocations, phrases, meanings that are significant in a discourse but which can’t be observed as frequent by looking at individual text alone. What corpus linguistics does is to rearrange the data in this case words and type categories so that the patterning is more easily observed. And what this does to, is demonstrate and assert the centrality of corpus linguistics to linguistics itself and by it also provides a surface to linguistics by demonstrating and asserting the centrality of linguistics to all intellectual endeavour and for this audience that’s surely not too great a claim to make. More specifically what corpus linguistics in the study of specialised discourse shows is that the detail of form really matters, how something is said is important, and accumulation really matters, repetition of a form and a message creates salience. So it’s all good, but what about the other way around and now we think about the influence of the study of specialised discourse on corpus linguistic, one possibly negative effect one positive one neutral. Corpus Linguistics continues to develop as a main stream methodology it’s no longer only a fashion but a bedrock of how linguistics is done and it tends to take on a service role in relation to other disciplines. The tried and tested methods may be valued more than innovation in methodology, having said that servicing other disciplines can have its advantages and what Hardy and Baker have called the helicopter effect of studying specific discourses is one such. The third influence is in reinvigorating the debate about register and the totality of a language, Doug Biber has argued for example that there’s no such thing as general English, there are only individual registers. Increasing the specificity of text moving beyond register perhaps both demonstrates the importance of comparing corpora and raises the question of the optimum level of specificity of description. So I’m now moving on to the next point, and this point is the Modality Effect, what I’m talking about here basically is the kind of linguistic and other semiotic texts incorporated into corpus linguistics that has grown explanation ally from the early necessary focus on written text to an increasing emphasis on spoken text to signed text and then onto images and to gestures, and similarly we trace a development in sources available, when I first started in association with Co-Build there was a large very large cupboard full of books that had been torn to pieces so that they could each, each page by page could be put through a scanner and that was the only way of getting the books into a corpus, well that was a long time ago. So we had the scanned books of the early 80’s right through to published and unpublished materials to the more ephemeral texts, the tweets and other forms of social media coming on to the one I’ve heard about most recently from my colleague Ruth Page which is Snapchat, I’ve no idea what that is but they tell me it exists and you can snap. And the influence of this on corpus linguistics I think is an explosion of methodologies responding to nonlinear forms of text to non-standard texts to very short, very numerous texts, and indeed to temporary texts, and as you can see this is way beyond my area of expertise so I’m going to move on fairly quickly from that. I’m going to move on to an area where I have no more expertise but where I have more to say. The quantity has always lain at the heart of corpus linguistics from early observations intuitive observations of what is most frequent through measures of significance to today’s more sophisticated complex statistical techniques. I want to make the argument that corpus work that starts with statistical manipulation of text might be termed the new ‘corpus driven’ now this term comes of course from Tognini-Bonelli’s distinction between corpus based and corpus driven, corpus based research which builds on known categories and corpus driven research which seeks to derive new categories from raw observation. Corpus driven research is often linguistically naïve with observations about categories emerging from the data that don’t necessarily coincide with pre-existing linguistic knowledge. Although the debate between corpus based and corpus driven has largely passed into history and the dichotomy nowadays is more likely to be treated as a cline I do think that the notion of corpus driven can usefully be applied to studies that start not from the word as Tognini-Bonelli did but from the numbers, and to return to a point I made earlier corpus investigation is about rearranging the data, facilitating the observation of pattern. When that re-arrangement is carried out statistically its quantitatively sophisticated but linguistically naïve, it basically uses a bag of words that’s what I’m going to talk about. I’m going to give two examples from work with which I have been associated although the person who was mostly responsible for the work is somebody other than myself, so it’s not exactly plagiarism but I am borrowing from people’s work. What these studies have in common is that in each case numbers were used, I use numbers you know because that’s what people likely understand, numbers. Numbers were used to derive lists of words that tend to co-occur, not in the sense of collocation within a three word span, five word span, but within the same text or sub-corpus. I spent quite a lot of my research life looking at lists of words and putting them into categories, putting them into lists of words that have similar meanings, but that was me and my colleague sitting there and doing that. In each of the examples I’m going to talk about that task was done statistically, with human intervention only in selecting and applying the statistics only. I’ve spoken about each of these studies before so I’m going to go over them fairly briefly. The first example is work by Neil Miller on the appalling website rate my professors dot com, where people write about the Professors who have taught them and how wonderful or how dreadful they are. Neil Miller was interested in the adjectives and in which adjectives were used by the community of writers who were describing each Professor. So he was interested in which adjectives most significantly co-occur in the texts about each Professor, so each Professor’s text comprises a kind of sub-corpus. To over-simplify what he did he used PCA to derive lists of adjectives which were likely to co-occur, for example a Professor approved of as being intelligent that’s in the first list on this slide was likely also to be described as brilliant, interesting and smart, not necessarily by the same writer but by another writer evaluating the same Professor. We can mnemonic labels to these groups in this case intelligence and helpfulness, but the groups themselves were driven by the numbers not created by Neil or by myself. So here are two of the groups, with the first few adjectives in each group and the mnemonic. The lists themselves simply answer the question, ‘what do writers talk about when they rate their Professors’ and it’s not surprising that what they talk about is how intelligent the Professor is and how helpful the Professor is. But the numbers made lists are capable of offering another prospective the words inspiring, engaging and interesting, are put in the same group as intelligent, smart and so on, and this suggests to us that for the writers, intelligence is valued insofar as it has a positive effect on the student or the consumer. We might say that this group of adjectives commodifies education, this is the voice of the student as the consumer of the intelligence of the Professor. When we turn to the helpfulness group on the other hand we see words such as available and approachable as well as helpful and sweet and so on. The presence of these words suggests that students being able to talk to Professors is something to be remarked on in the feedback. It suggests a level of humility perhaps at odds with the consumer view of the intelligence groups, it’s the voice of the student as subordinate. And we can make similar comments about the negative adjectives, here are two groups that we have labelled ‘rudeness’ and ‘incompetence’, notice that the incompetence group again positions the student as the consumer chastising the Professor for the feeling engendered in the students. But the most harsh adjective unprofessional is used by students not in conjunction with incompetence but in the other interpersonal group alongside rude and mean in some, as Neil Miller has said you be anything you like with students except rude. My second example may again be familiar to you and it comes from work which I’m going to credit to Akira Murakami, this is based on a corpus of research articles from the Journal, Environmental Change, and it identifies words which in the corpus as a whole tend to co-occur in stretches of text at least 300 words long, so a couple of paragraphs. So these are some of the lists of words which as I say tend to co-occur within a couple of paragraphs. Some of them are very observable recognisable as topics, we have a kind of forest topic, a kind of risk topic and some are less recognisable as topics, so if one was doing this manually with a list of words that are frequent in this journal for example one might pick out the first of these and the second but less likely to pick out the third and the fourth. And there are various kinds of topic which I’m just going to zip through because I want to come on to the second, the next point the main point, which is that deriving the lists statistically in a way that ignores their meaning when the lists are put together without anybody looking at them and thinking about it throws up some surprises that I think would be missed if we started with a method that involved the meaning of words, for example the word ‘Agriculture’ occurs in two lists, one to do with crops, one to do with livestock and the similar word ‘farm’ occurs not in those lists but in another list that centres on farming as a localised human activity rather than an economic one. And also what we see from these lists are topics that are shaped by the texts they occur in or are construed by, in other words the lists make up topics that are unique to this corpus, to this journal, for example there are lists that combine the names of natural entities with indications of human involvement. River and Irrigation or Forest and Conservation or sea or flood, another example is the predominance of risk words in these lists, not just risk words such as risk and hazard but also stress along water or problem along with environment. And there are words about mitigating risk, mitigation with carbon or protect with coastal and so on. So to summarise I’ve argued that in corpus driven research in particular the data is rearranged to enhance observation, corpus driven research takes a naïve view of language finding strings of letters or words, strings of words or phrases and applying insightful observation to them and I think this is what the numbers in fact are doing for us. So in this case this is why I say that numbers based Corpus research is the new corpus driven, it is statistics rather than concordancing that’s used to rearrange the words. The work as linguistically naïve taking a bag of words approach and the rearrangement is followed by insightful we hope observation. I’m now going to turn to the fourth thing I’m talking about is the Cognitive Effect, Cognitive Linguistics is not something that I have been involved with myself but many of our new colleagues here at Birmingham, work in Cognitive Linguistics and I have been heard to say ‘if anybody else mentions the word ITracker to me I shall scream’. But clearly there’s a growing affinity between cognitive and corpus approaches to language and we are all very good friends ITrackers notwithstanding. From my very partial prospective cognitive linguistics is about the study of metaphor and the study of construction grammar and I’m going to focus on the second of these today. So constructions are mental constructs mapping form and meaning existing at all generalities of meaning, so for example, single word the word ‘apple’ will form apple or apple of someone’s eye and the meaning adored person, but also it’s a very general level subject verb inversion with the meaning something like interrogative or the ditransitive transfer of possession a positive as causative into or the conative at meaning an incomplete action. So abstract grammatical features and particular grammatical functions. And corpus linguistics is of course important to constructions because corpus investigation allows for the identification of constructions in text, and this can be done from scratch deriving techniques as many have done for recognising repeated strings or patterns of words that can then be proposed as evidence for the existence of constructions. What I’m going to propose here though is that previous work on corpus data can be put into service to identify constructions. A fairly obvious way to do this is to propose a reinterpretation of units of meaning as proposed by Sinclair as constructions, this is Sinclair’s characterisation of a unit of meaning, one or more words the form is variable but semi-fixed the form is open to creativity, the meaning of the whole is more than the sum of the parts, the meaning is consistent and the meaning is often affective and implicit. For example a headline from earlier this month, ‘UK ditches it’s ‘cake and eat it’ Brexit stance’. The phrase I am going to focus on here is ‘cake and eat it’, and if we look in a corpus and the one I looked in was the Bank of English, we find ‘cake and eat it’ the string ‘cake and eat it’ 165 instances all preceded by ‘have’ so we can then look at have, cake, and, and if we look at the figures here which is actually pretty impossible. ‘Have’ is the most frequent wordform rather than other forms on the ladder, and if we look at the possessives it is relatively rarely, relatively rarely ‘our’ or ‘my’ so although we can talk about ‘have my cake and eat it’ we’re much more likely to talk about ‘have your cake and eat it’ or ‘have their cake and eat it’ and the ‘and eat it’ component is fairly fixed. Moving on what is before ‘have possessive cake and’ it’s preceded by volition wanting or trying to have your cake, it’s also preceded by modals of possibility and particularly negative ones, and there are some explicit instances of the effective meaning of the unit of meaning, he cannot have his cake and eat it, they both want to have their cake and eat it too, he accuses him of trying to have his cake and eat it, maybe we just realised we can’t have our cake and eat it. So thinking of this in terms of a unit of meaning we’ve got a collocation, have cake eat, we’ve got a colligation, the grammar we’ve got modals possessive the coordinator, we’ve got a semantic set of wanting and trying and impossibility and what we might, the way we might express the semantic porosity is something like it’s wrong to aim for two contradictory things. But of course we can, we could also say what we have here is a have cake and eat it construction, and as we would expect from a construction we can find a number of variations, her tart and eat it, have your ham and eat it, have their veal and eat it, have his beefcake and eat it, I do not understand at all, their hamburgers and eat it, have their gateaux and eat it, have you duck and eat it, have your loaf and eat it and so on. We can do something very similar with another unit of meaning again proposed by Sinclair around the node sever, and he notes examples such as these here, and proposes a unit of meaning which, with its own grammatical elements, so we’ve always got the word link, we’ve always got with or to and we’ve very often got all and if we don’t have all we’ve got a possessive. Of course there is variability in the noun, ties is very common, links connections, contacts, relations, bonds and so on, but there’s also variability in the verb, so although sever, so I’m here looking for verb all ties, links connections, contacts, sever is the most frequent but cut is also frequent and a few others as well. We can look at the preceding text and note that to is very frequent along with the verbs that go along with to, like advise, decide, force, so we’ve got meanings of futurity of volition and obligation and then looking at the modifier so I’m looking here at sever, space, ties all is very frequent but also then the possessives, and I think that sense of absoluteness that we get with all permeates the unit. So we might say we have a sever all ties construction with the verbs, sever, cut, break, the nouns, ties, links to connections, with an implicature of absoluteness and an implicature of obligation and volition. The unit of meaning itself combines a sever all ties bit, and a ties or links or connections followed by the prepositions with or to and is probably a specification of a general destroy something construction which I’m going to come back to in a moment. But my main proposal is that the work on Pattern Grammar carried out in the 1990’s by Gill Francis, Elizabeth Manning and myself, [30:41] form the basis of construction identification. The Pattern Grammar resources are shortly I hope, touch wood, shortly to be relaunched by Collins as an on-line free resource that will be searchable and this resource which is not quite ready to be launched on the general public yet was a subject of a workshop held last week here at Birmingham and I’d like to thank the workshop participants for their contribution to some of the ideas here. They’ve also been used as the basis for construction recognition in the book by Ellis Rimmer and McDonald who investigate verb argument constructions in language acquisition using Pattern Grammar. So Grammar Patterns are the systematisation of the complementation patterns of adjectives, nouns and verbs, there are about 100 main patterns with some other variations and there are approximately 10 groups of meanings within each pattern. This means that we have the basis for about 1,000 constructions all at the same level of specificity so to the construction grammar community I offer a 1,000 constructions here for the taking. And many of the things that we call patterns have been investigated previously under the title of constructions by Goldberg, Rhys, Stafanovich, Ilternon and others, so for example this one talked his way into dismiss the idea as fooled them into believing that and told them the story, we can describe those as patterns, we can describe them as constructions, either way. I’m now going to give examples from three other patterns and in each case I’m going to focus on one meaning group within each pattern, so I’m going to find one common meaning from the several meanings expressed by the pattern, and I’m going to propose as well that the pattern elements can be labelled semantically in a way that combines the concept of construction with related concepts of frames and local grammars. So it’s well known that the, it is, adjective, that pattern is used to evaluate, it is clear that, it is important that, it is interesting that, it is likely that, it is possible that, and here it is with the semantic elements added, an evaluation and a target. I don’t incidentally hold any great store by the labels given here, the meaning labels, the element labels that are added they’re a best guess so far but if somebody wants to change them then they’re more than welcome to do so. Then I would suggest we have a reactive ‘that’ construction where we have adjective plus fact clause, afraid that, aware that, confident that, disappointed that, happy that, and again some possible suggested element names, we have an evaluator and evaluation and a target. Moving away from evaluative meanings something which are called a reactive ‘for’ construction this is the verb noun for noun pattern blame someone for, criticise for, forgive my mother for, punish him for reprimanded for, reward me for, it is looking at this again from this rather new prospective it seems that blame may not fit very well there, because it is an a factual meaning whereas the other are factual so I’ll never forgive my mother for wrecking my marriage, construes it as factual that the mother wrecked the marriage, whether or not she actually did of course. Whereas blame the family for the predicament is, seems to me to be a little different, so we will remove that there. And but again, we have some semantic labels so we have a reactor, we have a reward or punish, we have a receiver which is not a good label but can’t think of anything else at the moment and the reason at the end. The relationship between the construction and pattern is not one to one, so here’s a little table showing three patterns but five constructions so if we take the pattern adjective at, noun, there is the construction person is skilled at activity, with some sample nodes words, ace, adapt, bad, brilliant, clever, competent etc., or person is reaction at situation for example he was furious at the adverse publicity with a few sample node words given there. So obviously it depends what kind of adjective it is as to which of those constructions it is, and then the two patterns at the bottom of the table verb, noun, sorry the one pattern at the bottom of the table verb noun as noun, with the two constructions associated with it. Person categorises entity as quality as in they denounced him as a madman, or entity strikes person as quality this struck me as a great litmus test for new features, with just two verbs that fit into that one. The pattern verb noun of noun has in the pattern grammar resource four meaning groups, I’m going to ignore the last one which is verbs we couldn’t fit anywhere else for the moment. So there’s rob and free, inform, acquit and convict, and for each group we can again propose some labels with divided as to whether the taking away is a negative thing as in defrauded or a positive thing as in cured. Another group would be informed group with labels such as informer, informed and message, and I’ve separated out the bottom one the broadcast convinced me because the broadcast of course is not the informer but the evidence of the information. Now, the verb noun of noun pattern works quite well because there are relatively few meaning groups, so you’ve only got three constructions to the pattern, a much more difficult example is verb noun with noun, which has a lot of different meanings, blend the spinach with the egg yolks, confuse cold with flu, education is correlated with income, console myself with writing up my notes, plays football with the staff, stock up your cupboard with tins of tomatoes, there’s not a great deal that’s in common there. There are something like 29 meaning groups altogether in that pattern but we can merge some of them together once we look at this from the point of view of constructions and this is what I suggested altogether 9 meanings rather than 29 and I’m not going to go through all of them but just the ones that I’ve put in bold there. So we have I would suggest a meaning of effecting a connection involved meanings of think of two things as connected or not, combine two things, physically or virtually, exchange two things, and I suggest that we might have a construe connection with construction with construer two entities and verbs such as confuse, combine or replace all of them with, ‘with’ the preposition ‘with’. Then we have a transfer ownership meaning, with examples such as these ones, entrust with, furnish with, honour with, inject with, land with, or provide with, some positive provide us with, some negative land us with, and we have a transferor, a receiver and I suggest to provide someone with construction. A meaning to do with bringing about a feeling or idea verbs to do with feelings and changes in mental state, acquaint, bore, confront, familiarise, content, a change in mental state, a resultative mental with construction, I’m trying to find names that sound constructiony, it’s a mental thing construction, it’s rather nice. So in other words the proposal is the resources that are the outcome of extensive corpus research can be used to specify a very large set of constructions at a particular level of specificity. The influence of cognitive linguistics on corpus linguistics can be positive using empirical research as the validation of observation, it might also be negative and I confess this is a little bee in my bonnet, cognitive linguistics talks about identifying the psychological reality of certain linguistic effects and my only argument with that is an argument that psychological reality is the only reality and I don’t like to see corpus linguistics adopting that view of in order to be real it has to be demonstrated to be psychologically real, and I may come back to that in just a moment. As I get on to the final effect which I’m calling ‘The Paradigm Effect’. So it’s well known that language can be investigated as a Syntagm or a Paradigm, syntagmatic focussing on the order of elements the paradigmatic focusing on the choice between equivalent elements. And it seems to me that language can be investigated as a mental construct which tends to focus on the syntagmatic or as a social construct which tends to focus on the paradigmatic and when I say that I’m really thinking of social views of language such as systemic functional linguistics which is famously at its heart about choices between alternatives at all levels. So language is represented as a system of choices and meaning depends on the availability of alternative, choices are represented at progressive levels of delicacy and the system and the choices within are socially rather than mentally motivated. And some corpus work of course takes the SFL categories as prior and quantifies them, thereby adding to Halliday’s work on probabilities within register but I’m not actually talking about that kind of work at the moment. This seems to me to bring to mind these two words which I can barely pronounce and always have to look up to remind myself which one is which and so I acknowledge here Wikipedia that reminded me today which one is which and gave the very nice examples of somatology saying what does a single entity mean what does chip mean, well it means a different thing if you’re in the UK and if you’re in the USA, which is a bit like saying how is this word or structure used which word or structure is more frequent etc. The [45;37] one says if we have a particular concept what are the different names for it, so what is the name of the piece of potato that has been fried in the UK it is one word in the USA it is another word. The second of these seems to me in a sense to go into the paradigmatic and to present for corpus linguistics the old problem of how do you find something that is not there, or how do you find something when you don’t know what it is so when you know that something is not said how do you know what is being said instead, and in a sense that’s what you need to find out. Now are little bit, there are some ways of doing this so for example there are alternative formulations of a function so there are as Maggie Charles has suggested you can talk about the result suggested that or you can say Darwin interpreted this as and you’ve got two alternative ways of reporting results that have very different effects. One of my favourites is looking at how modality can be expressed in different ways, we can look at modal verbs and we have a list of those so it’s easy to find them but you come across alternative ways of expressing modality and one that I discovered by chance almost was the phrase ‘for fear of’ which expresses modality without modal meaning without a modal verb, and that an adjective discovered by our colleague Gary Plappet was candidate as in candidate gene which means this is the gene that might do this but doesn’t actually use the modal verb. And then I want to look a little bit further at the notion of the paradigmatic in terms of levels of delicacy or levels of specificity in constructions, and here I’m indebted to a paper by [48:08] that introduced this idea to me quite recently, and I want to do this just with a couple of examples that at the bottom of the table on the screen you see a set of constructions of the type I was talking about before where you have a range of verbs that can be used for example with solve a problem, there are other words that can be used with, solve a problem, address a problem, attack, beat, fix, solve, settle, sort, answer a need can be answer, fill, meet, break a habit, can be break, or kick, handle a situation can be control or handle or improve or save, treat a disease can be fight, or treat, and remove an obstacle I think I only found remove, so all those lists of verbs come from the grammar patterns resource that I was talking about earlier. But all of those are examples of a more general meaning that one might wall overcome a negative situation, which in turn is an example of something more general which we might call abstract effects situation, which in turn is part of a more general construction of the transitive construction or the pattern verb now. And alongside that still in the transitive construction verb noun as well as abstract effects situation, we’ve got another alternative within that pattern which we might call entity effects entity, which of which a specific example might be person destroys abstract and that is where we get down to the specific construction or unit of meaning of sever all ties. So each of our specific constructions is an example of a more general one, and one of the issues that came up in our workshop last week was finding the level of specificity of the various constructions we were talking about. So, a summary of what I’ve been saying, I made five points, specialisation broadens the scope of corpus linguistics, new forms of communication, new forms of corpora lead to an explosion of new methods, numbers based manipulation of wordforms is the new corpus driven, existing research can be used to identify a 1,000 constructions, and the social is as important as the cognitive and the paradigm is as important as the syntag. And with my final little dinosaur colour coordinated did you notice, I would like to wish you a very pleasant conference and I look forward to seeing you during the rest of the week, thank you.

Free at last. Free at last. Thank God, Almighty, we are free at last. I've been exposed to Dr. King and the whole civil rights movement. I was looking at what was happening at hopkins, which was not to different than Alabama. And so I was getting outspoken about what we should do about black medical students, interns, residents, faculty and so forth.

>> Sandra: FOX NEWS ALERT NOW, A UKRAINIAN JET CRASHING IN IRAN MINUTES AFTER TAKE OFF YESTERDAY, KILLING ALL 176 PEOPLE ON BOARD. THE BOEING 737 I JUST LEFT IRAN'S CAPITAL OF TEHRAN FOR UKRAINE. DAN SPRINGER'S LIVE IN SEATTLE WITH MORE ON WHAT WE ARE LEARNING ABOUT THIS. >> AT THIS POINT THERE IS NO INDICATION THAT THE CRASH WAS CAUSED BY THE ATTACK EARLIER IN THE NIGHT. IN FACT, UKRAINE'S EMBASSY IN IRAN PUT OUT A STATEMENT EARLIER RULING OUT TERRORISM OR A ROCKET ATTACK. THEY SAY IT WAS CAUSED BY A MECHANICAL PROBLEM BUT THAT STATEMENT WAS LATER REMOVED FROM THEIR WEBSITE. WE KNOW IT HAPPENED RIGHT AFTER THE 6:10 A.M. TAKEOFF FROM THE AIRPORT IN TEHRAN. THE FLIGHT WAS HEAT DOMINIC HEADED TO KIEV, UKRAINE. FLIGHT DATA SHOWS THAT CLIMB TO 8,000 FEET AS NORMAL BUT THEN THE INFORMATION STOPS. DEBRIS WAS FOUND AS CLOSE TO 6 MILES AWAY FROM THAT AIRPORT, AND THERE WERE NO SURVIVORS. 176 PEOPLE ON BOARD, 82 WERE FROM IRAN, 63 WERE CANADIAN. THERE WERE NO AMERICANS ON THE FLIGHT. REUTERS IS REPORTING THAT THE HEAD OF IRAN'S CIVIL AVIATION MINISTRY SAID THE PLANE'S BLACK BOX, WHICH WE ALL KNOW IS CRITICAL TO DETERMINING THE CAUSE OF THE CRASH, WILL NOT BE TURNED OVER TO BOEING FOR ANALYSIS. THIS IS THE FIRST FATAL CRASH OF UKRAINIAN INTERNATIONAL AIRLINES FLIGHT, AND IT WAS SUSPENDING ALL SERVICE TO IRAN. THE PLANE INVOLVED WAS A BOEING 737-800.

when spaceships circle the moon men will peer into its craters we'll get our first look at the Dark Side of the Moon and someday it will be as familiar as the side we see now spaceships will move in closer to the Sun to study the source of all the Earth's energy the first step into space was planned by the scientists conducting the International Geophysical Year to carry out Space Studies the scientific community called for an unmanned satellite in an orbit above the earth during the igy an 18-month period of intense solar activity from July the 1st 1957 to December 31st 1958 - this call to nations responded one was Russia the other nation to launch an earth satellite program for the igy was the United States the American satellite program was made the responsibility of the naval research laboratory research programs at NRL extend into many scientific fields among them or electronic miniaturization missile tracking radio communications and radio astronomy name to direct project Vanguard was a man with wide experience in radio astronomy dr. John P Hagen of NRL NRL and the Martin company had worked together on Viking a single stage research rocket which had sent important records for altitude and velocity on September 23rd 1955 the Office of Naval Research awarded Martin a contract to design and build the rocket for a far more complex mission a veteran of the Viking program shoulders responsibility for all phases of Martin's effort he must get the job done and must get it done during the IG wide this is a tight schedule for all the technical people on Vanguard men like these assistant project engineers they have ahead of them a difficult assignment for the rocket must lift a satellite to injection altitude point it in the correct direction and impart to it the velocity to keep it in orbit this engineer heads the group that designs the Vanguard rocket airframe it's many parts small and large and it's ground support equipment aerodynamics and propulsion these problems lie in this man's field the specialists and structures must tackle the weight problem he determines what materials are light enough yet strong enough for the job at hand the guidance and controls engineer develops a guidance system to tell the rocket if it is following correct flight path and a control system to carry out the commands of the guidance system the engineer in charge of testing has a double responsibility he first sets up the test program at the plant then he moves on to Cape Canaveral and tackles the job of getting the rocket ready for launching these are young men in a young science to weld these men and their groups into an engineering team this is the job of the project engineer the man in charge of the technical phase of the rocket program studies move ahead on the orbit the environment in which the satellite must live the lifetime of an orbit depends on its perigee the point where the satellite is closest to the earth where the friction from the atmosphere is greatest this was the goal set by NRL in the contract an elliptical orbit with a minimum perigee of 200 miles to ensure this higher perigee the satellite should be injected into orbit at an altitude of 300 miles at a velocity of 25,000 feet per second twenty-five thousand feet a second that's a lot of velocity time four times as much as Viking how many pounds of thrust that we have in Viking twenty-one thousand pound pound vanguard twenty seven thousand pounds for the first stage engine that's not much for this mission Don enough we can do the job with twenty seven thousand pounds why use fifty or a hundred thousand well because it's easier with fifty or a hundred thousand Jack let's not lose sight of the ground rules on this project we're to make use of the best engine available as of now it'll do the job provided we come up with an efficient design all right Don I'll buy that learn to get the maximum energy out of your thrust no matter what it is alright and you're set whenever the high thrust engines become available we'll take the future when we come to it Jack we have an immediate problem we have to put a satellite up in time to help the igy people there's two-and-a-half years to do the job now here's what we're going to do with Viking we had one of the highest mass ratios ever produced that rocket was eighty percent fuel with Vanguard we're going for an even higher mass ratio if it carries a higher percentage of fuel than Viking we'll be designing a fuel truck a fuel tank that can fly this in effect is what we had to design to produce the energy needed to orbit a satellite we must build a rocket that is by weight at least 90 percent fuel even with the best fuels available a single stage rocket cannot give us all the energy we must have but it can lift us past the densest part of the atmosphere and give us a vehicle already moving at a high velocity when a second stage takes over but though the second stage can lift the vehicle to the injection altitude of 300 miles it falls far short of the orbital velocity needed for this we must build a three-stage rocket add a nose cone to protect the satellite from aerodynamic heating the result is a Vanguard configuration that is if it holds up after the aerodynamics group studies it and tests it as a model in the wind tunnel only 20 inches long but it is the first Vanguard model ready for Windtunnel tests at the Army's Aberdeen Proving Ground the last week of October 1955 wind tunnel data tell the engineer where the structure has to be extra strong where it can be lightened with safety since the rocket by weight must be 90 percent fuel the structures engineer has about 10 percent left for actual structure and he must share this 10 percent with guidance controls instrumentation engines and with the satellite itself a 21 and a half pound ball he must strike a delicate balance he must find materials strong enough for the hypersonic vanguard mission yet light enough to permit the highest percentage of fuel ever carried in a large rocket the thrust of the first stage engine determines the Rockets weight unless the fueled rocket weighs a safe figure below 27,000 pounds it will never get off the ground the safe figure for Vanguard is 22,000 pounds on Viking the fins weighed 185 pounds we saved weight right at the start with a decision not to use fins on Vanguard for the Viking program convinced us that the gimballed engines made fins unnecessary even though no large rocket had ever been flown without fins to stabilize its flight we save weight but we make the job of the controls engineer more exacting with fins Viking is a stable rocket just as an arrow with feathers is a stable arrow Vanguard without fins is theoretically unstable like an arrow without feathers but vanguards flight must not be wobbly its controls must keep its fight stable on the way to the target but target for vanguard is not a bull's-eye but rather an altitude attitude and velocity that we can hit only by following a flight path worked out in detail in advance this trajectory is different from that of Viking but from Vikings journey straight upward we learned the basic principles we learn to control a rocket in pitch and yaw by directing its thrust vector and enroll by roll Jets the means of sensing any deviation from the flight path is the gyroscope but one gyro won't do the job we must have one for pitch one for you and one for roll each spinning in a pre-arranged reference to the rocket if the rocket goes off course its reference to the gyros changes and they in turn send this information to the electronic brains of the rocket the autopilot housed in the top of the second state the auto pilots job to evaluate the message of the gyros and to translate it into commands for correction set out to roll jets under the actuators which control the direction of the Rockets thrust here is a rocket engine designed to Martin's specifications the propulsion engineer must work always with chemicals in which are locked explosive reserves of energy in the first stage engine we work with simple familiar chemicals for the fuel pump concentrated hydrogen peroxide for the oxidizer liquid oxygen and for the fuel kerosene a refined version of the common household coal oil the kind and earlier generation bought at the general store at the same time the best fuel available for this type of engine in the second stage there is nothing simple or ordinary about the propellant quite inhibited fuming nitric acid is the oxidizer the fuel is unsymmetrical dimethyl hydrazine the chemical is complex as its named for the second stage this combination is made to order the second stage engine must fire from high in the air where failure to ignite leaves us with no second chance so for the oxidizer fuel combination we use two chemicals that permit no misfire because they ignite on contact in the third stage we turn from liquid fuels to a solid propellant rocket similar in many ways to those which boost missiles into the air in the early days of the contract work moves forward on many levels aerodynamics propulsion structures controls design all in a constantly changing give-and-take kind of interdependence all working toward the day when ideas on paper become hardware for testing and when that day comes test facilities under construction will have to be ready we build a structural test tower and a block house from which we conduct pressurization and controls tests we build a tower for the final vertical checkouts before shipping the rocket to Florida for from Cape Canaveral this bolt has a big job to do for Vanguard explosive volts separate the first stage from the rest of the rocket once its propellant is exhausted the first stage is dead weight a luxury this exacting program cannot afford important this weight saving is just as important is the way we save this weight unless we get a good clean separation Vanguard will be knocked off course for a clean job all six explosive bolts must fire at the same instant with the second stage the separation procedure is different and even more critical the second stage houses the guidance and controls package if the third stage is knocked off course during separation no further Corrections can be made with a clean separation the third stage can continue on the correct flight path but to stabilize it in flight it must be spun like a rifle bullet here is the sequence when the rocket coasts up to peak altitude the coasting time computer sends the fire command to two tiny rocket motors which spin the turntable then retro rockets fire in reverse and slow down the second stage at this point the third stage spins right at the top of the second stage and is ignited for its final thrust the wobble here is a predicted test condition and will not be a factor in actual flight firings in Florida two testing goes on for project Vanguard at the Air Force missile test center from Cape Canaveral the Air Force the Army and the Navy fire missiles and rockets out over downrange tracking stations stretching 5,000 miles into the South Atlantic the field crew makes ready to launch Viking number 13 designated tv0 in the vanguard test program the purpose of the test chiefly to evaluate NRL tracking and telemeter equipment to be used later in the programme preparations start in daylight for a large set to go on the night of December 7th 1956 when the returns are in the launch is a success tracking and telemetry both check out in satisfactory fashion the altitude 110 miles impact point 170 miles downrange at the designated point near the Grand Bahama Island in January of 1957 with the start of the International Geophysical Year only six months away the wait situation was under control less than 4% of the total weightless structure and even better mass ratio than Viking by using magnesium alloy where possible instead of aluminum alloy we saved 39 pounds in the first stage and 14 in the second we had a rocket that was light and strong there is a difficult assignment ahead for the first stage engine designed by General Electric and static tested at Malta test station in upstate New York this engine must lift an 11 ton vehicle off the launch pad and propel it some 36 miles upward at burnout the vehicle should be traveling at least 5,500 feet per second to do its job this engine must burn for close to 150 seconds twice as long as the old v2 rockets from tanks above the engine fuel is pumped into the thrust chamber which will encounter some of the conditions it will face in flight fuel flow mixture pressure and temperature these are all things that must be checked out from within the blockhouse here's the crash here comes the cow coming up on X minus 35 seconds thanks - 35 seconds mark coming up fine X - 30 seconds X - 30 seconds mark secondary emergency water is iron coming up fine X - 25 seconds mark emergency shutdown power check coming up on X minus 20 seconds mark Black's winners clothes pressurizing life's tank X - 15 seconds mark 14:38 Levin 10 gas verges on 8 7 6 5 4 3 2 one fire igniter spring first fire main stage was one plus two plus three plus four plus five but six but seven plus eight plus nine plus ten but 15 but 20 about 25 plus 30 about 35 40 41 42 43 44 45 46 47 48 49 50 allah the second-stage engine and tanks are built by the Aerojet general corporation at Azusa California the tanks contain white inhibited fuming nitric acid an unsymmetrical dimethyl hydrazine this engine will take over after the vehicle is about 36 miles up it must produce 7,500 pounds of thrust and burn for approximately 120 seconds it must carry Vanguard to peak altitude at the same time increase the Rockets velocity to 13,000 feet per second test areas for rocket power plants must be isolated spots at Redlands California the grand central rocket company bills and tests a solid propellant rocket which comprises the entire third stage this stage is small compared to the other two only five feet long less than one-tenth the length of the overall rocket since it must spin in flight the third stage motor is rotated at flight speed to test it for balance the flag goes up data reduction tells whether or not the third stage engine is ready to be shipped to Florida there will be placed on top of Viking number 14 and fired as part of an actual launch the combination will become TV one a rocket to test Vanguard third stage propulsion unit under flight conditions the tape recording brought back from the blockhouse draws groups of engineers who listened in on the launch of TV one and the successful separation 120 miles up but there's a divide they have reason to be pleased data on third stage performance was so complete that NRL permitted a change in the test program instrumentation could be taken out of the nose cone and in its place could be substituted a small test satellite more tests crowd a busy program pressurization systems must be checked out and to keep on schedule testing goes on by day and by night control testing continues pitch and your jets must be checked out thoroughly after second stage burnout when the rocket is in the critical coasting flight phase these Jets will control the vehicle in pitch and yaw we tip the test ring to simulate the vehicle veering off course and then we see if the Jets can return it to the flight path and stabilize it first stage roll jets keep the heavily loaded rocket from rotating in flight for this test we work with the same chemical the field crews will use later and with a chemical as corrosive as concentrated hydrogen peroxide we take the same safety precautions the principle of the roll Jets is a simple one if the rocket starts to roll in one direction from a roll jet in the opposite direction we exhaust high temperature steam from decomposing hydrogen peroxide when these forces are in balance again the roll is arrested the test is completed to save still more weight the nosecone must be discarded as soon as its work is done the two halves of the cone are held together by an explosive bolt housed in a fitting which acts as a blast shield and contains a coil spring the small satellite for the test launches and the larger satellites to be used later both of these are protected from aerodynamic heating by the nose cone the tip of the nose cone is solid titanium the rest phenolic asbestos molded at low pressure to keep the volatile zin the phenolic from blistering the skin between 44 and 60 miles up the nose of the rocket will encounter the highest temperature any external part of the rocket will have to withstand 2,750 degrees Fahrenheit but past sixty miles the atmosphere thins out aerodynamic heating ceases to be a problem the antennas and the delicate instrumentation of the satellite no longer need a protecting cone separation must be clean so that antennas are not damaged and it must be quick so that the cone halves clear the onrushing rocket scientists at NRL also face a weight problem in designing a satellite that can weigh no more than 21 and a half pounds all electronic equipment in the satellite is subminiature eyes the radio transmitter weighs only thirteen ounces yet it must send back a signal the tracking stations can follow as the satellite orbits around the earth there will be several types of satellites equipped with instrumentation for many scientific investigations they will study atmospheric density temperature and pressure at high altitudes cosmic ray intensity the total magnetic field the changing patterns of the clouds over the earth the lyman-alpha satellite can study the effect of solar activity on radio communications a large solar flare erupts with the power of a million h-bombs it's flash spreads over hundreds of millions of square miles simultaneously on the earth 93 million miles away shortwave reception fades out sometimes for hours to gather data on how solar activity can disrupt radio communications so promptly is the job of the lyman-alpha satellite we interrupt this program to bring you a special bulletin from The Associated Press London a Moscow radio said tonight that Russia had launched an earth satellite the broadcast was heard in London the announcement was made in an English language broadcast we return you now to the scheduled program as developments occur we will pass on to you the latest news book the effect in this country is immediate families gather in their backyards to watch the skies at phylite and at sunrise and for vanguard the pressure begins to mount next on the schedule is tv2 set to go on a cloudy overcast October day this is the full vanguard configuration but the internal components are not complete there is no satellite and the second and third stages are dummies this is a limited area test to check out the Rockets aerodynamic characteristics and the performance of the first-stage propulsion system a successful flight the third in the vanguard program three for three but not one of the three tests combined enough of the functions of the full three-stage rocket to permit even an attempt at putting a satellite into space dawn December 4th 1957 this is the time set to fire TV 3 the first full dress Vanguard complete with three and a quarter pound satellite but the winds blew hard 20 miles an hour a little higher than the 17 mile an hour limit the rocket moves slowly as it first lifts off the ground a dangerous interval if a sudden wind hits till the crew were hoping for a break in the weather but there are other troubles particularly a leak in the liquid oxygen disconnect valve with the temperature of 270 degrees below zero liquid oxygen is treacherous to handle test 1 988 holding at t-minus 50 minutes has been scrubbed repeat test 1 988 has been scrubbed the next guy comes the second of December flight analysis studies pinpoint the cause of failure insufficient pressure in the first stage fuel system on January 22nd Vanguard is scheduled to try again but a multitude of technical problems combined with the weather to block the launch of tv3 back up after the gray clouds and rain the brilliant Florida Sun shone again on Cape Canaveral and it shone - on America's hopes for sending up a satellite to join Sputnik on January 31st the Army's Jupiter sea took off from the Cape and we had our satellite the first order of business congratulations to the army the night of February the 5th TV 3 back up makes another tribe at 20,000 feet the control system fails in the rocket tumbles and breaks apart the launch date for TV for st. Patrick's Day maybe that's all we need a little Irish luck tv4 is scheduled to go at 7:00 a.m. reason enough to be in early that Monday morning to await word from the Cape at a time like this where are the thoughts of an engineer who's worked on this project right from the start does he remember how he studied instrumentation data to try to find white ev3 back up went out of control or does he think back to TV 3 does he remember the tests that worked perfectly only to be reminded of all the things that must work perfectly for a successful flight or does he remember the nose cone separation test that didn't work and realize again that any flight can fail from a phony wire a leaky valve or an explosive bolt that fires too late or too soon at a time like this what does an engineer think of he thinks the design of this rocket is sound he knows it's been designed to do its job more efficiently more economically than any other rocket ever built he knows we learned a great deal from the two failures we've increased the fuel pressure we've beefed up the controls can area we've utilized parallel wiring from the controls to the actuators but until the first satellite is up he worries at the Cape the rocket countdown moves along without delay 25 pages long the countdown spells out each step in the vanguard launch spells out when a task must be started when it must be completed with TV for it is in effect two countdowns the first is seven hours of servicing and checkouts the day before launch then after an eight-hour rest period the crew goes back into action for the final six hours whether checks occur throughout the countdown these are the responsibilities of the air force missile test center the range must also maintain close coordination between central control and tracking stations on the downrange island at t-minus 70 minutes all major fueling is complete the crew gets ready for the gantry to pull back from the rocket another weather check the wind satisfactory the range intensifies its warnings to any boats that may be in the danger area either near the Cape or one of the impact areas down rain that's number 438 time is running t-minus 35 minutes this is the danger period the igniter is being armed and the last man to leave the rocket heads for the blockhouse from this point on all aspects of the firing must be conducted from within the blockhouse this is the time for roadblocks at all telemetry ground stations and for silence in the blockhouse and I marked the time will be t minus 120 seconds March - one to zero seconds tella metering is ready radar stations are set for the launch optical tracking is ready 1513 20 seconds 25 seconds lost 30 seconds about 35 seconds one for you about 45 seconds that's 50 seconds as the rocket climbs farther and farther away from the earthbound tracking instruments let us look at Vanguard now from an imaginary spot out in space the TV for first stage engine burns for 145 seconds it lifts the vehicle to 41 miles and to a velocity of 5,000 836 feet per second and burnout at 172 seconds as planned in the Rockets program the nose cone pops off the satellites transmitter exposed to light and air starts sending its signal back altitude 74 miles TV 4 second stage delivers its thrust for 122 seconds at burnout the rocket is 175 miles up traveling at 12,000 675 feet per second Vanguard coasts up to peak altitude and then 405 miles up the third stage is ignited the satellite is sprung clear now comes a period of waiting up to this moment Vanguard is a rocket that has done its job instrumentation tells us it has produced the velocity for an orbit instrumentation has not told us if it has produced the direction for an orbit at NRL the Vanguard Control Centre awaits word from the tracking Center at San Diego 134 minutes this was the time it took for vanguards first trip around the earth satellites highest speed 26,000 and 80 feet per second its Apogee two thousand four hundred and sixty two miles out in space its perigee four hundred and five miles above the earth its life expectancy two hundred years the first Vanguard satellite will be orbiting the earth when the Space Age it helped foretell becomes reality

origami

Hi everyone, welcome to the Girls on Key YouTube channel. This is our very first video. I'm Anna. We're talking about poetry here. Specifically women's poetry, but everybody is welcome. What today's video is about is how to edit your poem, an editor speaks. So I'm an editor with over 15 years experience. I'm also a poet and so I'm going to give you my top five tips for editing your poem, so let's crack into it. Hey guys today, we're talking about how to edit your poem. I'm an editor and also a poet so hopefully some of these tips will really help you to refine your work and get it the way that you want it to look or sound, ready for your audience. So let's crack into it! Tip number one. The first thing is, know your audience. So this starts right at the very beginning Before you even touch the page you need to know who are you writing for? Are you writing for yourself? Are you writing for a slam audience a big crowd, to be read aloud? Are you writing for kids? Are you writing for adults? Are you writing for your peers? Who are your audience? So maybe at the top of your page you might want to either draw or write and say my audience is this person. What are their interests? What are their likes? What do they do? And every decision that you make when it comes to editing and refining your work will come back to that. Does it fit with my audience? Tip number two. Now that you have your audience you want to have your intention. What do you want that audience to come away with? What are the takeaways? Do you want them to feel something? Do you want them to laugh? Do you want them to cry? Do you want them to know your politics? Or do you just want to express who you are to those people? Whatever it is write that at the top of your page. Also that comes into it is what kind of poem are you going to write to meet that intention? For example if I want to write a funny poem for kids, I'm not really gonna write a formal pantoum or a slam poem necessarily. I might have different design principles depending on what the intention of my poem is and where it's going to end up. So tip number three that brings me to tip number three, which is have a design principle. Now I'm really into listening to a guy called Pat Patterson from Berkeley University and I went to a songwriting workshop of his where he says, 'It starts becoming art when it stops becoming arbitrary.' Now what he means by that is every decision that you make, you are in control of that. You decide. So, you decide from every word, every line, every sound. You get to choose. You are the crafts person of your work. So have a design. Be intentional. And now something I'm going to talk a lot about on this channel is being intentional because as an artist, as a creative person knowing what your end goal is and what your intention is will really help you to focus and help to bring everything that you do to be successful, because success for one person is different to what it is for another person. One person success might be being commercially published by a poetry publisher and having their poetry win awards, for others it might be to just to have a big audience on YouTube and slam their hearts out to their heart's content and that's fine. We're all different here. There are slam poets people that want to be spoken word artists and to look at the craft of how a poem is performed live and recitation and that's part of it, and there's also people who want to see the visual on the page. How can I craft it so that I can bring in other meanings and other layers that you don't get when you have it read aloud. So there are pros and cons for both and we all have our own craft. So stick to your craft but think about the design. So for those of you that are quite new to poetry, one stanza is essentially one idea or one paragraph. So what you want to do when you're designing, one particular thing that I look for is balance, so looking to see if you've got any lines that are sticking way out. Is that purposeful? and why. So think about the meaning of every line, not just the meaning of the words because lines in themselves can have their own meaning and they're actually vital so you get to decide. You get to choose and you can edit, you can move around as much as you want. No one's gonna see, so don't be afraid of pulling it apart, pulling it to bits and putting it back together. Yes, it is hard work. Yes. It takes time you will draft again and again, and that's fine. Just take your time. There is no rush. If you want to do confessional poetry and you just want to splurge on the page go for it. But sometimes you really want to take that time to refine and to change and to make your work professional so that you are presenting it in the best way possible. And I think anyone who wants to write poetry would want that I'm sure. So that just gives you a starting point now. Number four. Tip number four is to read your work out loud. Find someone that you trust who might be able to give you some feedback. If you don't want to do that just yet, maybe read it into the camera or record it on your phone and have a listen back and what that will do is it just gives you an idea of some things that you might have missed when you were writing it on the page. And it just gives a different perspective. It's like pretending that you are the audience for your poem, putting yourself in their shoes. And it's very powerful, because you get to pick up on what nuances or things that you might have missed when you're writing it on the page. So read it aloud. Then the final thing, Number Five: have you met your goal? So assess once you've written the poem is there anything in there that's going to go against what you're trying to achieve, so if you're trying to make someone feel sad is there something that comes across as funny by mistake or something that comes across as rude or for example, if you were reading to an audience of women is there anything that's going to be offensive towards women? So just have a think and go back to number one two and three and have a look and see. Have I achieved what I want to achieve by this work? So those are your five tips. I'm just going to recap them for you. So number one was know your audience. Number two was have a clear intention. Number three: Create a design principle Number four: Read your poem aloud and number five assess your goal. Cool, so I hope some of these tips have helped. We're going to get more into the nitty-gritty of how to actually edit the grammar and the structure of your poem later on in some of the other videos, but just for this one It's just a starting point and as an editor, I always ask questions. I always say What was your intention with this line because this is what it means to me when I put myself in an audience's shoes, and I read that line it means XYZ. Did you mean that and if they say well I'm not sure, I say well have an intention. Be intentional. What do you want to say? You as a master of your poem no one else and you have the pen you have the tools and so yeah go for it. And if you want to comment with some of the work that you've done taking into account these tips. If you want to try them and let me know how you go Please comment below and don't forget to subscribe if you like this video We're going to do an Editor Speaks every Friday so watch out for that and please make suggestions about any videos that you'd like to hear relating to poetry whether it's craft, or we're going to get poet spotlights We're going to spotlight women poets around the world and we're also going to have more great content around poetry for you. So thank you so much for tuning in and hopefully we'll see you again soon. Bye.

it's very hard to convey everything in his life in two and a half hours. Elvis was such a phenomenal artist he was so important to the world of rock and roll not so much recreating the past but bringing a pass into the now and I think we also try and maintain a real level of passion as far as the songs are concerned it's just close to it it's we're ever gonna get and what's great about the show for me at the beginning is you know we started with his death which is like a statement of the impact he had on the world and then you go back to the beginning in the Sun Studios and it's a great contrast you know and then we get these little segments of his life and they're just snapshots but hopefully it's enough to convey what an incredible performer and amazing man he was focusing we are focused on the music so the whole development of musically we show in the show - Tito and it in more the arrangements are the same the music is the same and sometimes I can look out front and see that's Elvis again you created rock'n'roll and scared mister you still up there you're gonna be bikini Elvis das music most of them thought Elvis musical he's crazy it took step-by-step several years to convince everybody that this concept is the right you

News just in! Stile has just released their latest unit - Active Earth, taught in the context of the 2015 Nepal earthquake. Join me, Iggy, the Stile squad and earthquake geologist, Tamarah King, as we guide you through the unit. Students will learn about the three rock types and the rock cycle as they are introduced to a rock band, the Rollin’ Stonez. Active Earth is jam-packed with ways to incorporate STEM practices into your classroom. This includes opportunities to examine trends from real data apply mathematical thinking and develop engineering skills as they complete an engineering challenge to create an earthquake resistant structure. It is guaranteed to be an interactive and engaging way to dig into the wonderful world of geology. Rock on!

I know this wasn't planned beforehand, but shall we ask Mr. Jang to play a piece of music before we start the rehearsal? - Is that okay? / - Yes. Yes. Can you do that for us?

Spanish: Este episodio es patrocinado por Brilliant. La luna ha hecho señas a la humanidad en todo momento historia, y pronto será nuestra escalera, extendiendo nuestro alcance aún más en el cosmos. Hoy miraremos la Luna y cómo podría servir en el siglo venidero como una fabricación vital y refinación de combustible Depósito y peldaño. Curiosamente, aunque es el papel más importante en el corto plazo probablemente se centrará en el desarrollo del espacio más cercano a la casa, en órbita de la Tierra como lo es la Luna. Para ver por qué, primero debemos preguntarnos qué Moon tiene que ofrecer y cómo lo haremos sacando cosas de la luna. Ese es un punto clave porque mientras la Luna tiene muchos recursos, tiene poca tierra no tiene mucho más de. También es donde están todas nuestras cosas, incluyendo nuestras fábricas y científicos e ingenieros y todos los demás. Korean: 이 에피소드는 Brilliant가 후원합니다. 전 역사에 걸쳐 달은 인류를 향해 손짓을 해왔으며, 근미래에는 우리가 우주로 진출하기 위한 발판이 되어줄 것입니다. 오늘 우리는 달을 살펴보고, 금세기 내에 어떻게 해서 달이 핵심적인 제조기지와 연료정제소, 그리고 디딤돌 역할을 하게 될지에 관해 알아보도록 하겠습니다. 흥미롭게도, 단기적으로 달은 우리 고향과 가까운 우주공간, 즉 지구와 달 사이의 궤도를 개발하는데 있어 중요한 역할을 수행할 것입니다. 그 이유을 알아보기에 앞서, 우리는 먼저 달이 가진 장점들과 달에서 화물을 선적하는 방법에 관해 알아보고자 합니다. 이것이 중요한 이유는, 비록 달에는 아주 많은 자원이 있지만 그 중 상당수는 지구에도 많이 있기 때문이죠. 또 지구에는 공장과 과학자와 기술자 등 우리가 가진 모든 것들이 있습니다. English: This episode is sponsored by Brilliant. The Moon has beckoned to humanity throughout history, and it will soon be our ladder, extending our reach further into the cosmos. Today we’ll be looking at the Moon, and how it might in the century to come serve as a vital manufacturing and fuel refining depot and stepping stone. Interestingly though it’s biggest role in the near-term will likely be focused on the development of space closer to home, in orbit of Earth as the Moon is. To see why, we first need to ask what the Moon has to offer and how we will go about getting stuff off the Moon. That’s a key point because while the Moon has plenty of resources, it has little Earth does not have vastly more of. It’s also where all our stuff is, including our factories and scientists and engineers and everyone else. English: This would lead many to think we really have no interest in the Moon and is one reason folks often suggesting bypassing it in favor of Mars or other planets. And yet the biggest problem with Earth is that it has so much stuff--as in, mass. All that mass generates a gravity well you have to claw your way out of to get into space. It also means there’s a thick atmosphere clinging to our world that makes it even harder to launch things, though easier to land stuff, much easier actually than on the Moon. The Moon has no atmosphere to slow ships or cargoes down as they approach. It also has surface gravity barely a seventh of Earth’s, and an escape velocity of just 2400 meters per second or 5400 miles per hour. Quite fast but barely a fifth of Earth’s, and it takes less than a fifth as much fuel to lift something off it. Gravity wells are not your friend in space but they get far worse as we pile mass on. A rocket using a liquid hydrogen fuel to escape Earth might need 12 tons of fuel to get a Korean: 따라서 많은 사람들은 달에 굳이 가야 할 필요가 없다고 느낄 수도 있으며 달 대신 화성이나 다른 행성을 개척하자는 제안이 종종 나오는 이유도 이 때문입니다. 하지만 지구의 가장 큰 문제는 질량이 너무 많다는데 있습니다. 이 질량들은 중력우물을 발생시켜 우리가 우주로 나가는 것을 방해하죠. 또 중력우물은 두꺼운 대기를 조성하여 뭔가 발사하는 것을 더욱 어렵게 만듭니다. 비록 뭔가를 착륙시키는 것은 쉽게 만들어 주지만 말이죠 (달과 비교해도 훨씬 쉽습니다) 달에는 착륙 중인 우주선이나 화물을 감속시켜줄 수 있는 대기가 전혀 없습니다. 또 달의 표면중력은 지구의 7분의 1 밖에 안 되며, 탈출속도는 고작 초당 2400미터 또는 시간당 5400 마일입니다. 여전히 빠른 속도이긴 하지만 지구에 비하면 5분의 1에 불과하며, 뭔가를 들어올릴 때 소모되는 연료의 양은 5분의 1보다 적습니다. 우주에서 중력우물은 당신의 친구가 아니지만, 질량이 축적될수록 이는 더욱 악화되죠. 액체수소를 연료로 쓰는 로켓의 경우 화물을 싣고 지구를 탈출하기 위해서는 Spanish: Esto llevaría a muchos a pensar que realmente tenemos sin interés en la luna y es una de las razones la gente a menudo sugiere evitarlo a favor de Marte u otros planetas. Y sin embargo, el mayor problema con la Tierra es que tiene tantas cosas, como en masa. Toda esa masa genera un pozo de gravedad tienes que salir de tu camino para llegar al espacio. También significa que hay una atmósfera espesa. aferrándose a nuestro mundo que lo hace aún más difícil lanzar cosas, aunque es más fácil aterrizar cosas, mucho más fácil en realidad que en la Luna. La Luna no tiene atmósfera para ralentizar barcos o cargas hacia abajo a medida que se acercan. También tiene gravedad superficial apenas un séptimo de la Tierra, y una velocidad de escape de solo 2400 metros por segundo o 5400 millas por hora. Muy rápido pero apenas una quinta parte de la Tierra, y toma menos de un quinto de combustible levantar algo de eso. Los pozos de gravedad no son tus amigos en el espacio pero empeoran mucho a medida que acumulamos masa. Un cohete que usa un combustible de hidrógeno líquido para escapar La Tierra podría necesitar 12 toneladas de combustible para obtener un English: given payload away. Whereas on the Moon it would only require .7 tons to to get it off the Moon. It would be even cheaper in terms of not needing anything like all the extra mass and equipment needed to get that spacecraft off Earth reliably and safely, like fairings, those protective nose cones on rockets for plowing through the air, which of course the Moon lacks. Of course there’s precious little hydrogen on the Moon, and it’s mostly tied up in water-ice which we probably want to use for other things, and there’s obviously no ready supplies of kerosene or other hydrocarbon fuel types either. So we’ll need to consider other types of fuels, and for that matter if we even want to use fuels or opt instead for alternatives like a lunar space elevator or a mass driver. Space Elevators are nice in that they don’t require much power to operate, but they do take some and have other problems we’ll get to in a bit. Making chemical fuel or running a mass driver of the electromagnetic catapult or rail gun Spanish: dado la carga útil de distancia. Mientras que en la Luna solo requeriría .7 toneladas para sacarlo de la Luna. Sería incluso más barato en términos de no necesitar algo así como toda la masa extra y el equipo necesitaba sacar esa nave espacial de la Tierra de manera confiable y con seguridad, como carenados, esos protectores conos de nariz en cohetes para arar el aire, que por supuesto le falta a la Luna. Por supuesto que hay muy poco hidrógeno en la Luna, y está mayormente atado en hielo de agua que probablemente queremos usar para otras cosas, y obviamente no hay listo suministros de queroseno u otro hidrocarburo tipos de combustible tampoco. Entonces tendremos que considerar otros tipos de combustibles, y si queremos usar combustibles u optar por alternativas como un elevador espacial lunar o un conductor masivo. Los elevadores espaciales son agradables porque no requieren mucho poder para operar, pero lo hacen tomar un poco y tener otros problemas lo haremos llegar en un momento. Hacer combustible químico o hacer funcionar un controlador de masa de la catapulta electromagnética o cañón de riel Korean: 12톤의 연료가 필요할 수도 있습니다. 하지만 달에서는 탈출을 하는데 고작 0.7 톤의 연료만이 필요하죠. 지구에서와 달리 우주선을 안전하고 안정적으로 이륙시키는데 필요한 각종 질량과 장비가 없어도 된다는 점에서는 오히려 더 저렴할 수도 있습니다. 예를 들어 로켓에는 페어링이라 불리는 원뿔형 보호물이 있는데, 이는 로켓이 공기를 가르도록 도와줍니다. 하지만 달에는 공기가 없죠. 물론 달에는 귀중한 수소가 존재하며 대체로 이들은 물-얼음과 결합된 형태로 있는데, 우리는 이들을 다양한 용도로 활용할 가능성이 있습니다. 그리고 물론 달에는 등유나 기타 탄화수소 형태의 연료가 존재하지 않죠. 따라서 우리는 다른 종류의 연료를 고려해야만 하며, 우주엘레베이터나 매스드라이버처럼 연료를 아예 쓰지 않는 방안도 살펴볼 필요가 있습니다. 우주엘레베이터의 경우 운용을 하는데 있어 많은 전력이 필요하지 않지만, 그래도 전력이 어느 정도 필요할 뿐더러 그 외에 각종 문제를 가지고 있으며, 이들에 관해서는 잠시 후에 다루겠습니다. 화학 연료를 생산하는 방식이나 전자식 캐터펄트 또는 레일건으로 구성된 매스드라이버를 쓰는 방식은 Spanish: variedad ambos son cerdos energéticos, así que vamos a Necesito preguntar cómo vamos a conseguir poder en la luna, todo lo cual también obtendremos a en un rato. Hay grandes cantidades de silicio, oxígeno, Aluminio y Hierro en la Luna y esos últimos tres pueden usarse para hacer buenos combustibles. Por supuesto, la mayoría de las veces necesitas combustible para conseguir cosas fuera de la luna, así que preguntemos qué es la luna nos ofrece que queremos quitarle y a donde queremos llevarlo. La ficción a menudo nos muestra bases lunares, pero tienden para ser un poco confuso en lo que realmente son para, y para lo que no están creciendo comida. Al menos no para exportar. Puedes cultivar comida en la Luna para los locales consumo, en lugar de traerlo de Tierra, pero probablemente solo la usarías para alimentar a las personas en el espacio durante los primeros tiempos días y acabas de encontrarlo más fácil expandir un poco la producción local en lugar de establecer granjas espaciales. Examinaremos eso más en el próximo episodio "Luna: Ciudades del cráter" Parte del problema es que la Luna tiene días realmente largos, un mes, la mitad de Korean: 에너지를 엄청나게 많이 소모하며, 따라서 어떻게 달에서 에너지를 확보할 것인지를 생각해봐야 하는데, 이에 관해서도 잠시 후에 다루도록 하겠습니다. 달에는 상당한 양의 규소와 산소, 알루미늄, 철이 매장되어 있으며 마지막 세 원소들을 활용하면 훌륭한 연료를 만들 수 있습니다. 물론 연료의 상당수는 달에서 화물을 가지고 나오는데 사용될 것이므로, 달에서 가져올 만한 것에는 어떤 것들이 있으며 어디에서 이를 얻을 수 있을지 생각해봐야 합니다. SF 작품을 보면 달 기지가 자주 등장하지만 그 존재 목적이 무엇인지 불분명한 경우가 많은데 아마 달 기지를 식량 재배에 사용할 가능성은 별로 없을 것입니다. 최소한 수출 목적의 식량은 아닐 것입니다. 지구에서 식량을 가져오는 대신에 달에서 식량을 재배하여 자체 소비할 수는 있겠지만 아마도 당신은 가장 초창기에만 우주인들을 먹여살리기 위해 달에서 식량을 재배할 것이며 우주농장을 새로 만드는 것보다 그냥 현지 식량 생산을 확장하는 편이 더 쉬운 경우에만 이런 방식을 택할 것입니다. 이에 관해서는 추후 방영될 "달: 분화구 도시" 에피소드에서 더 자세히 다룰 계획입니다. 여기서 문제는 달의 경우 하루의 길이가 한 달이나 되며, 그 중 절반은 English: variety both are energy hogs, and so we’ll need to ask how we’ll go about getting power on the Moon, all of which we’ll also get to in a bit. There are vast amounts of Silicon, Oxygen, Aluminum, and Iron on the Moon and those last three can be used to make good fuels. Of course you mostly need fuel to get stuff off the Moon, so let’s ask what the Moon offers us that we want to take away from it and where we want to take it. Fiction often shows us moon bases but tend to be a bit unclear on what they’re really for, and what they’re not for is growing food. At least not for exporting. You might grow food on the Moon for local consumption, as opposed to bringing it from Earth, but you’d probably only use it for feeding folks in space during the earliest days and you just happened to find it easier to expand local production a bit rather than setting up space farms. We’ll examine that more in the upcoming episode “Moon: Crater Cities” Part of the problem though is that the Moon has really long days, a month long, half of English: which is night which is a long time for plants to go without illumination. What light it gets is also harsh, not filtered by an atmosphere removing the frequencies more harmful to plants and equipment. You could grow food there, but either need to provide supplemental lighting or pick species that are adapted to handle darkness for long periods. You probably need to provide shading too, as many plants wouldn’t fare well in two weeks of perpetual noon-time sun. All-in-all, it makes more sense to use large rotating habitats in orbit for food growth instead, especially as these can be made vastly cheaper than those rotating habitats meant for people to live in, such as the O’Neill Cylinder, and we’ll be discussing those and life inside them in a couple weeks. Of course you probably do want to grow food there initially, not to mention source your rock, air, water, and equipment for those space farms from the moon, where you can. Some plants you may want to grow locally for aesthetics or as specialty fresh foods, like fruit trees or herbs. Spanish: que es la noche que es mucho tiempo para las plantas ir sin iluminación. La luz que recibe también es dura, no se filtra por una atmósfera que elimina las frecuencias más dañino para plantas y equipos. Puedes cultivar comida allí, pero cualquiera necesita para proporcionar iluminación suplementaria o recoger especies que están adaptados para manejar la oscuridad por mucho tiempo períodos. Probablemente también necesite proporcionar sombreado, ya que a muchas plantas no les iría bien en dos semanas de sol perpetuo al mediodía. En general, tiene más sentido usar grandes hábitats rotativos en órbita para el crecimiento de alimentos en cambio, especialmente porque se pueden hacer mucho más barato que aquellos hábitats rotativos para que la gente viva, como el O'Neill Cilindro, y hablaremos de esos y la vida dentro de ellos en un par de semanas. Por supuesto, probablemente quieras cultivar alimentos inicialmente, sin mencionar la fuente de su roca, aire, agua y equipo para aquellos granjas espaciales desde la luna, donde puedas. Algunas plantas puede querer cultivar localmente para estética o como alimentos frescos especiales, como Árboles frutales o hierbas. Korean: 밤이라는 점입니다. 식물이 광합성을 하지 않고 버티기에는 좀 긴 시간이죠. 낮에 비추는 빛도 대기에 의해 걸러지지 않았기 때문에 식물 및 장비에 유해한 주파수가 그대로 남아 있습니다. 물론 이런 곳에서도 식물을 재배할 수는 있지반, 보조 광원을 제공하거나 장기간에 걸쳐 어둠을 견딜 수 있는 식물종을 택해야 하겠죠. 아마 그늘도 제공해야 할 것입니다. 대다수의 식물들은 정오 밝기의 빛을 2주 동안이나 견디지 못하니까요. 전체적으로 보면 궤도상에 배치된 대형 회전식 우주시설물에서 식량을 재배하는 편이 낫습니다. 참고로 이런 시설물은 인간 거주용으로 만들어진 회전식 시설물(예를 들면 오닐실린더)보다 훨씬 저렴하게 제작할 수 있죠. 이런 시설물에서의 삶이 어떨지에 관해서는 2주 후에 방영될 에피소드에서 다룰 예정입니다. 물론 초창기에는 달에서 식량을 재배하려 할 것이며, 추후 우주농장에 필요한 암석이나 공기, 물, 장비들도 되도록이면 생산시설을 갖춘 달에서 조달할 가능성이 높습니다. 몇몇 식물들은 현지에서 재배하길 원할 수도 있으며, 여기에는 관상용 식물이나 과일나무나 허브 같은 특수 작물이 포함되겠죠. English: These plants may also be used to recycle waste products of the colonists. If you are growing food on the moon you need power for artificial lighting or rather significant usage of orbital mirrors to send light down, which is certainly doable and we may as well begin our discussion of power with solar as an option. We’ve got three ways we can use sunlight and three places to obtain it from. We can use it for plants or other processes that directly make use of light, like a solar kiln for smelting metal or rock, or we can use it for power generation, either solar thermal or photoelectric. Photoelectric being the solar panels we’re used to, while solar thermal is where you use the concentrated sunlight to heat something and run a standing heat engine, such as a steam turbine, like we use in conventional power plants. Solar panels are a bit problematic on the Moon because you have that two-week dark phase, though they don’t have to worry about cloudy weather and there are many craters whose rims Korean: 이런 식물들은 개척민들이 버리는 폐기물 재활용에 사용될 수도 있습니다. 만일 당신이 달에서 식량을 생산하고자 한다면 전력을 써서 인공조명을 밝히거나, 궤도 거울을 활용하여 빛을 내려보내야만 하는데, 이런 것들은 실제로 가능하며 따라서 태양에너지를 선택가능한 방안 중 하나로 논의할 수 있습니다. 햇빛을 사용하는 방법에는 세 가지가 있으며, 햇빛을 얻을 수 있는 장소도 세 곳이 존재합니다. 햇빛을 써서 금속이나 암석을 녹이는 태양광 용광로처럼 직접적인 방식으로 햇빛을 활용하거나 아니면 태양열 발전이나 태양광 발전처럼 전력 생산에 쓰는 것이죠. 태양광 발전의 경우 우리가 현재 사용하고 있는 태양광 패널을 사용하며, 태양열 발전에서는 햇빛을 집중시켜 뭔가를 가열시킨 다음, 그걸로 증기터빈 같은 열엔진을 돌립니다. 기존의 발전소와 거의 같은 방식이죠. 참고로 태양광 패널은 달에서 쓰기가 곤란합니다. 밤이 2개월간 계속되기 때문이죠. 하지만 달에서는 흐린 날씨를 걱정할 필요가 없으며, 상당히 많은 크레이터의 Spanish: Estas plantas también pueden usarse para reciclar desechos productos de los colonos. Si estás cultivando comida en la luna necesitas potencia para iluminación artificial o bastante significativa uso de espejos orbitales para enviar luz hacia abajo, lo cual es factible y también podemos comenzar nuestra discusión sobre el poder con la energía solar como una opción. Tenemos tres formas de usar la luz solar. y tres lugares para obtenerlo. Podemos usarlo para plantas u otros procesos. que utilizan directamente la luz, como un solar horno para fundir metal o roca, o podemos utilízalo para generar energía, ya sea solar térmica o fotoeléctrica. Siendo fotoeléctricos los paneles solares estamos solía, mientras que la energía solar térmica es donde usa la luz solar concentrada para calentar algo y ejecutar un motor térmico de pie, como un turbina de vapor, como usamos en convencional plantas de energía. Los paneles solares son un poco problemáticos en el Luna porque tienes esa fase oscura de dos semanas, aunque no tienen que preocuparse por las nubes clima y hay muchos cráteres cuyas llantas Korean: 가장자리에서는 더 긴 낮을 경험할 수 있습니다. 실제로 태양광 패널을 높은 탑들에 커튼처럼 매달아 햇빛 노출을 최대화하자는 제안도 있습니다. 이 태양광 패널을 회전시켜 계속 태양을 마주보게 하면 일광 노출 시간을 늘릴 수 있죠. 달의 극지에 위치한 분화구들이 기지를 설치하기에 적합한 곳인 이유도 이 때문입니다. 이런 분화구들의 가장자리는 가장 오랫동안 햇빛에 노출되며, 또 그 바닥은 그림자에 항상 가려져 있어 얼음이 매장되어 있을 확률이 놓죠. 이에 관해서는 "분화구 도시" 에피소드에서 더 자세히 다룰 예정입니다. 광합성에 대해 얘기하자면, 분화구 가장자리에서 볼 수 있는 확장된 일광기간은 2주간의 어둠과 달리 식물들로 하여금 건강한 상태를 유지할 수 있게 해주며 최소한 보조 광원을 절약하는데 도움이 될 수도 있습니다. 이런 곳들은 초창기 우주농장을 시작하는데 적합한 장소이지만, 그 생산량은 제한적일 것입니다. 그리고 시간이 지나면 달 공업단지는 금속 정제와 화학공정 및 제조를 위해 엄청난 에너지를 생산해낼 것이므로, LEB 불빛만으로 충분한 몇몇 소형 농장들은 전체 가용전역에 별다른 영향을 끼치지 못하겠죠. Spanish: experimenta períodos de luz más largos. De hecho, uno de los métodos propuestos para maximizar la exposición de los paneles solares es colgarlos como cortinas de torres altas, siguiendo el sol, extendiendo la luz del día como el sol conjuntos. Por la misma razón, los cráteres polares también son ubicaciones de base lógica debido a la extremadamente larga luz del día posible en sus bordes de cráter y desde el hielo esperamos encontrar en su fondos eternamente oscuros. Y nuevamente veremos eso más en Crater Ciudades. En el lado de la fotosíntesis de las cosas, esos períodos prolongados de luz experimentados en el cráter las llantas pueden ser suficientes para permitir que haya plantas allí mantenerse saludable en lugar de dos semanas completas de oscuridad, y al menos reduciría Iluminación suplementaria. Estos son buenos lugares para la agricultura espacial inicial aunque obviamente están en una oferta limitada. Eventualmente, un complejo industrial lunar será estar produciendo tanta energía para la refinación de metales, procesamiento químico y fabricación que algunas pequeñas granjas de luces LED no lo harán realmente equivale a mucho en su presupuesto de energía. English: experience longer daylight periods. Indeed one of the proposed methods to maximize the exposure of solar panels is to hang them like curtains from tall towers, following the sun, extending the daylight as the sun sets. For the same reason, polar craters are also logical base locations due to the extremely long daylight possible on their crater rims and from the ice we hope to find at their eternally dark bottoms. And again we’ll look at that more in Crater Cities. On the photosynthesis side of things, those extended light periods experienced on crater rims might be sufficient to allow plants there to remain healthy as opposed to two full weeks of darkness, and would at least cut down on supplemental lighting. These are good spots for initial space farming though obviously are in a limited supply. Eventually, a lunar industrial complex will be producing so much power for metals refining, chemical processing, and manufacturing that a few small farms worth of LED lights won’t really amount to much in your power budget. English: But in the end the vast majority of food production will be done on large factory farms and food processing facilities in space once the cost of landing a shipment of groceries is less than your local cost. Similar to how you might have an orange tree or small garden, but your not locally sourcing a cake recipe. But back to solar panels, modern, efficient ones are rather hard and expensive to fabricate locally from ISRU, or in situ resource utilization, the term used for basically living off the land. Though that might get far easier down the road, the raw sunlight, heavy on ultraviolet, and damaging moon dust and micrometeorites, might be rather rough on such panels. There are designs for less-efficient, simple solar panels made from ISRU materials that can almost be paved on the lunar surface. The problem with these is that they need to be cleaned of lunar dust frequently if they are to be located anywhere near a mining base or rocket landing pad. Spanish: Pero al final la gran mayoría de la producción de alimentos. se hará en grandes granjas industriales y alimentos instalaciones de procesamiento en el espacio una vez que el costo de aterrizar un envío de comestibles es menos que su costo local. Similar a cómo podrías tener un naranjo o un jardín pequeño, pero no se obtiene localmente Una receta de pastel. Pero volvamos a los paneles solares, modernos, eficientes. los que son bastante difíciles y caros de fabricar localmente de ISRU, o la utilización de recursos in situ, El término utilizado para vivir básicamente de la tierra. Aunque eso podría ser mucho más fácil por el camino, la cruda luz del sol, pesada en ultravioleta, y dañar el polvo lunar y los micrometeoritos, podría ser bastante duro en tales paneles. Hay diseños para menos eficiente, simple paneles solares hechos de materiales ISRU que casi se puede pavimentar en la superficie lunar. El problema con estos es que necesitan limpiarse del polvo lunar con frecuencia si deben ubicarse en cualquier lugar cerca de una base minera o plataforma de aterrizaje de cohetes. Korean: 하지만 우주에서 식량을 가져오는 비용이 달에서 식량을 생산하는 비용보다 더 낮아진다면 식량 생산의 거의 대부분은 우주에 배치된 거대 농장 및 식료품 가공공장에서 이루어질 것입니다. 오렌지 나무 한 그루 또는 작은 정원을 가지고 있다고 해서 케이크 재료를 조달할 수 있는 것은 아니듯이 말입니다. 태양광 패널에 대해 말하자면, 현대적이고 효율적인 태양광 패널들은 ISRU 또는 달 현지자원 활용 방식으로 현지에서 제조하기 힘들고 비용이 많이 듭니다. 여기서 ISRU는 쉽게 말해 자급자족을 의미하죠. 시간이 지나면 달에서 태양광 패널을 제조하는 것이 쉬워질 수도 있겠지만, 자외선이 강한 햇빛과 달의 먼지 및 미소운석은 태양광 패널에 상당한 악영향을 끼칠 수 있습니다. 물론 효율이 좀 떨어지긴 하지만 구조가 단순할 뿐더러 달 표면에 널려 있는 재료들로 제작가능한 태양광 패널 디자인이 존재하긴 합니다. 그러나 태양광 패널을 광산 기지나 로켓 착륙장 근처에 설치해야 한다면 정기적으로 먼지를 청소해야 주어야 하겠죠. English: They are also fixed so they can’t follow the sun, and because there is no atmosphere to refract or reflect the sunlight like on Earth, this further reduces their efficiency. Fabricating more rugged or structural ISRU solar panels, such as those we discussed hanging like curtains, will take more resources and cost more, but would allow sun-following. Lastly, while concentrated solar may allow better use of your solar panels, they can have thermal management problems in space, further adding to their cost and complexity. Adding to solar power’s short-comings is the limitation of battery capacity to function through the night, away from the poles. Solar thermal on the other hand is particularly nice on the moon because big mirrors and parabolic dishes are easily fabricated, they can just be shiny bits of aluminum or iron, neither in short supply on the moon. Additionally, there’s no air, and heat can only be lost via radiation, convection, and Korean: 또한 이들은 고정식 구조를 가지고 있기 때문에 태양을 따라 움직일 수 없으며, 달은 지구와 달리 햇빛을 굴절시키거나 반사시키는 대기가 없다는 점을 고려한다면, 이는 발전효율을 더욱 떨어트립니다. 달 현지자원을 활용하여 더 내구도가 높거나 구조적인 태양광 패널을 제작한다면 (방금 전에 언급한 커튼형 태양광 패널처럼 말이죠), 비록 자원과 비용은 더 들겠지만 태양 추적은 가능할 것입니다. 마지막으로 태양광 집광 방식의 경우 태양광 패널을 가장 효율적으로 쓸 수 있는 방법이지만 이런 방식은 우주에서 냉각 문제를 겪으며, 이는 또다시 비용과 복잡성을 증가시킵니다. 태양에너지 발전이 가지는 문제 외에도, 달의 극지가 아닌 다른 곳에 기지를 설치할 경우 밤 동안에 쓸 수 있는 배터리의 용량 문제가 있습니다. 하지만 태양열 발전의 경우 달에서 쓰기에 매우 적합하죠. 거대한 거울과 포물면경은 달에서 쉽게 제작할 수 있습니다. 이들은 그저 반짝이는 알루미늄판 또는 철판에 불과한데, 달에는 이 자원들이 상당히 많이 매장되어 있죠. 또한 달에는 공기가 없으며, 열은 오로지 복사와 대류, 전도를 통해서만 제거될 수 있으므로 Spanish: También están arreglados para que no puedan seguir el sol y porque no hay atmósfera para refractar o reflejar la luz del sol como en Tierra, esto reduce aún más su eficiencia. Fabricación de ISRU más robusta o estructural paneles solares, como los que discutimos colgando como cortinas, tomará más recursos y costaría más, pero permitiría seguir al sol. Por último, mientras que la energía solar concentrada puede permitir mejor uso de sus paneles solares, pueden tiene problemas de gestión térmica en el espacio, además de su costo y complejidad. Agregar a las deficiencias de la energía solar es La limitación de la capacidad de la batería para funcionar a través de la noche, lejos de los polos. La energía solar térmica por otro lado es particularmente agradable en la luna porque grandes espejos y parabólicos los platos se fabrican fácilmente, solo pueden sean pedazos brillantes de aluminio o hierro, ni escaso en la luna. Además, no hay aire y el calor puede solo se perderá por radiación, convección y Korean: 집광 거울의 방향을 거대한 현무암으로 돌릴 수도 있겠죠. 현무암은 달에 아주 많으며 훌륭한 열 저장매체일뿐만 아니라, 주변에는 진공 밖에 없고 대류 냉각을 일으킬 공기나 물이 없으므로 밤 동안에도 별로 냉각되지 않습니다. 현무암 조각을 잘라서 진공으로 둘러싸인 보온병 안에 집어넣은 것과 마찬가지죠. 진공에서는 대류로 인한 열손실이 발생하지 않으며, 그저 보온병 내에서의 전도 및 복사 열손실만이 소규모로 일어나는데, 복사 열손실의 경우 열반사 단열재를 사용하여 줄일 수 있습니다. 일종의 열축전지인 셈이죠. 이는 약간 복잡한 기술이기 때문에, 초창기에 당신은 그저 달 지면에서 현무암 덩어리를 들어내서 단열재 위에 올려놓는 식으로 전도 열손실을 최소화할 수 있을 것이며, 아니면 구덩이에다가 통을 하나 넣은 다음 현무암으로 채울 수도 있을 것입니다. 아니면 이런 절차를 전부 생략하고 커다란 현무암 덩어리를 향해 햇빛을 집중시킬 수도 있겠지만 이 경우에는 열이 이웃한 암석들로 전도될 것입니다. 우리는 이런 방식을 "열 와디"라고 하는데, 와디란 건조한 지역에서 호우 시에만 일시적으로 Spanish: conducción, para que pueda encender sus espejos bloques gigantes de basalto, que abundan en la luna y un gran medio para el almacenamiento de calor y no se refrescan tanto en la noche ya que es solo el vacío por encima de ellos, no El aire o el agua también actúan como refrigerante por convección. Esto es especialmente cierto si cortamos bloques de basalto y básicamente pegarlos en un termo, Aspirar por todos los lados. Por lo tanto, no hay pérdidas por convección del vacío y solo pérdidas conductivas menores en el termo y las pérdidas radiativas se pueden minimizar con Una barrera reflectante. Toda la batería térmica. Eso es un poco sofisticado, tan temprano podrías usar un pedazo de basalto El suelo sobre pies aislantes para minimizar pérdida de calor por conducción, o en un pozo donde mantuviste un tazón sobre los pies y lo llenaste con grava. Incluso puedes saltarte eso para enfocar la luz en una gran cantidad de basalto pero perderías más calor a la conducción en el vecino rock. Llamamos a este enfoque un Wadi termal, en oposición a Wadis en el desierto, lugares secos que llenan English: conduction, so you can turn your mirrors onto giant blocks of basalt – which is plentiful on the moon and a great medium for heat storage and they won’t cool off as much at night as it’s just the vacuum above them, not air or water also acting as a coolant by convection. This is especially true if we cut blocks of basalt and basically stick them in a thermos, vacuum on all sides. So no convective losses from the vacuum and only minor conductive losses in the thermos and radiative losses can be minimized with a reflective barrier. Quite the thermal battery. That’s a bit sophisticated, so early on you might just use a chunk of basalt up off the ground on insulating feet to minimize heat loss to conduction, or in a pit where you kept a bowl up on feet and filled it with gravel. You can even skip that for focusing light on a big chunk of basalt but you’d lose more heat to conduction into the neighboring rock. We call this approach a Thermal Wadi, as opposed to Wadis in the desert, dry spots that fill Korean: 발달하는 하천입니다. 다만 이 경우 우리는 해당 와디를 매달 일광기마다 빛과 열로 채우는 셈이죠. 이제 해당 블록을 열엔진과 연결하면서 해가 진 후에도 훌륭한 동력원을 얻을 수 있습니다. 물론 밤 동안에는 이들을 기지 난방에 사용할 수도 있을 것이며 낮 동안에는 기지 냉방에 사용할 수도 있을 것입니다. 또 태양광 용광로를 금속 및 암석 용융 외에 상기한 목적으로도 활용할 수 있을 것이며, 사실 대기가 없는 달에서는 태양광 용광로가 더 잘 작동합니다. 이런 방법들을 활용하면 낮에는 생산시설을 가동했다가 밤에는 끄는 한달짜리 생산주기를 도입할 필요가 없으며, 아니면 최소한 밤에도 생산을 부분적으로나마 진행할 수 있을 것입니다. 하지만 여기 지구에서도 금속 제련과 같은 몇몇 공업에서는 가동과 정지를 반복하는 생산주기를 따르고 있으며, 만일 필요하다면 달에서도 이런 생산주기를 적용할 수 있을 것입니다. 그리고 아주 단순하게 시작해야만 하는 개척 초기단계에서도 이런 방식을 쓸 수 있겠죠. 따라서 우리는 상당히 단순한 기반시설을 가지고도 달에서 본격적으로 금속을 생산할 수 있으며, English: with water in the rainy season, in this case we fill them with light and heat in the sunny season, every month. Now we can attach those blocks to a heat engine and have a nice power supply when the sun goes down. Needless to say, you can also use these to keep bases warm when the sun goes down, or for that matter cold when the sun is up. You can also be using solar kilns in this role as well as their role of melting down metal or rock, and solar kilns work better on the moon from the lack of atmosphere anyway. Using these approaches lets you avoid needing to have a month-long production cycle that is on during the day and off during the night, or at least lets you avoid a total shut down at night, though we often do long on and off production cycles in some industries, such as metal smelting, here on Earth, and could on the Moon if we needed to, and we might early on as we need to start very simple. It’s not very hard then, with some fairly basic infrastructure, to get major metal production Spanish: con agua en la temporada de lluvias, en este caso los llenamos de luz y calor al sol temporada, todos los meses. Ahora podemos unir esos bloques a un motor térmico y tener una buena fuente de alimentación cuando el sol baja. No hace falta decir que también puedes usarlos para mantener las bases calientes cuando se pone el sol, o para el caso frío cuando sale el sol. También puedes usar hornos solares en este papel, así como su papel de fundirse metal o roca, y los hornos solares funcionan mejor en la luna por la falta de atmósfera de todos modos. El uso de estos enfoques le permite evitar la necesidad de tener un ciclo de producción de un mes que está encendido durante el día y apagado durante la noche, o al menos te permite evitar un apagado total por la noche, aunque a menudo lo hacemos de vez en cuando ciclos de producción en algunas industrias, como como fundición de metales, aquí en la Tierra, y podría en la Luna si fuera necesario, y podríamos desde el principio, ya que debemos comenzar de manera muy simple. No es muy difícil entonces, con algunas infraestructura básica, para obtener la mayor producción de metal Spanish: yendo a la luna y puede ser masivamente ampliado. Se beneficia mucho de tener robots inteligentes hacer el trabajo en lugar de las personas, pero usted no en realidad tengo que vivir en la luna para trabajar allí. El tiempo de retraso de la señal desde la Tierra es solo un latido o dos, tiempo suficiente para ser notable e irritante pero lo suficientemente cerca como para permitir el control remoto de instalaciones y robots. Ahora dije que había tres formas básicas en que podría usar la luz solar pero también tres lugares podría obtenerlo. El primero es obviamente la superficie de la Luna, y el segundo sería poder avanzado producción por fusión nuclear, donde la luz solar proviene de en primer lugar, pero mientras vamos a estar mirando la fisión nuclear como fuente de energía y navega hoy, nos saltaremos la fusión como tema hemos cubierto más en otros lugares. Nuestra tercera forma es recordar que La luna tiene muy poca gravedad y no tiene atmósfera. Eso hace que la producción de satélites o espejos eléctricos y ponerlos en órbita mucho más fácil, y no sería difícil coordinar esos para llevar energía o luz a lugares cuando era English: going on the moon and it can be massively scaled up. You benefit a lot from having clever robots do the work rather than people but you don’t actually have to live on the Moon to work there. The signal lag time from Earth is just a heartbeat or two, enough time to be noticeable and irritating but close enough to allow remote control of facilities and robots. Now I said there were three basic ways we could use sunlight but also three places we could get it from. The first is obviously the surface of the Moon, and the second would be advanced power production by nuclear fusion, where sunlight comes from in the first place, but while we’ll be looking at nuclear fission as a power source and ship drive today, we’ll skip fusion as a topic we’ve covered more elsewhere. Our third way is just to remember that the Moon has very little gravity and no atmosphere. That makes producing power satellites or mirrors and getting them into orbit a good deal easier, and it would not be hard to coordinate those to get power or light to places when it was Korean: 해당 생산을 대대적으로 확장하는 것도 역시 가능합니다. 인간 대신 지능로봇을 달로 보내 일을 시킨다면 많은 장점이 있겠지만, 인간이 달에서 일을 한다고 해도 꼭 거기에서 살아야 할 필요는 없습니다. 지구와 달 사이의 신호 지연은 1.3초 밖에 되지 않으며, 물론 짜증을 유발할 수도 있겠지만 각종 시설과 로봇을 원격제어 하는 데에는 별 문제가 안 됩니다. 이미 말씀드렸지만, 햇빛을 사용하는 세 가지 방법 외에도 햇빛을 얻을 수 있는 장소 세 곳이 존재합니다. 첫 번째 장소는 물론 달의 지표면이며, 두 번째 장소는 햇빛 자체를 생성해내는 핵융합 발전이죠. 하지만 오늘은 핵분열을 이용한 전력 생산 및 우주선 추진을 살펴보고자 하며, 핵융합에 관해서는 다른 에피소드에서 이미 다룬 적이 있으므로 제외하겠습니다. 세번째 장소는 달의 중력이 매우 약하고 대기가 없다는 점을 활용하는 것입니다. 이런 환경에서는 아주 쉽게 발전용 인공위성을 만들어서 궤도에 올릴 수 있으며 이렇게 해서 얻은 전력이나 햇빛을 어두운 지역으로 보내는 것도 그리 어려운 일이 아닐 것입니다. Spanish: oscuro afuera, ampliado lo suficiente como para que puedas crear un ciclo de 24 horas, pero nos saltaremos eso por hoy. Vea el episodio de Power Satellites o Winter en Venus para más discusión sobre esas opciones. Sin embargo, al poner cosas en órbita de la La luna no es demasiado difícil, esa baja gravedad y la falta de viento hace que sea muy fácil erigir masivamente estructuras Mencioné esas torres altas y Nuestros paneles solares en ellos. Construyendo algo súper alto, fuerte y delgado La torre de la luna es muy fácil. De hecho, es tan fácil que podemos construir un espacio ascensor en la Luna con materiales existentes, no necesita materiales muy fuertes como Grafeno y nanotubos de carbono, un elevador de tierra tomaría Suena como una gran idea pero hay una problema, la tierra. La luna perturba las órbitas de los objetos alrededor la tierra un poco. Pero la Tierra tiene 81 veces la masa de la Luna, y perturba las órbitas alrededor de la Luna mucho. Korean: 이를 좀 더 확장한다면 아예 24시간 낮밤주기를 만들 수도 있겠지만, 오늘은 이에 대해 다루지 않도록 하겠습니다. 이런 방법들에 관해서는 발전위성 또는 금성의 겨울 에피소드를 참고하시기 바랍니다. 참고로 달에서는 낮은 중력으로 인해 뭔가를 궤도에 올리기가 매우 쉽지만 달의 낮은 중력과 대기의 부재는 또한 거대 구조물을 쉽게 건설할 수 있게 해줍니다. 아주 높은 탑을 세워서 그 위에 태양광 패널을 다는 방안에 관해서는 지난 번에도 얘기했었죠. 아주 높고 견고하면서 가느다란 탑을 달에 세우는 것은 아주 쉬운 일입니다. 심지어 기존 재료들만 가지고도 달에 우주엘레베이터를 만들 수 있죠. 지구에 우주엘리베이터를 만들려면 그래핀이나 탄소나노튜브 같은 초고강도 소재가 필요하지만, 달에서는 그렇지 않습니다. 아주 좋은 생각처럼 들리지만 여기에는 문제가 하나 있습니다. 바로 지구죠. 달은 지구 주변 물체들의 궤도를 교란시킵니다. 하지만 지구는 달보다 81배 무거우며, 따라서 달 주변의 궤도를 훨씬 더 많이 교란시키죠. 만일 당신이 지구에 우주엘레베이터를 만들려 한다면, English: dark outside, scaled up enough you could even create a 24 hour day cycle but we’ll skip that for today. See the Power Satellites episode or Winter on Venus for more discussion of those options. However, while putting stuff in orbit of the Moon isn’t too hard, that low gravity and lack of wind makes it very easy to erect massive structures. I mentioned those tall towers and putting our solar panels on them. Building some super-high, strong, and skinny tower on the Moon is very easy. Indeed it is so easy that we can build a space elevator on the Moon out of existing materials, not needing the very strong materials like Graphene and Carbon Nanotubes an Earth Elevator would take. Sounds like a great idea but there is one problem, the Earth. The Moon perturbs the orbits of objects around the Earth somewhat. But the Earth has 81 times the mass of the Moon, and it perturbs orbits around the Moon a lot. English: If you were to build an elevator on Earth, you’d put its center of mass in a geostationary orbit. That’s where it will orbit the planet at the same rate the planet turns, so it will stay directly above your chosen spot on the equator. The altitude of a geostationary orbit is about 1/10th of the way to the Moon, so the Moon’s gravity does perturbs the orbit some but only to a degree we can manage and compensate for. If the Moon had a nice short day like we do, it would work about the same there. But the Moon is tidally locked to Earth, so its day is a month long, and a luna-stationary orbit would have to be a month long as well. That means it would have to orbit the Moon at an altitude that takes it 1/4 of the way back to the Earth, a distance where the Earth actually exerts far more force on your satellite than the Moon does. There is the L1 Lagrange point between the Earth and Moon, where the forces exactly balance each other, and it’s only about 1/7th of the way back to the Earth. The problem is, it’s not stable. Spanish: Si fueras a construir un ascensor en la Tierra, pondrías su centro de masa en un geoestacionario orbita. Ahí es donde orbitará el planeta en la misma velocidad que gira el planeta, así que lo hará permanecer directamente encima de su lugar elegido en el ecuador. La altitud de una órbita geoestacionaria es de aproximadamente 1/10 del camino a la Luna, entonces la Luna la gravedad perturba la órbita de algunos pero solo hasta cierto punto podemos gestionar y compensar. Si la Luna tuvo un lindo día corto como nosotros, funcionaría casi igual allí. Pero la Luna está bloqueada por la marea en la Tierra, así que su día dura un mes y una luna estacionaria la órbita también tendría que durar un mes. Eso significa que tendría que orbitar la Luna a una altitud que lo lleve 1/4 del camino de vuelta a la Tierra, una distancia donde la Tierra en realidad ejerce mucha más fuerza en su satélite que la luna hace. Existe el punto L1 Lagrange entre el Tierra y Luna, donde las fuerzas se equilibran exactamente entre sí, y es solo alrededor de 1/7 de El camino de regreso a la Tierra. El problema es que no es estable. Korean: 그 질량 중심은 지구정지궤도에 배치해야 합니다. 그 곳에서 우주엘리베이터는 지구가 자전하는 속도와 똑같은 속도로 지구를 공전할 것이며 따라서 지구 적도상의 특정 지점 위에 계속 머물러 있을 것입니다. 지구정지궤도의 고도는 달까지 거리의 10분의 1이며, 따라서 달의 중력이 해당 궤도를 교란시키긴 하지만 이는 충분히 상쇄 및 관리가 가능합니다. 만일 달이 지구처럼 짧은 하루를 가졌다면 달에서도 사정은 똑같았겠죠. 그러나 달은 지구에 대해 동주기 자전을 하기 때문에 하루가 한달일뿐더러 '달정지궤도'의 주기도 역시 한달입니다. 이는 달의 우주엘레베이터가 지구까지 거리의 4분의 1쯤 되는 고도에서 달을 공전해야 한다는 뜻인데 이 거리에서는 달보다 지구가 인공위성에 훨씬 더 큰 힘을 행사합니다. 참고로 지구와 달 사이에는 양 천체의 힘이 균형을 이루는 L1 라그랑주점이 존재하는데, 이 라그랑주점은 지구까지 거리의 7분의 1 지점에 위치하고 있습니다. 문제는 이 점이 안정적이지 않다는 것입니다. Korean: 만일 당신의 인공위성이 지구-달 축을 벗어나려 한다면 중력은 해당 인공위성을 도로 잡아당겨 제자리에 놓겠지만, 지구-달 축을 따라 움직일 경우에는 자신에게 가장 가까운 천체를 향해 떨어질 것입니다. 달의 반대편에 있는 L2 라그랑주점도 역시 불안정하죠. 정말로 안정적인 라그랑주점, 즉 당신이 인공위성을 진정한 달정지궤도에 올려놓을 수 있는 지점은 L4와 L5인데, 이들은 달의 공전궤도 앞뒤에 각각 위치하고 있으며 역시 지구 주변을 공전하고 있습니다. 불행하기도 이들은 지구가 달에서 먼 것만큼 달과 떨어져 있기 때문에, 우주엘리베이터를 건설하는데에는 별 도움이 안 되죠. 따라서 안정적인 라그랑주점을 활용하는 것은 불가능하며, 예전에 우주엘레베이터 에피소드에서 다룬 적이 있는 몇몇 꼼수를 쓰거나 (여러 케이블을 비스듬히 설치하여 한 종점에서 만나게 하는 방법 등) 극엘레베이터를 설치하는 방안도 있지만, 이는 그리 좋은 방안이 아닙니다. 스카이후크(공중구) 또는 로터베이터(회전승강기)는 좀 더 가능성이 있는데, 왜냐하면 대기가 없을 뿐더러 중력이 약해 스카이후크가 화물을 내리거나 올리기 위해 내야 하는 궤도속도가 낮기 때문이죠. Spanish: Si tu satélite se desvía de la Tierra-Luna eje, la gravedad lo empujará hacia atrás, pero si se desplaza en cualquier dirección a lo largo de ese eje, lo hará empezar a caer hacia cualquier cuerpo que sea ahora más cerca de El punto L2 de Lagrange sobre el lado lejano de La Luna es igualmente inestable. Los únicos puntos estables de Lagrange, donde podría poner un satélite en una verdadera luna estacionaria órbita, son los puntos L4 y L5 que respectivamente guiar y retrasar a la Luna en órbita alrededor del Tierra. Desafortunadamente, esos están realmente tan lejos de la Luna como la Tierra es, no muy útil cuando intentas construir un ascensor. Ahora, de nuevo, tampoco es estable, y mientras podemos usar algunos de los trucos que discutimos en ascensores espaciales, como múltiples correas alcanzando en ángulo a un término común, y también tenemos algunas opciones para ascensores polares, No es una gran opción. Los ganchos Sky, también conocidos como rotavators, funcionan un poco mejor ya que sin un ambiente y con menor gravedad y velocidad orbital puede tener un swing hacia abajo y enganchar algo fuera de la Tierra. English: If your satellite drifts off the Earth-Moon axis, gravity will pull it back, but if it drifts either way along that axis, it will start falling toward whichever body it’s now closer to. The L2 Lagrange point above the far side of the Moon is similarly unstable. The only stable Lagrange points, where you could put a satellite in a true luna-stationary orbit, are the L4 and L5 points that respectively lead and lag the Moon in orbit around the Earth. Unfortunately, those are actually as far from the Moon as the Earth is—not very helpful when you’re trying to build an elevator. Now again neither is stable either, and while we can use some of the tricks we discussed in space elevators, like multiple tethers reaching up at angles to a common terminus, and also have some options for polar elevators, it’s not a great option. Sky hooks, also known as rotavators, work a bit better since without an atmosphere and with a lower gravity and orbital speeds you can have one swing right down and snag something off the ground. English: We looked at those in detail in early episodes of our Upward Bound series, and followed them up with a device called a mass driver, think giant space gun. Those can work on Earth but are problematic because you need to reach higher speeds and you have to use an entirely enclosed runway or barrel to keep the air out and also have to have the muzzle sticking up tens of kilometers above the ground to avoid your vehicle slamming out of the barrel into the atmosphere at re-entry speeds. Needless to say, it’s also quite an engineering feet to build a tower tall enough to hold that muzzle up. That is far easier on the moon, what with the low gravity and lack of wind in the atmosphere shoving on that tower, but you don’t need to bother because there’s no atmosphere you need to get above. You can just run a long metal track on the ground to build up speed and let go once you hit orbital speed. All of those are options that work on the Moon, and the mass driver is probably the Korean: 이에 관해서는 "위를 향한 도전" 시리즈의 초창기 에피소드에서 자세히 다룬 적이 있으며 이후에는 매스드라이버 (질량가속기)를 소개한 적이 있습니다. 일종의 거대한 우주대포이죠. 이들을 지구에서도 쓸 수는 있지만 대신 많은 어려움이 있습니다. 상대적으로 더 높은 속도를 내야 할뿐더러 공기를 차단하기 위해 활주로나 포신을 완전 폐쇄형으로 만들어야 하니까요. 그리고 포신에서 방출된 우주선이 재진입 속도로 대기와 충돌하지 않게 만들려면 포구를 지상으로부터 수십 km 위에 배치해야 합니다. 그리고 포구를 지지할 수 있을 정도로 높은 탑을 만드는 것도 공학적 난제이죠. 달에서는 중력이 낮을뿐더러 탑을 뒤흔드는 바람이 전혀 없기 때문에 이런 공사를 하기가 훨씬 쉽습니다. 하지만 대기가 아예 없는 환경에서는 굳이 이런 것들을 만들 필요가 없죠. 그냥 지상에 설치된 길다란 금속제 트랙을 따라 가속하다가 궤도 속도에 다다르면 방출할 수도 있을 것입니다. 상기한 방안들은 모두 달에서 사용할 수 있으며, 그 중에서도 매스트라이버는 가장 단순하면서 Spanish: Los miramos en detalle en los primeros episodios. de nuestra serie Upward Bound, y los seguimos con un dispositivo llamado controlador de masa, piensa arma espacial gigante. Esos pueden funcionar en la Tierra pero son problemáticos porque necesitas alcanzar velocidades más altas y tienes que usar una pista completamente cerrada o barril para mantener el aire afuera y también tener tener el hocico sobresaliendo decenas de kilómetros sobre el suelo para evitar que su vehículo se estrelle fuera del barril a la atmósfera al reingresar velocidades. No hace falta decir que también es toda una ingeniería pies para construir una torre lo suficientemente alta como para sostener ese bozal Eso es mucho más fácil en la luna, con la baja gravedad y la falta de viento en la atmósfera empujando en esa torre, pero no necesitas molestarse porque no hay atmósfera Necesitas llegar arriba. Puedes simplemente correr una larga pista de metal en el terreno para aumentar la velocidad y soltar una vez que golpear la velocidad orbital. Todas esas son opciones que funcionan en el Luna, y el conductor masivo es probablemente el Spanish: más fácil y mejor para la mayoría de las aplicaciones, pero puede que ni siquiera te molestes desde otra vez no toma demasiado combustible para obtener cosas fuera de la luna y como llegaremos en un momento, es probable que sea el principal industrial producción de la luna, o uno de los grandes De todos modos. Sin embargo, debo tener en cuenta que aterrizar cosas en la luna es mucho más complicada si quieres para evitar el uso de cohetes, no hay aire para Ayudarte a reducir la velocidad. Tratando de confiar en la fricción pura, como una pista de aterrizaje, no es una buena idea ya que todavía te estás moviendo coordinación muy rápida y segura que lo haría ten dudas Los skyhooks son buenas opciones para desacelerar abajo, el ascensor también, y uno podría potencialmente arpón una nave como discutimos en Colonizar Ceres o incluso usar alguna pista del corredor llena con gas de baja densidad para la rotura, Por supuesto, el combustible funciona bastante bien y lo hice Mencionar que sería una gran exportación. Puedes hacer combustible con agua, con suficiente poder, solo lo descomponen en hidrógeno y el oxígeno luego los quema como combustible, pero no sabemos cuánto hielo de agua es English: easiest and best for most applications, but you might not even bother since again, it doesn’t take too much fuel to get stuff off the Moon and as we’ll get to in a moment, that’s likely to be the main industrial production of the Moon, or one of the big ones anyway. I should note though that landing stuff on the Moon is a good deal trickier if you want to avoid using rockets, there’s no air to help you slow down. Trying to rely on sheer friction, like a runway, is not a good idea since you’re still moving very fast and safely coordinating that would be dubious. The skyhooks are nice options for slowing down, the elevator too, and one could potentially harpoon a ship like we discussed in Colonizing Ceres or even use some corridor runway filled with low-density gas for breaking, Of course fuel works pretty well and I did mention that would be a big export. You can make fuel out of water, with enough power, you just break it down into hydrogen and oxygen then burn those as your fuels, but we don’t know how much water-ice is Korean: 뛰어난 방안인 듯 싶지만, 당신은 이런 것들을 굳이 설치할 필요를 느끼지 못할 수도 있습니다. 왜냐하면 달에서 화물을 옮기는데는 그리 많은 연료가 필요하지 않으며, 잠시 후에 살펴보겠지만 연료 생산은 달에서 핵심 산업 또는 여러 주요 산업 중 하나가 될 가능성이 크기 때문이죠. 하지만 로켓을 사용하지 않는 경우 달에 뭔가를 착륙시키는 것은 상당히 어려운 일이 될 것입니다. 달에는 우주선을 감속시킬 수 있는 대기가 없기 때문이죠. 활주로처럼 오로지 마찰에 의존하는 방식은 좋은 생각이 아닙니다. 당신은 아주 빠른 속도로 이동하고 있으며 마찰에 의한 감속을 안전하게 수행할 수 있을지도 의심스러우니까요. 스카이후크는 훌륭한 감속 수단이며, 우주엘레베이터도 역시 그렇습니다. 이들은 우리가 세레스 식민화 에피소드에서 언급했던 형태의 우주선을 발사할 수도 있을 것이며 저밀도 가스로 차 있는 회랑형 활주로를 사용하여 우주선을 감속시킬 수도 있겠죠. 물론 연료를 쓰는 방식도 괜찮을 것이며, 이미 언급했듯이 연료는 달의 주요 수출품이 될 것입니다. 충분한 에너지만 있다면 물에서 연료를 만들어낼 수 있습니다. 그냥 물을 수소와 산소로 분리하여 이들을 연료로 사용하는 것이죠. 하지만 얼마나 많은 물-얼음이 English: on the moon and we probably don’t want to be using that up, so it might work okay in the early days as a short term fuel but not something we will use in the long term. We will need to use common lunar ISRU materials and first among those available is oxygen, of which the moon is roughly 40% by mass, and it will practically be a waste product of our industrial activities, as things like iron and aluminum will be found as oxides we need to seperate to get the pure metal. ALICE, Aluminum-Ice rockets, using nano-aluminum powder and water ice are tempting but again it uses up water, or more specifically hydrogen, not ideal for heavy space usage. But we can use aluminum and liquid oxygen as a monopropellant gel or as a bi-propellant, and also aluminum, iron, and oxygen, also known as thermite, and of course Magnesium, Spanish: en la luna y probablemente no queremos usar eso, por lo que podría funcionar bien en los primeros días como combustible a corto plazo pero no algo que usaremos a largo plazo. Tendremos que usar materiales comunes de la ISRU lunar y el primero entre los disponibles es oxígeno, de los cuales la luna es aproximadamente 40% en masa, y será prácticamente un producto de desecho de nuestras actividades industriales, como cosas como el hierro y el aluminio se encontrarán como óxidos Necesitamos separarnos para obtener el metal puro. ALICE, cohetes de aluminio-hielo, usando nano-aluminio el polvo y el hielo de agua son tentadores pero de nuevo utiliza agua, o más específicamente hidrógeno, No es ideal para el uso intensivo del espacio. Pero podemos usar aluminio y oxígeno líquido como gel monopropelente o como bi-propulsor, y también aluminio, hierro y oxígeno, también conocido como termita y, por supuesto, magnesio, Korean: 달에 존재하는지는 아직 밝혀진 바가 없으며, 또 물-얼음을 몽땅 써버리면 별로 좋지 않기 때문에 초창기에는 단기간 연료로 쓸지 몰라도 장기적인 관점에서는 부적합합니다. 우리는 달에서 구할 수 있는 재료를 사용해야만 할 것이며, 그 중 하나는 바로 산소죠. 산소는 달 질량의 약 40%를 점하고 있으며, 사실상 산업활동에서 나오는 폐기물과 다름이 없을 것입니다. 달에 매장된 철이나 알루미늄은 산화물의 형태로 존재하는데 이들로부터 산소를 분리해내야 정제된 금속을 얻을 수 있으니까요. ALICE 또는 알루미늄-얼음 로켓 (알루미늄 나노분말과 물 얼음을 연료로 쓰는 로켓)의 경우 매력적인 대안처럼 보이지만, 이런 로켓들은 물 (구체적으로는 수소)을 사용하며 우주에서 주로 사용하기에는 부적합합니다. 하지만 알루미늄과 액체산소를 겔 형태의 일원추진제나 이원추진제로 쓰거나 알루미늄과 철과 산소로 구성된 테르밋을 추진제로 쓸 수도 있고 Spanish: que también tiene una reacción muy enérgica con oxígeno, está fácilmente disponible en la luna. Ninguno de estos es exactamente ideal como barco principal propelente, aunque funcionan lo suficientemente bien y funciona muy bien para cosas como el mantenimiento de la estación y maniobras orbitales, que va a ser el mayor uso de combustible en un robusto Cis-Lunar Economía, donde la mayoría de los barcos se moverán alrededor del espacio orbital Tierra-Luna y que probablemente recogerá un número creciente de hábitats espaciales, centrales eléctricas, fábricas, granjas y así sucesivamente a medida que pasa el tiempo. Sin embargo, la Luna también es rica en uranio y torio, y notablemente carente de delicada ecologías, por lo que es un gran lugar para construir reactores de fisión y radioisótopos térmicos generadores, RTG, uno de nuestros electricos favoritos suministros para naves espaciales. También puedes construir algunos asquerosamente simples cohete nuclear impulsa eso, mientras sucio como diablos, lo suficiente como para que sea una guerra crimen usarlos en la atmósfera de la Tierra o de órbita baja, lo suficientemente bien en el espacio profundo o en la luna. Korean: 산소와 격렬하게 반응하는 마그네슘을 쓸 수도 있을 것이며, 이 모든 것들은 달에서 얻을 수 있습니다. 이들 중 그 어느 것도 이상적인 우주선 추진제는 아니지만, 그럼에도 이들은 상당히 쓸모가 있으며, 위성의 궤도수정 및 궤도기동에는 특히 안성맞춤입니다. 고도로 발달한 달 궤도 경제에서는 이와 관련한 연료 사용이 가장 많을 것이며 우주선들 중 대다수가 지구-달 궤도공간을 항해할뿐만 아니라 시간이 지남에 따라 점점 더 많은 우주 주거시설, 발전소, 공장, 농장 등이생겨날테니까요. 또한 달에는 우라늄과 토륨이 풍부한 대신 복잡한 생태계가 존재하지 않기 때문에 핵분열 반응로나 방사성동위원소 열 발전기(RTG)를 만드는데 최적의 장소입니다. 참고로 RTG는 우주선의 전기 공급원으로 종종 쓰이죠. 또 당신은 단순한 핵로켓 추진기를 만들 수도 있습니다. 이런 추진방식은 심각한 오염을 내뿜기 때문에 지구의 대기 내나 저궤도에서 사용할 경우 전쟁 범죄로 처벌받을 수도 있겠지만 아마 심우주나 달에서는 사용할 수도 있겠죠. English: which also has a very energetic reaction with oxygen, is readily available on the moon. None of these is exactly ideal as a main ship propellant, though they do work well enough and work very well for things like station-keeping and orbital maneuvering, which is going to be the biggest fuel usage in a robust Cis-Lunar Economy, where most of the ships will be moving around Earth-Moon orbital space and which will probably be collecting a growing number of space habitats, power stations, factories, farms and so on as time rolls on. The Moon however is also rich in uranium and thorium, and noticeably lacking in delicate ecologies, so it’s a great place to build fission reactors as well as radioisotope thermal generators, RTGs, one of our favorite electric supplies for spacecraft. You can also build some disgustingly simple nuclear rocket drives that, while filthy as heck, enough that it would probably be a war crime to use them in Earth’s atmosphere or low-orbit, do well enough in deep space or on the Moon. Korean: 원자력은 밤 기간 동안 달 기지의 훌륭한 동력원이 되어줄 수 있으며 대부분이 스트론튬-89이나 플루토늄-238로 구성된 RTG의 경우 햇빛을 볼 수 없는 곳에서는 우주선이나 인공위성 및 월면작업차에게 이상적인 동력원이 될 것입니다. 이 외에도 우리에게는 RTT 또는 방사성동위원소 열 추진기가 있는데, 이는 RTG와 약간 다릅니다. RTG는 열전쌍을 활용하여 방사성 붕괴에서 나오는 열을 전기로 변환시킵니다. 이들은 부서지거나 마모될 구동부가 없기 때문에 수명이 길며, 고장도 잘 안 나고 만들기도 쉽지만, 변환효율이 10% 이하로 매우 낮습니다. RTT 또는 '푸들 추진기'도 이와 마찬가지로 상기한 열을 활용하여 로켓 추진력을 발생시키죠. 불행하게도 이들이 내는 열 출력은 조절이 불가능합니다. RTG와 RTT는 정해진 출력만을 낼 수 있으니까요. 하지만 추진체의 양을 조절함으로써 추진력을 조절할 수는 있습니다. English: Nuclear makes a nice power supply for those dark weeks on a moon base and RTGs, mostly made of radioisotopes like Strontium-90 or Plutonium-238, would make excellent power supplies for spaceships and satellites and moon rovers where solar wasn’t a good option. Of course we also have the RTT, Radioisotope Thermal Thruster, which differs from an RTG somewhat. An RTG uses thermocouples to turn the radioactive heat decay into electricity. They are very durable and reliable with no moving parts to break or wear down, and are easy to build, though very inefficient at conversion, usually under 10%. The RTT, or Poodle Thruster, is the same; it just uses that heat to produce rocket thrust instead. These unfortunately can not be throttled in their thermal power output, RTGs and RTTs produce a constant power supply, though by changing how much propellant you use you can Spanish: Nuclear hace una buena fuente de alimentación para aquellos semanas oscuras en una base lunar y RTG, principalmente hecho de radioisótopos como el estroncio 90 o Plutonio-238, haría un excelente poder suministros para naves espaciales y satélites y rovers lunares donde la energía solar no era una buena opción. Por supuesto también tenemos el RTT, Radioisótopo Propulsor térmico, que difiere de un RTG algo. Un RTG utiliza termopares para activar la radioactividad. La descomposición del calor en electricidad. Son muy durables y confiables sin partes móviles para romperse o desgastarse, y son fácil de construir, aunque muy ineficiente en conversión, generalmente por debajo del 10%. El RTT, o Poodle Thruster, es el mismo; solo usa ese calor para producir el empuje del cohete en lugar. Estos desafortunadamente no pueden ser estrangulados en su potencia de salida térmica, RTG y RTT producir una fuente de alimentación constante, aunque por cambiando cuánto propelente usas puedes Spanish: Acelera tu empuje, aunque se debilita lentamente a medida que el material se descompone, cayendo a la mitad después La mitad de la vida. Y por supuesto tienes todo ese oxígeno lunar Se puede usar como propulsor. Esto tampoco es malo para el mantenimiento de la estación o objetos que van y vienen constantemente, como un transbordador entre el orbital de la luna Station and Earth's, suponiendo que alguien lo permita lo traes cerca de la Tierra, aunque son no demasiado peligroso si uno se arruina y se estrella en la Tierra y no son material de bomba ideal ya sea. Nunca hemos tenido realmente una economía nuclear en la Tierra, incluso en aquellos lugares donde la fisión constituye una gran parte de la generación de energía, así que es un poco difícil realmente decir cuánto de un motor industrial que es. La Luna, y el espacio en general, ya está una pesadilla de radiación para poder correr naves de impulsión de antorcha nuclear masiva y atómica fundiciones, fundiciones y conductores de masas es una Vaya cosa. Si profundizas en eso, puedes comenzar a girar fuera de aluminio y acero con salidas ridículas, Korean: 물론 연료가 붕괴하면서 추진력도 점차 약해질 것이며, 반감기가 지나면 절반으로 줄어들겠죠. 물론 달에 있는 산소를 추진제로 쓸 수도 있습니다. 이런 추진방식도 우주정거장의 궤도유지나 달 궤도정거장과 지구 궤도정거장 사이를 왕복하는 우주선에 충분히 사용가능하죠. 물론 이는 우주선의 지구 접근이 허용된다고 가정했을 때 얘기지만, 이런 우주선은 지구에 추락해서 지면과 충돌한다고 해도 그리 위험하지 않으며, 폭발력도 별로 강하지 않습니다. 지구에서는 진정한 원자력 기반 경제를 만들 수가 없을 것입니다. 핵분열 발전이 전력생산의 대부분을 차지하는 곳에서도 말이죠. 따라서 산업생산의 얼마나 많은 부분이 핵분열에 의존하게 될지는 정확히 말하기가 어렵습니다. 하지만 달뿐만 아니라 우주 전체는 이미 방사능으로 가득 차 있기 때문에 거대한 핵추진 우주선이나 원자력으로 작동하는 정제소, 용광로, 매스드라이버를 사용할 수 있다는 장점이 있습니다. 원자력에 본격적으로 투자를 한다면 당신은 알루미늄과 강철을 엄청나게 많이 생산할 수 있으며 English: throttle your thrust, though it slowly weakens as the material decays, dropping to half after one half life. And of course you have all that lunar oxygen you can use for propellant. This is also not bad for station keeping or objects that run back and forth constantly, like a shuttle between the Moon’s orbital Station and Earth’s, assuming anyone lets you bring it near Earth, though they’re not too dangerous if one gets wrecked and crashes on Earth and aren’t ideal bomb material either. We’ve never truly had a nuclear economy on Earth, even in those places where fission makes up a large part of the power generation, so it’s a bit hard to really state how much of an industrial engine that is. The Moon, and space in general, is already a radiation nightmare so being able to run massive nuclear torch drive ships and atomic-powered foundries, smelters, and mass-drivers is a big deal. If you go all in on that you can start turning out aluminum and steel at ridiculous outputs, English: and that gives you the massive construction capacity you need for building up a true space infrastructure. Safety really is not an issue, but we already detailed non-atomic options like solar kilns if we need them instead. Nuclear is more attractive in many regards and could turn the Moon into an Industrial Nuclear Juggernaut. So that covers fuel. Fuel for station-keeping and running around the Cis-Lunar volume of space. But fuel, be it chemical fuels like Aluminum or nuclear rockets, that can also be used for running ships back and forth to Mars or the Asteroid Belt or even out to the icy moons of the gas giants to retrieve ice for water and fuel if the Moon doesn’t have enough. Oxygen too, the Moon has plenty of it, but not so much nitrogen or carbon and plants need those too, and these are elements you can find plentifully out deeper in space, in the form of Nitrogen gas, ammonia-ice and methane. Methane and ammonia are nice stable sources of hydrogen, and methane is 25% hydrogen by Korean: 진정한 우주 인프라를 구축하는데 필요한 대규모 건설능력을 확보할 수 있습니다. 여기서 안전은 별로 문제가 되지 않지만, 만일 안전을 확보해야 한다면 태양광 용광로 같은 비원자력 방안을 선택할 수도 있습니다. 하지만 원자력은 많은 측면에서 더 매력적이며 달을 산업중심지로 변모시킬 수 있습니다. 이러면 연료 문제는 해결된 셈이죠. 우주정거장의 궤도유지와 지구-달 궤도공간 내 이동에 필요한 연료 말입니다. 하지만 이 연료는 (그것이 알루미늄 같은 화학연료든, 핵연료든 간에) 또한 화성이나 소행성대를 왕복하는 우주선에도 사용될 수도 있으며, 심지어는 거대가스행성의 얼음 위성에 우주선을 보내 물과 연료를 채굴하는데에도 사용될 수 있을 것입니다 (만일 달에 물과 연료가 부족하다면 말이죠). 산소의 경우에도 마찬가지입니다. 달에는 상당히 많은 산소가 있지만 식물이 필요로 하는 질소나 탄소는 별로 없으며, 이런 원소들은 좀 더 깊은 우주에 질소 가스나 암모니아 얼음, 메탄의 형태로 풍부히 존재하죠. 메탄과 암모니아는 수소의 안정적인 공급원이며, 질량 비중으로 봤을 때 메탄은 25%가, Spanish: y eso te da la construcción masiva capacidad que necesita para construir un verdadero espacio infraestructura. La seguridad realmente no es un problema, pero ya Opciones no atómicas detalladas como hornos solares si los necesitamos en su lugar. La energía nuclear es más atractiva en muchos aspectos. y podría convertir la Luna en una Industrial Juggernaut nuclear. Entonces eso cubre el combustible. Combustible para mantener la estación y correr El volumen Cis-Lunar del espacio. Pero combustible, ya sean combustibles químicos como el aluminio o cohetes nucleares, que también pueden usarse para llevar barcos de ida y vuelta a Marte o el cinturón de asteroides o incluso a las lunas heladas de los gigantes gaseosos para recuperar hielo por agua y combustible si la Luna no tiene suficiente. Oxígeno también, la Luna tiene mucho, pero no tanto nitrógeno o carbono y plantas los necesita también, y estos son elementos que usted puede encontrar abundantemente más profundo en el espacio, en forma de gas nitrógeno, amoniaco-hielo y metano. El metano y el amoníaco son buenas fuentes estables de hidrógeno, y el metano es 25% de hidrógeno por Korean: 암모니아는 18%가 수소로 이루어져 있습니다. 물의 경우 11%만이 수소이며 나머지는 산소인데, 산소는 달에 차고넘칠 정도로 많으며, 이미 언급했듯이 달에서 이루어지는 산업활동 중 대다수에서 폐기물로 방출될 것입니다. 수소는 본격적인 우주항해에 핵심적인 물품이며 아주 뛰어난 추진제이기 때문에 달에는 수소가 별로 없고 지구에서는 수소를 얻기가 매우 힘들다는 점을 고려한다면 제일 먼저 구축될 대규모 공급사슬은 바로 달로의 수소 운송이 될 것입니다. 누군가는 거대가스행성을 바로 떠올릴 수도 있겠지만, 거대가스행성에서 수소를 채굴하기란 쉬운 일이 아니며, 또 수소는 운송하기가 매우 까다롭습니다. 따라서 빙체들에서 메탄을 채취하는 편이 더 나으며, 또 그 부산물로 물과 암모니아를 얻을 수 있는데 이들은 다른 분야들에서 매우 요긴하게 쓰이죠. 참고로 혜성에서도 상기한 물질들을 많이 찾아볼 수 있습니다. 이 에피소드에서 우리는 과학기술의 수준을 가능한 한 낮게 잡으면서 근미래를 다루고 있으며, 따라서 바로 지금 기존 과학기술로 쉽게 전개가 가능한 것들에 초점을 맞추고 있습니다. 좀 더 높은 과학기술 수준을 상정한 시나리오들에 관해서는 Spanish: la masa y el amoníaco es del 18%, mientras que el agua es solo 11%, y el resto es oxígeno, que es más allá de lo abundante en la Luna y como se mencionó es probable que sea un producto de desecho de muchos de nuestros Otras actividades allí. El hidrógeno es un elemento crítico para un buen espacio. viajar ya que es nuestro mejor propulsor, así que con siendo raro en la Luna y difícil de conseguir fuera de la Tierra, su primera gran cadena de suministro es para que el hidrógeno regrese a la Luna. Es más fácil pensar en los gigantes gaseosos, pero en realidad quitarles el hidrógeno no es tarea fácil, y el hidrógeno crudo no es fácil de transportar, así que el metano es tu fuente preferida, fuera de hielo cuerpos, y agua y amoníaco tu nominal finalistas, no hace falta decir que ambos son muy útil para otras cosas también. Los cometas también son buenas fuentes para ellos. Estamos tratando de mantenernos bastante poco tecnológicos y a corto plazo en este episodio, así que estamos enfocado en las cosas que son más fáciles de hacer ahora en términos de tecnología existente y despliegue fácil, vea Industrializando la Luna o Battle for the Moon para algunos de los más English: mass and ammonia is 18%, while water is only 11%, and the remainder is oxygen, which is beyond plentiful on the Moon and as mentioned likely to be a waste product of many of our other activities there. Hydrogen is a critical item for good space travel as it’s our best propellant, so with it being rare on the Moon and hard to get off Earth, your first big supply chain is to get hydrogen back to the Moon. It’s easier to think gas giants, but actually getting hydrogen off them is no mean feat, and raw hydrogen is not easy to transport, so methane is your preferred source, off icy bodies, and water and ammonia your nominal runners up, needless to say both are very handy for other things too. Comets are also nice sources for those. We’re trying to keep ourselves pretty low-tech and near term in this episode, so we’re focused on the stuff that’s easier to do now in terms of both existing technology and easy deployment, see Industrializing the Moon or Battle for the Moon for some of the more Spanish: escenarios de alta tecnología. Pero si estás corriendo hacia el borde del cinturón de asteroides más allá de la línea de hielo o a las lunas de Júpiter o Saturno, que nos da algunas buenas importaciones. Hidrógeno, carbono y nitrógeno para combustible y producción de alimentos, además de todos esos bonitos metales minerales que están disponibles en el cinturón de asteroides y en los menos mencionados pero no menos valiosos acumulación de pequeñas lunas y asteroides alrededor de esos Dos planetas enormes. Puede enviar equipos a esos y configurar bases, pero extrayendo helados, agua, metano, o amoniaco, es una extracción a granel muy fácil proceso que probablemente se puede hacer por bastante máquinas tontas con solo unos pocos empujones por parte de los controladores actuando remotamente desde una hora de luz de distancia, y esos Poodle Thrusters hacen un barco muy bonito unidad y fuente de alimentación para ese tipo de control remoto operaciones también. Los Thrusters Poodle necesitan rellenarse con propelente entonces son buenos para la minería de hielo, donde pueden Korean: 달의 산업화나 대월전 에피소드를 참조하시기 바랍니다. 하지만 일단 결빙선 너머에 있는 소행성대 가장자리나 목성 또는 토성의 위성들에 도달할 수 있다면, 우리는 값진 자원들을 수입할 수 있습니다. 연료 및 식량 생산에 필요한 수소와 탄소와 질소에 더하여 각종 금속 광물들을 소행성대와 그보다는 덜 유명하지만 역시 높은 가치가 있는 두 거대행성 주변의 소규모 위성들 및 소행성들에서 채굴할 수 있는 것이죠. 여기로 인력을 보내 기지를 세울 수도 있겠지만, 얼음이나 물, 메탄, 암모니아를 채굴하는 과정은 아주 단순한 공정이기 때문에 상당히 멍청한 로봇들을 사용해도 될 것이며, 현장에서 1광시 떨어져 있는 관리자들이 가끔씩 원격조종을 해주기만 해도 충분할 것입니다. 그리고 푸들추진기는 이런 원격작업에 아주 적합한 우주선 추진기 겸 동력원이죠. 푸들 추진기는 추진체를 충전시켜 주어야 하므로 재보급이 가능한 얼음 채굴에 적합하며 English: high-tech scenarios. But whether you’re running out to the rim of the Asteroid Belt beyond the frost-line or to the Moons of Jupiter or Saturn, that gives us some nice imports. Hydrogen, carbon and nitrogen for fuel and food production, plus all those nice metal ores that are available in the asteroid belt and in the less mentioned but no less valuable hoard of tiny moons and asteroids around those two huge planets. You can send crews out to those and setup bases, but extracting ices, water, methane, or ammonia, is a very easy bulk extraction process that can probably be done by fairly dumb machines with just a few nudges by controllers acting remotely from a light hour away, and those Poodle Thrusters make a very nice ship drive and power source for those kind of remote operations too. Poodle Thrusters do need refilling on propellant so are good for ice mining, where they can Korean: 아마 미래에는 달에서 대량 생산된 소형 탐측기들이 얼음 천체들에 접근, 자원탐사를 수행한 다음 얼음 부분을 시추하여 연료와 추진체, 채굴 샘플을 채취한 뒤 다음 목적지로 이동하고, 이후 규모가 더 큰 채굴선들이 현장에 도착하는 방식을 쓸 수도 있겠죠. 기본적으로 달은 우리가 우주에서 필요로 하는 모든 것들(예를 들면 금속)을 대량으로 공급해줄 수 있지만, 그 외에도 희토류 원소 같은 자원들의 훌륭한 공급원이 되어줄 수 있습니다. 지구에서는 이런 자원을 경제적으로 채굴하기도 어려울뿐더러 채굴하는 과정에서 환경문제가 발생하죠. 하지만 달에는 자연환경이 아예 존재하지 않으므로 채굴해도 별 문제가 없습니다. 또한 달은 지구에서 공급이 어려워지고 있는 인을 얻는데도 훌륭한 장소이죠. 참고로 지구에서 달로 화물을 옮기는데는 많은 연료와 돈이 들지만 달에서 지구로 화물을 옮기는 것은 아주 쉽고 저렴하기 때문에, 아마 지구에서 귀하지 않은 금속도 충분히 달에서 수출할 수 있을 것입니다. 물론 달에서는 귀금속도 얻을 수 있습니다. 소행성을 채굴하여 수조 달러 가치의 금과 백금을 가져오는 방법을 논의하는 과정에서 English: re-stock, and I can well imagine the Moon mass producing some sort of small probes that fly out to those icy bodies to survey them, latch onto patches of ice to refuel on propellant and drill samples, and wandered off to the next target, with bigger collectors following up for extraction. Fundamentally the Moon is a great source for anything that we want in space in larger bulk quantities, like metal, but it’s also nice for things like Rare Earth Elements that are often rather rough to get economically on Earth while also being environmentally friendly, which is fine on the Moon where there’s no environment to befriend. Not a bad place to get phosphorus either, something we have a supply problem with here on Earth, and it should be noted that while it takes a lot of fuel and money to get off Earth, getting home is easy and cheap, so you probably can export stuff that isn’t precious metals home to Earth. It’s got precious metals too. It’s easy to forget when discussing asteroid mining and coming home with trillion dollar rocks full of gold and platinum that the Moon considerably outmasses the entire asteroid Spanish: reabastecerse, y puedo imaginar la Luna produciendo en masa algún tipo de sondas pequeñas que volar a esos cuerpos helados para examinarlos, engancharse a parches de hielo para repostar en el propelente y perforar muestras, y me fui a la siguiente objetivo, con grandes coleccionistas siguiendo para extracción. Fundamentalmente, la Luna es una gran fuente de todo lo que queramos en el espacio a granel cantidades, como el metal, pero también es agradable para cosas como elementos de tierras raras que son a menudo bastante difícil de conseguir económicamente La Tierra, a la vez que es ecológica, que está bien en la luna donde hay No hay ambiente para hacerse amigo. No es un mal lugar para obtener fósforo tampoco, algo con lo que tenemos un problema de suministro aquí en la Tierra, y debe tenerse en cuenta que mientras se necesita mucho combustible y dinero para salir Tierra, llegar a casa es fácil y barato, así que probablemente puedes exportar cosas que no son metales preciosos hogar de la Tierra. También tiene metales preciosos. Es fácil olvidar cuando se habla de asteroides minería y regreso a casa con billones de dólares rocas llenas de oro y platino que la luna supera considerablemente a todo el asteroide English: belt and has more of every metal than it does, albeit sometimes harder to extract. But ‘hard’ is a relative concept and all those wonderful craters and lavatubes make nice bases to hide from micrometeors and the Sun’s blistering radiation, and that proximity to Earth allows remote control of any device and rapid extraction or evacuation of personnel back to Earth in emergencies, or sending in search and rescue teams. Out on Mars or in the Asteroid belt, you’re in deep trouble if anything goes wrong, because no one is coming and even advice and suggestions by radio will take an hour to reach you, not a couple seconds. For this reason and many more, the Moon is a great place to be building up our industrial might for space. Maybe not an ideal place to live though, and we’ll discuss some options for that in a couple weeks. We were talking a lot today about rocketry and orbital concepts, and those are quite Korean: 종종 우리는 달이 소행성대를 전부 합한 것보다 더 큰 질량을 가지고 있으며, 소행성대에 존재하는 모든 금속들을 더 큰 규모로 가지고 있다는 사실을 잊곤 합니다. 비록 채굴하기는 좀 더 어렵지만요. 하지만 '어려움'은 상대적인 개념이며, 달에 있는 분화구들과 용암튜브들은 미소유성체나 태양의 방사선으로부터 기지를 보호하는데 안성맞춤입니다. 또 달은 지구와 가깝기 때문에 각종 장비를 원격조종하는 것이 가능하며, 또 비상사태가 발생했을 시에는 현지 인력을 지구로 철수시키거나 반대로 달에 구조대 및 탐색대를 파견하는 것이 가능하죠. 화성이나 소행성대에서는 뭔가가 잘못되면 답이 없습니다. 누군가가 당신을 구하러 오지도 않을뿐더러 무선통신으로 연락을 한다고 해도 몇 초는커녕 한 시간은 지나야 답변이 올테니까요. 이 외에도 다양한 이유로 달은 인류의 우주 개척을 위한 공업력을 육성하기에 최적인 장소입니다. 아마 거주를 하기에는 그리 좋은 장소가 아닐 수도 있겠지만, 이에 관해서는 몇 주 후에 다루도록 하겠습니다. 우리는 오늘 로켓과 궤도와 관련한 개념들을 많이 다루었으며, Spanish: cinturón y tiene más de cada metal que tiene, aunque a veces es más difícil de extraer. Pero 'duro' es un concepto relativo y todo esos maravillosos cráteres y lavatubes hacen buenas bases para esconderse de los micrometeoros y la La radiación abrasadora del sol y esa proximidad a la Tierra permite el control remoto de cualquier dispositivo y extracción o evacuación rápida de personal de regreso a la Tierra en emergencias, o enviando equipos de búsqueda y rescate. En Marte o en el cinturón de asteroides, eres en serios problemas si algo sale mal, porque nadie viene e incluso consejos y sugerencias por radio tardará una hora en llegar a usted, no Un par de segundos. Por esta razón y muchas más, la Luna es un gran lugar para construir nuestro industrial poder por el espacio. Quizás no sea un lugar ideal para vivir, y discutiremos algunas opciones para eso en una un par de semanas. Estuvimos hablando mucho sobre cohetería. y conceptos orbitales, y esos son bastante Spanish: vital para contemplar la industrialización espacial pero puede ser bastante confuso. Si quieres entenderlo mejor de este concepto y mucha otra física básica, Recomiendo probar el curso de Brilliant en mecánica clásica, que tiene casi 50 cuestionarios interactivos incluyendo uno en el cohete Ecuación. Brilliant es una comunidad de aprendizaje en línea. con más de 60 cursos interactivos y muchos cuestionarios y rompecabezas, más desafíos diarios que ayudan a calentar el cerebro para el día. Esos desafíos proporcionan un contexto y un marco que necesitas abordar, para que aprendas los conceptos al aplicarlos, que es el La mejor manera de aprender nuevos conceptos. Brillante hace que el aprendizaje sea divertido y fácil, y su comunidad en línea te brinda lugares para discutir el material o hacer preguntas, y la función fuera de línea de sus aplicaciones móviles le permite tomar cursos incluso cuando no estás recibiendo Una buena señal. Si desea aprender más ciencias, matemáticas, y ciencias de la computación, vaya a brilliant.org/IsaacArthur y regístrate gratis. Korean: 이들은 우주의 공업화에 있어 핵심적인 개념들이지만, 종종 혼동을 야기할 수도 있습니다. 이러한 개념들과 기타 다른 핵심적인 물리학들을 이해하고 싶으신 분들께는 Brilliant에서 제공하는 고전역학 코스를 추천드립니다. 해당 코스는 약 50개의 상호작용식 퀴즈로 구성되어 있는데, 여기에는 로켓 방정식 관련 퀴즈로 포함되죠. Brilliant는 온라인 학습 공동체로 60개 이상의 상호작용식 코스와 다수의 퀴즈와 퍼즐, 그리고 하루 동안 뇌를 예열하는데 도움을 주는 일일 과제들을 포함합니다. 이 과제들은 여러분에게 필요한 배경과 프레임워크를 제공하며, 이들을 응용함으로써 개념들을 익힐 수 있습니다. 그리고 이는 새 개념을 배우는 최적의 방법이죠. Brilliant는 학습을 쉽고 재밌게 만들어주며, 이들의 온라인 학습 공동체는 당신에게 학습내용을 논의하거나 질문할 수 있는 장을 제공합니다. 또 Brilliant의 모바일 앱은 오프라인 기능을 가지고 있어 인터넷 연결상태가 별로 좋지 않은 상황에서도 학습을 계속할 수 있죠. 과학과 수학, 컴퓨터과학을 배우고자 하신다면 brilliant.org/IsaacArthur를 방문하셔서 무료로 가입하시기 바랍니다. English: vital to contemplating space industrialization but can be rather confusing. If you want to get a better understanding of this concept and a lot of other core physics, I’d recommend trying out Brilliant’s Course on Classical Mechanics, which has almost 50 interactive quizzes including one on the Rocket Equation. Brilliant is an online learning community with over 60 interactive courses and many quizzes and puzzles, plus Daily Challenges that help get the brain warmed up for the day. Those Challenges provide a context and framework that you need to tackle, so that you learn the concepts by applying them, which is the best way to learn new concepts. Brilliant makes learning fun and easier, and their online community gives you places to discuss the material or ask questions, and their mobile apps offline feature lets you take courses even when you’re not getting a good signal. If you’d like to learn more science, math, and computer science, go to brilliant.org/IsaacArthur and sign up for free. Spanish: Y también, las primeras 200 personas que van a ese enlace obtendrá un 20% de descuento en la prima anual suscripción, para que puedas resolver todo el día desafíos en los archivos y acceder a docenas de cursos de resolución de problemas. Entonces, como mencioné, volveremos a la luna en unas pocas semanas para echar un vistazo Ciudades del cráter, pero antes preguntaremos La gran pregunta de por qué la vida existe la próxima semana. También hablamos mucho hoy sobre cómo la Luna podría llegar a ser una colonia importante algún día, pero probablemente estaría impulsando ese crecimiento proporcionando las materias primas para construir vastas número de hábitats en órbita de la Tierra, en inmenso estaciones espaciales como el Cilindro O'Neill, y en dos semanas echaremos un vistazo a lo que hay es como ser residente de uno de ellos, en "La vida a bordo de un cilindro O'Neill". Para alertas cuando llegan esos y otros episodios fuera, asegúrese de suscribirse al canal y toca la campana de notificaciones. Y si disfrutaste este episodio, dale a me gusta botón y compartirlo con los demás. English: And also, the first 200 people that go to that link will get 20% off the annual Premium subscription, so you can solve all the daily challenges in the archives and access dozens of problem solving courses. So as I mentioned, we’ll be returning to the Moon in a few weeks to take a look at Crater Cities, but before then we’ll ask the big question of why life exists next week. We also talked a lot today about how the Moon might come to be a major colony one day, but would most likely be powering that growth by providing the raw materials to build vast number of habitats in orbit of Earth, in immense space stations such as the O’Neill Cylinder, and in two weeks we’ll take a look at what’s it’s like to be a resident of one of them, in “Life on Board an O’Neill Cylinder”. For alerts when those and other episodes come out, make sure to subscribe to the channel and hit the notifications bell. And if you enjoyed this episode, hit the like button and share it with others. Korean: 또한 해당 링크를 방문하신 첫 200분께는 연간 프리미엄 구독권을 20% 할인하여 드리며, 여러분은 이를 사용하여 자료보관소에 있는 모든 일일과제들을 푸시거나 수십 개에 달하는 문제해결 코스에 접속하실 수 있습니다. 이미 말씀드렸듯이, 몇 주 후에 우리는 달로 복귀하여 '분화구 도시'를 살펴볼 예정입니다. 하지만 그에 앞서 다음 주에 우리는 '생명은 왜 존재하는가'라는 거시적 질문을 제기하고자 합니다. 또 오늘 우리는 달이 어떻게 해서 인류의 주요 콜로니가 될 수 있을지에 관해 얘기했는데, 이 외에도 달은 지구 궤도나 오닐 실린더 같은 거대 우주정거장 내에 각종 주거시설을 만드는데 필요한 원자재를 제공함으로써 우주 산업화를 가속시킬 수도 있을 것이며, 이에 관해서는 2주 후 방영될 "오닐실린더에서의 삶"에서 살펴볼 예정입니다. 새 에피소드가 나왔을 때 알림을 받으시려면 채널을 구독하여 주시고 알림벨을 눌러주시기 바랍니다. 이 에피소드가 마음에 드셨다면 좋아요 버튼을 눌러주시고 다른 분들과 공유 부탁드립니다. English: And if you’d like to support future episodes, visit our website, IsaacArthur.net, to donate to the channel or check out some of the awesome SFIA merchandise. Until next time, thanks for watching, and have a Great Week! Spanish: Y si desea apoyar episodios futuros, visite nuestro sitio web, IsaacArthur.net, para donar al canal o echa un vistazo a algunos de los increíbles Mercancía de SFIA. Hasta la próxima, gracias por mirar, y que tengan una gran semana! Korean: 앞으로 나올 에피소드를 후원하고자 하신다면 저희 공식 웹사이트인 IsaacArthur.net을 방문셔서 본 채널을 후원하시거나 SFIA 상품을 둘러보시기 바랍니다. 다음에 또 뵙겠습니다. 시청에 감사드리며 즐거운 한 주 되십시오!

I’ve only been waiting a YEAR for the latest installment in The Unknown Assassin series by the wonderful writer Allen Zadoff. So did it live up to my expectations? Stay tuned. At the end of his last mission, our protagonist—Boy Nobody—kind of wigged out. For the first time, he found himself questioning The Program—the shadowy organization that trained him as an invisible killer. Now, in a test of loyalty, The Program sends Boy Nobody—Daniel in this book—on his most dangerous assignment yet. He must take out Eugene Moore, the head of an extremist military camp for youth. Once again, though, nothing is as it seems, and Daniel finds himself drawn deeper into the camp—and its secrets—before he can begin getting close to Moore. As sequels go, I Am the Mission didn’t disappoint. Granted, this book did require a tiny bit more suspension of disbelief than the first. And I do wish there’d been more subtext to Daniel’s exploits in this story—something that the first novel did so well. That said, fans of fast-paced thrillers will gobble up this newest installment. And then, like me, they’ll find themselves waiting hungrily, once again, for the next.

Previously on after lockdown trip. We have entered through the gate of Clarks inn. So now we are heading towards suites. Swati... Greetings sir. If you have seen the best room in a hotel then you can understand... This is the side view and that’s the main building of Clarks Amer. I have experienced everything but this. Electricity is gone in a five-star hotel. I can’t figure out, how did this even happen? Literally, electricity is gone for the last 10 minutes. Neither the air conditioner is working nor is the television. And the weather is getting sunnier. And We are feeling suffocated. I don’t understand how’s this possible? We called the reception, they said that it will be back soon. But this is the first time when any such thing has occurred Let’s see... To be honest. Most of your services are closed so I couldn’t experience much here. Since when are you working here? Sir, I have 3 years of experience. Okay okay. Good morning Anuj. Good morning. This is our breakfast at Clarks Amer. Just because we couldn’t go to the restaurant so they have served it all here. They have provided us bread-butter, butter is given separately too, here are some cut fruits. And let’s see what’s in it? So this is the bhaji to this puri. So this is puri and sabzi or bhaji. They don’t serve non-veg here. That’s why we asked for boiled eggs and they allowed it. And we asked for 4 boiled eggs but they have served an ample amount of it too. Here is the milk, then comes corn flakes and what’s in this? Okay, so this is vermicelli. So I am applying butter on the bread for Swati. I need to look after Swati. Thank you. Look, the party is going on. Lunch isn’t included that’s why I have ordered this from pizza hut. I thought there will be trouble fetching it in. As the boundary of the Clarks inn is too far so they stopped the pizza hut delivery boy over there, But when we asked them, they allowed the delivery boy to come in. And besides, the suites are located deep into the jungle. That’s why we had to send someone to fetch the pizza for us. Initially, I was going myself but then at the reception they asked someone to do the job for me. So you could face a bit of trouble, if ordering outside food but if the food is expensive then... Cost savings... But anyhow it is manageable. No such issue. Where did you just go? I have got some ketchup. Pizza hut didn’t provide us that’s why I asked them to give it from the kitchen. So did they provide you? Why won’t they? Any extra charges? Are you insane, who charges extra bucks for a bit of ketchup? You follow me. I am amongst those who stand alongside instead of following. So I will follow you. I am your slave so I’ll follow you. You are my king. Is it locked? Have you taken the keys? Yes You have seen the room and dining of this hotel. Now we are taking you to the famous restaurant of Clarks Amer named Zolo. A lot of people told us that it’s a very good restaurant the food is also amazing out there. The chef themselves serve the food, cook the food and even look after cleaning stuff. So let’s see... Since lockdown is going on. So we have to see what’s allowed and what’s not. You won’t be eating anything, right Swati? Why so? Are you feeling hungry? You will become obese if you eat so much. Let people know that my husband serves me well, he doesn’t starve me. Dialogue! Dialogue! I am just praising you. Are you praising me? Could you believe guys? Why does all this happen to us? How do I know that here the first floor means the ground floor? You don’t have brains but you want an increment in your salary. You won’t be able to pay for my salary if I ask you. You don’t know the worth of a pinch of vermilion. Guys this building is the building of Brij nest. This is a brand of Clarks Amer only. They have built a small building over here. This is the... You can take it as a dining hall, lobby, or whatever you consider it to be. It’s beautifully built and designed. Here’s one more if you are up for a group dining. And a small library type place is built over here. So you want to read all the books today itself. I can’t read these... if I could read so many books then I wouldn’t be here lately. Swati is looking nice, isn’t she? Thank you. My husband just praised me. You are wearing a mask that’s why you are looking good. Now, this wasn’t pleasant. As soon as she removes the mask her true self will emerge out. So guys, here, the garden area is amazingly built. And it feels like a forest resort. Do you know that due to the rain, this place looks even more beautiful? Its ""char chaand" and not "chaand chaand". Yes, I know its "char chaand". Swati, this way, that’s the wrong path. There you will be lost in the jungle. I thought that we have to move that way. Here, straight ahead of you. Thank you. You are looking like a lioness of the jungle. The wife of a lion is definitely going to be a lioness. No baby. I was so wrong. You are the witch of the jungle. Then who are you? This is the jungle. We don’t live in jungles, we live in our houses. But you do live in a jungle. Do not distort the beauty of the weather. Guys let me tell you one thing. All the items made at the Zolo restaurant are grown up here itself. They have a small farm over here. So all those items that grow here are used there. It’s totally natural and is grown in an organic way. This is basil. This is Spinach. This is mint. And that’s coriander. And the one over there is basil. This one... is basil. Okay. And what’s that? It’s too far so I can’t figure it out. And what’s that? Those long leaves one... I don’t know their name exactly. That’s used for garnishing. Okay okay. Do you remember? In a restaurant, there was a leaf at the top of the food which only had aroma. This only has an aroma, no taste. Come on. Let’s go. Whosever designed this hotel, the interior, the exterior, has utilized the items very well. The Garden also got constructed and the same goes for the farm. Guys, this is the building of Clarks inn behind us. We have come here to the garden. It’s a very beautiful garden. There are many sculptures here. Let’s show it to you. Is Zolo here or there? Where is it? He said that it is in the main building. So we have to move into the main building, where we gave our cart valet. Come on. Let’s look for it. Is this the main building? Let’s go. Come on. This reminds me of something like Pullman Pattaya. There was a passage similar to this one. The video of Pullman Pattaya Ji will be available in cards, it was a fantastic hotel. There is a dog over here. It must be someone’s public property, step back. Swati got scared of the dog. He is coming behind us. Don’t run, Anuj. Are you nuts? He is chasing us. Move, Stay ahead of me. Anuj are you crazy? This is insane. Swati got scared of the dog. I am only afraid of dogs. The dog is chasing Swati. Shit. What have you done? So, guys, I hope you liked the video. Do hit the like button. And if you are new to this channel then do subscribe to our channel. Just hit this red button and the bell sign. And the question for the comment contest of this video is... What trouble did we face in fetching the food to our room that we ordered from pizza hut? Mention about it in the comment section. As every month the person who comments for the maximum number of times gets to win free couple movie tickets. And the winner of the comment contest of July and august will be announced on our live session which will take place on the first Saturday of September or the 5th of September. So do attend our live session. In that firstly the name of the winners will be announced and we will give you information about our after lockdown trip. And during the live session, we hold a rapid-fire round in which you can win Paytm cash, instantly. So do mark your presence there. Don’t miss it. So it was very nice to be with you again. Be well. Namaste. Is it perfect? Is there room to write something? Yes, just tilt it a little bit. Now it’s perfect. This one’s amazing. I should also come there, wait.

Guru Nanak was traveling by foot, walking from village to village, giving his… offering his teachings to people. A very compassionate and courageous man, both ways, and quite… we like him, because he is not one of those all-the-time smiling, gentle saints. He knows when to be hard, when to be soft – real thing (Laughter)! So, one day he happened to be a guest in a home of a… a very rich man in the area. So, when he was… he was a guest in this house for a few days. When he is leaving, he gave this man a needle, a sewing needle. He gave this needle and said, “You keep this with you. Some time when you see me, you can give it back to me. Till then please keep it with you.” A needle, not a golden one, just a simple needle. That man took it and kept it with him. Then after the guru left, he told his wife, “The guru gave me a needle and I am supposed to keep it in safekeeping and give it to him later.” The wife, who was little wiser than him – usually they think they are (Laughter) – said, “You fool, why did you take a needle from a guru? If you take something from a man like him and suppose, he is a old man and if he dies and you don’t get to give back this needle, what will you do? You will be in debt forever. Taking a needle from a guru, why did you take it? You should not receive anything from a man like him. What we offer is fine, never take anything from a man like him. And if he dies and goes away, you can't carry this needle to heaven and give it there. It is not possible to take the needle to heaven and return it there. So, you will be in debt forever and ever and ever, and you will not be able to wash off that one karma and it may mean a thousand lifetimes. This is not a good thing. Just somehow find him and return it to him immediately.” So, the man started trekking behind the guru. The guru walks fast (Few laugh). But slowly after a couple of months, the man caught up as to where he is and then he said, “Oh my guru, I don’t want to carry this needle with me because just in case, you are a old man, if you die (Laughter)… and I will be left in debt forever and I know I cannot carry this needle to heaven and return it to you there.” So Guru Nanak said, “So, you know that you can't carry this needle to heaven. You know that, right?” He said, “Yes.” “Then when you know this, that you can't carry a needle, what are all these things that you are accumulating? You will not be able to carry any of that. If you can't carry a needle, definitely you can't carry anything else.” Then the man got the message. He fell at his feet and he went back home, sold everything that he can sell, just kept what is needed for his family – for him and his family – and the rest… Because the whole society was poverty-stricken, so he went about building whatever was needed for the well-being of the people around. All these days people were living in poverty, he was going on accumulating. The world is a limited space. This planet is a limited resource. If each individual goes about accumulating endlessly, all that can happen is strife, all that can happen is pain. Unless every individual somewhere fixes it within himself, “Okay, this is my deal, beyond this I will not go. Rest of my capabilities, I will use it for everybody’s well-being.” If this is… does not come in a human being, he is a disaster to himself and to the world. The disaster on this planet is not earthquake, not volcano, not a tsunami. The true disaster is human ignorance. This is the only disaster. Ignorance is the only disaster. Enlightenment is the only solution, there is really no other solution, please see. So, spiritual process, if it has to become alive… this is not about renunciation, this is just about living sensibly. Wrong words have been put by external scholars. There is no such word as renunciation in any of the Indian languages, if you don't know this. Yes. There is no such word as renunciation in Sanskrit language. It is the outside scholars who come and say, “Oh, this man has renounced.” No, he has embraced the whole universe, and you think he has renounced. That is your understanding because you cannot think of life without possessing this, this, this – one part of the planet is mine, without that you cannot live. Somebody has embraced the whole universe, so he did not think he has to gather it, because of the… all the stars belong to him. The whole galaxy belongs to him. He did not think it is necessary for him to gather something and keep it in his bag or in his bank. It did not arise, it did not occur to him. This is not renunciation. So understanding life from an inner perspective, not from an objective sense, because objectively whatever you perceive is only good enough for survival. You need a subjective perception of life.

Hi! In the rollercoaster video two questions were raised: how to determine the slope of the rollercoaster track and how to determine the speed of the rollercoaster cart. The funny thing is that both questions can be answered using differentiation. Let me show you how! Let us start with the concept of slope. How is it defined? First we look at a straight but inclined part of the rollercoaster track. When a cart moves from point P to point Q, there is a corresponding horizontal displacement Δx and a vertical displacement Δy. The slope is simply defined as Δy divided by Δx. For example, if Δx equals 10 meter and Δy equals 5 meter, the slope is 0.5. Because the line is straight, it does not matter where we take P and Q. If we take Q twice as far, Δx will double, but so will Δy, so the slope remains the same. We can even take Q on the other side of P. Then Δx is negative, say -4 meter. Δy then equals -2 meter, so the quotient remains the same. As you would expect, the slope is a measure of steepness: if the track is steeper, then for a fixed Δx, the corresponding Δy will be larger, and so the slope will be larger. Finally, descent corresponds to negative slope. If Δx is positive, say 10 meter, the corresponding Δy will be negative, say -4 meter. Therefore the slope will be negative, in this case -0.4. What if the track is not straight? Suppose we want to determine the slope at point P. If we zoom in at the track near P, the track will look approximately straight. So if we take Q close to P, and take the quotient of the displacements, we get an approximation of the slope of the track. To improve the approximation, we move Q closer to P. The quotient of Δy and Δx approaches a limit value. This value is, by definition, the slope at P. Now let us consider the concept of speed. First, suppose that the speed of the rollercoaster cart is constant on some part of the track. In that case, you can determine it by measuring the distance Δx travelled during a time interval Δt, and then take the quotient. For constant speed, it does not matter what time interval we take. Now suppose that the speed is not constant, and we want to determine the speed at time t. Again we can measure the distance Δx travelled during a time interval Δt and take the quotient. This will give us the average speed on the time interval, but not the speed at time t. However, if the time interval is small, the speed is approximately constant during that time interval. So the speed at time t is approximately equal to Δx divided by Δt. To make the approximation better, we take Δt smaller and smaller. The quotient of Δx and Δt then approaches some limit value. This is precisely the speed at time t. We see that both slope and speed can be determined by taking the limit of a quotient. That is exactly what differentiation is. More precisely, suppose a function f and a point with x-coordinate equal to ‘a’ are given. If the x-coordinate changes from ‘a’ to a + Δx, the function value changes. The vertical increase is equal to f(a+Δx) - f(a), the horizontal increase is simply equal to Δx. The quotient of these two is called a difference quotient. Now we can take the limit of Δx to zero. If this limit exists, the number you obtain is called the derivative of f at x = a. It is denoted by f’(a) or df/dx(a). The whole process of determining the derivative is called differentiation. If you look at the graph, both the difference quotient and the derivate have a geometric interpretation. The difference quotient is precisely the slope of the line connecting the points P and Q on the graph. Now if we let Δx go to zero, you see that this connecting line approaches a limiting position. The slope of this limiting line is precisely the derivative of f at ‘a’. The limiting line itself is called the tangent line to the graph, at the point P. It is the unique line with the property that it passes through the point P and has the same slope as the graph in that point. Now, let us return to the original questions: what is slope and what is speed? We have seen that both slope and speed can be interpreted as derivatives: slope as the derivative of vertical position y as function of horizontal position x, speed as the derivative of position x as function of time t. The definition in terms of the limit of a difference quotient may seem abstract, but it provides the basis for many measuring devices. For example, a bicycle computer can measure the time it takes to for the wheel to make one revolution. In this case, Δt is the time measured, Δx is the circumference of the wheel. The current speed is approximated by Δx divided by Δt: the difference quotient. Usually, this approximation is sufficiently accurate. What if you want to calculate derivatives exactly? Taking limits every time can be cumbersome. In the next section, you will learn how to deal with this.. But first, let’s practice with the concepts! Good luck!

Esattamente, che numero è questo? Lei dice "sei" Lei dice "nove" Quindi... Chi ha ragione? "La relatività e l'equivalenza dei sistemi di riferimento" In realtà, hanno ragione entrambe Hanno semplicemente un diverso "sistema di riferimento" Ma che cos'è esattamente un sistema di riferimento? Sono un set di assi cartesiani per individuare lo "spazio" E un orologio per misurare il "tempo" in base ai quali vengono fatte le osservazioni Proviamo a dimostrarlo Quando questa macchina comincerà a suonare il clacson, tutti e tre gli osservatori ne registreranno il suono. Ma il suono è un'onda Le onde emesse da una sorgente in movimento (come la macchina) risultano più vicine davanti e più distanti dietro Quindi, nel nostro caso, quelli posizionati dietro la macchina dovrebbero sentire un tono con frequenza bassa mentre quelli posizionati davanti dovrebbero sentirne uno con frequenza più alta Quando ho analizzato le registrazioni è esattamente quello che ho trovato Quindi, quale suono stava facendo veramente la macchina? Un suono di frequenza alta, un suono di frequenza media, o un suono di frequenza bassa? Beh, stava facendo tutti e tre i suoni allo stesso tempo! Ognuno di essi relativo ad un particolare osservatore Quindi, cosa accadrebbe se avessimo infiniti osservatori? Allora la macchina emetterebbe infiniti suoni, diversi a seconda dell'osservatore E anche se tutti fossero in disaccordo, nessuno di essi avrebbe torto. Quello che ognuno osserva è quello che il suono è Analogamente, Se io lancio questa palla a una velocità vicina a quella della luce Le sue onde saranno più distanti dietro e più vicine davanti facendola apparire di diversi colori con un numero infinito di osservatori la palla apparirebbe di tutti i colori allo stesso tempo ognuno di essi relativo ad un particolare osservatore Quindi, il suono e la luce sono relativi. Hai mai pensato che anche il tempo potesse esserlo? Considera un orologio a luce, composto da due specchi e da un fotone che rimbalza fra di essi. Ogni volta che il fotone colpisce lo specchio in basso, corrisponde a un "tick" Quando comincio a muovermi, io lo vedo viaggiare lungo linee verticali Ma osservandolo dal vostro sistema di riferimento, si muove a "V" Quindi, siccome il fotone deve percorrere una distanza maggiore e la velocità della luce è costante, ogni "tick" impiega più tempo a seconda della tua posizione. Quindi, orologi in movimento vanno più lenti e più corri veloce, più il tuo orologio rallenta. Quindi, nelle gare olimpiche, Usain Bolt è il miglior viaggiatore del tempo Se corresse al 96.8% della velocità della luce e impiegasse 10 secondi per finire la corsa secondo il suo orologio, un giudice fermo registrerebbe 40 secondi - ai quali lui ovviamente obietterebbe! Ma la discussione non avrebbe senso, perchè "il tempo è relativo!" Quindi l'idea strabiliante è che osservatori in diversi sistemi di riferimento percepiranno diverse versioni della stessa realtà E ogni versione è ugualmente valida! Quindi, prima di contestare le osservazioni delle altre persone, prima, immagina di guardare il mondo dal loro sistema di riferimento.

SPEAKER 1: Love you, Zamyla. ZAMYLA: Love you too. Hello, World is one of the most famous computer programs in the world, a rite of passage as you begin your journey into computer science education. We say Hello, World as an introduction to a new programming language. Hello, World marks the opening of a new door, the very beginning of a journey. Each and every time this phrase is uttered, I am fully aware of the symbolism of these two simple words. They represent a commitment to add to one's personal development, to imprint and add richly to Harvard's story. And this journey is bravely taken. Despite our very disciplines at the end of CS50, we can all confidently and humbly say, hello world and know that we have all passed through this same checkpoint in our unique, individual journey that is undoubtedly demanding, but as seen here today, ultimately doable. And your journey is measured not in where you end up relative to others but where you yourself end up relative to yourself in week zero. Indeed I'd argue that CS50's best lessons aren't actually in programming but for life itself. You learn quickly that programs with any modicum of complexity are not written from scratch. You learn to include and import libraries of code, functions, and classes, and structures written by others. And what better library than Harvard's, the largest academic research collection in the world. Contained within the library are vast banks of knowledge, which you equip in your tool box formula from great mathematicians, rigorous case studies, poems, and religious texts and literature. Yet even with this tool box, you struggle. Encountering bugs and glitches, your code doesn't work properly. It might not even work or run at all. You often find yourself questioning whether the system itself is broken, or maybe are you the one that came broken? You get your feedback, parse the error messages, and start to debug line by line. This journey is painful. It is grueling. It is filled with frustration, struggle, and sleepless nights in Currier dining hall fretting over assignments and deadlines. But with the lows come many highs, the camaraderie of your study group, a surge of strength and confidence from your blockmate's encouragement, the aha moment when you finally solve a complicated problem. Your aha moment is when you learn the difference between knowledge and intelligence and that logic can link the two. Your aha moment is when you realize that there are many options for how to implement something, all of them viable solutions, just as all of us have different paths. Some of us have crossed oceans to get here today, have fought prejudice to get here today, have battled physical and mental health complications to get here today, have sacrificed more than I can mention to get here today. Many of us here today have achieved beyond our wildest dreams. As a proud black Asian female, first generation, working class engineer, scientist, educator, but most importantly, always a learner, I want to shout out to all of you, hello world. I see you. And I'm here with you. Each one of us has done it. But also we have done this together. We have imprinted forever on Harvard's network, made our own contribution to the library. And the Harvard story continues. We see our own tree planted as we also see the forest that we are a part of. This journey is exhilarating and the most exquisite learning adventure that I have ever had the pleasure and honor to experience and share with all of you. So with pride, humility, and bravery, let us all together say, hello world.

Wait, wait. - Happy birthday, Vince. - Oh. - Happy birthday, Vince. - God. - It's not my birthday. Better late than never. - Oh. Look what Marnie made for Julius. - You baked ? - Yeah. Is Julius around ? - He's taking a shower. - I'll go give these to him. So-o-o ! - Where'd you get this car ? - Sammy. You know Sammy. - Where you going ? - Inside. Have some coffee ? You're going somewhere and you weren't even gonna say goodbye. Marnie ! Excuse me, but I was just taking a shower. Good singing. I baked you some cookies. - Cookies ? - I guess it was a dumb idea. No, not at all. I'm really looking forward to tossing them. - I should put on some clothes. - I'm sorry, I'll turn around. Linda and I just came by 'cause she baked him a cake... - for his birthday. - I had birthday, too. Oh, that's right. You're twins.

English: I'm vegan I'm vegan, death to all meat-eaters I'm vegan, death to all I'm vegan, death to all meat-eaters I'm vegan I'm vegan! You are killing poor animals Milk is murder and disgusting You don't know what is healthy If you don't agree with me, then you are an asshole I'm vegan, death to all meat-eaters I'm vegan, death to all I'm vegan, death to all meat-eaters I'm vegan I'm vegan! *guitar solo by Metadon* Czech: Jsem vegan Jsem vegan, smrt všem masožravcům Jsem vegan, smrt všem! Jsem vegan, smrt všem masožravcům Jsem vegan Jsem vegan! Zabíjíte nevinná zvířátka Mléko je vražda a nechutné Nevíte, co je zdravé a co ne Jestli se mnou nesouhlasíte, tak jste blbci! Jsem vegan, smrt všem masožravcům Jsem vegan, smrt všem! Jsem vegan, smrt všem masožravcům Jsem vegan Jsem vegan! *Metadon - kytarové sólo* Czech: Masožravci žijou kratší dobu! Prasata jsou inteligentnější než tříleté děti! Jsem vegan, smrt všem masožravcům Jsem vegan, smrt všem! Jsem vegan, smrt všem masožravcům Jsem vegan Jsem vegan! English: Meat-eaters live shorter lives Pigs are more intelligent than 3 years old kids I'm vegan, death to all meat-eaters I'm vegan, death to all I'm vegan, death to all meat-eaters I'm vegan I'm vegan!

North Korean leader Kim jong-un has reportedly a reappeared in public for the first time in nearly three weeks the user comes as speculation continues surrounding his health and is a successor in the reclusive regime jung-in has the details North Korean leader Kim jong-un has resurfaced in the public for the first time in 20 days Emme rumors surrounding his health the North's state-run Korean Central News Agency reported on Saturday to the 36 year old leader appear at a new fertilizer factory in swing town on Friday to celebrate his completion the agency released multiple photos of Kim smiling clapping his hands and cutting a ribbon at the ceremony the report also said that Kim looked around the factory alone with senior officials from the ruling Workers Party including his sister kim yo-jong this is Kim's first public appearance since April 11th when he held a meeting with party officials in Pyongyang he was not seen in public on April 15 which is the country's biggest holiday the birthday of his grandfather and the founder of North Korea Kim sang that's when rumors about his health began to swirl with unverified news reports saying that Kim was brain dead or in grave danger after heart surgery or he may be in quarantine after contracting ko v.19 there has been much speculation about Kim's successor with his sister kim yo-jong at the center of attention the South Korean government has yet to make an official comment but US President Trump when asked about the news at a press briefing on Friday local time said that he will not comment on it yet adding that he will have something to say about it at the appropriate time jung-in arirang news

- You are sort of at the epicenter of everything that our current free speech battle is all about. So I guess I'm going to give you an open, easy question to start: how did you end up in the middle of this battle? - Well, you know, I didn't choose this fight. It was imposed upon me 11 years ago, when I was the editor responsible for the publication of the so-called Danish Muhammad cartoons. They didn't come out of the blue, as some people sometimes think. They were published as a response to an ongoing conversation in Denmark and Western Europe about the problem of self-censorship when it comes to treating Islam. And back then I think I was pondering two questions. Is self-censorship taking place when it comes to dealing with Islam? Do we make a difference between Islam and other religions and ideologies? Question number one. And question number two, if there is self-censorship, is that self-censorship based in reality? Or is it just the consequence of a sick imagination, not based in reality? Is the fear real or is it fake? So 11 years later, I think we can say for sure, the answer to both questions is yes. There is self-censorship and the self-censorship is based in reality because people were killed in Paris. I live with body guards 24/7 when I'm back home in Denmark. So it is a real problem. - Yeah, it's so interesting to me that 11 years ago, 2005, you were addressing the idea of self-censorship because that's obviously different than what we have here with the First Amendment where the government can't censor us. Because my awakening over the last couple years about this has been about the self-censorship part. That we are doing it to ourselves. So just to back up to the specifics of what happened, you guys solicited cartoons from people, right? - Yes, I did, yes. - So tell me about that process. - It started with a children's book. A Danish writer was writing a book about the life of the Prophet Muhammad. In Denmark when you publish a children's book, you need illustrations of the main character. I suppose you do the same here. - Same here! That goes across borders, yeah. - And it turned out that the writer had difficulties finding an illustrator who wanted to take on the job. And he went public saying, you know, "I've written this book, but I had difficulties finding "an illustrator because of fear." And the guy who finally took on the job insisted on anonymity, which is a form of self-censorship. You do not want to appear under your real name because you are afraid of what might happen to you. And, in fact, this illustrator later acknowledged that he insisted on anonymity because he was afraid. And he made a reference to the fate of Theo van Gogh, a Dutch filmmaker who was killed in 2004 because of a documentary he did that was critical of Islam. - Who then many people know the note to Ayann Hirsi Ali, who I think is one of the greatest people on planet earth, saying that they were coming after her next. - And the second individual was Salman Rushdie, who in 1989 was the object of a fatwa by Ayatollah Khomeini in Iran and had to live in hiding for many years. So that was the context. And some people were saying, "Oh this was just a media "stunt by this children's writer to sell more books." Other people were saying, "No, there is self-censorship." And through the commissioning of those cartoons, I wanted to put focus on this issue. Is self-censorship taking place or is it not? How do illustrators and cartoonists in Denmark face this issue? And I received 12 cartoons that were published September 30, 2005 and I wrote a short text laying out the rationale behind this journalistic project. I don't think that it in any way transgressed what we usually do. As an editor and journalist, if you hear about a problem, you want to find out if it's true or not. And in this case, we asked people not to talk, but to show. Not to tell, but to show how they look at this issue of self-censorship. And I think only 3 out of 12 cartoons depicted the Prophet Muhammad.

- Hola patatas dulces. Bienvenidos de vuelta. Me corté el cabello. Según la sabiduría convencional la gestión del tiempo es la base de la productividad. Gestiona tu tiempo estableciendo metas de cuando quieres terminar una tarea en específico y planear tu día tan detalladamente que incluso programas la hora de ir... al baño. Así es como solía abordar la productividad. Pase la mayor parte de mis 20s tratando de gestionar mi tiempo y mi siempre creciente lista de quehaceres. Tenía que checar todos los items y completar todas las tareas para sentir que tuve un día productivo. Y cuando no lograba todas las cosas que quería en el tiempo que quería me sentía como el mayor fracaso del mundo. Recientemente empecé a mirar más de cerca qué consume mi atención así como a mis niveles de energía. Estos días, si un día hago las tres cosas más importantes que necesito hacer junto a al menos una acción de autocuidado me siento más que feliz. Si estás intentando ser más productivo no analices cómo gastas tu tiempo. Pon atención a lo que consume tu atención o energía. Esto es lo que hay en la agenda de hoy. Diferencia entre gestionar el tiempo y gestionar la energía. ¿Qué es una auditoría énergética y por qué es importante? Y cómo hacerla de forma que puedas convertirte en tu versión más productiva. tiempo vs energía Si me han estado siguiendo por un tiempo saben que he tenido mi dosis de agotamiento y reinicio. Uaaahh! [risas] Es un montón de agotamiento y reinicio. Lo sé. Ese es un gran ejemplo de a donde me ha llevado gestionar mi tiempo. "No son las horas que dedicas lo que determina que tán productiv@ eres. Es cuanta energía o atención logras invertir durante las horas que trabajas. Gestión del tiempo vs gestión de energía. Gestionar tu tiempo te da tiempos establecidos para hacer cosas establecidas lo cual puede ser limitante e inflexible. Si no haces las cosas en el tiempo establecido te sientes como el fracaso más grande. La energía, del otro por su parte, te da la opción de elegir y es flexible. El tiempo es algo finito. Hay una cantidad de horas limitada cada día, lo cual es algo que no podemos controlar. La energía, por otra parte, es algo que puede aumentar sistemáticamente y renovarse regularmente, lo cual es algo que podemos controlar. La gestión del tiempo te hace abandonar las distracciones abruptamente. Perder tiempo en Instagram, simplemente lo remueves completamente de tu vida. Mientras que la gestión de la energía te enseña a ser consciente del tiempo que gastas en esas distracciones. La gestión del tiempo es lo que estás haciendo. La gestión de la energía es cuando vas a hacerlo. ¿Por qué es importante todo eso? "Es importante maximizar tu energía porque rindes mejor cuando haces cosas que te dan energía". Si logramos pasar nuestro tiempo haciendo trabajo que nos dan energía y sabemos cuando hacer cierto tipo de trabajo a lo largo del día dependiendo de nuestros niveles de energía, ocurrirá magia y alcanzaremos el codiciado estado de fluidez. Ahhh, me estoy divirtiendo mucho. Y como siempre, el mejor uso de nuestro tiempo es enfocarnos en cosas que podemos controlar que son cosas como nuestra energía vs cosas que no podemos controlar que son cosas como el tiempo. ¿qué es una auditoría energética? Las auditorías energéticas nos ayudan a identificar actividades que nos dan energía y que consumen nuestra energía. Nos ayuda a entender nuestros fluctuantes niveles de energía, lo cual es totalmente normal, al igual que la estacionalidad de la vida. Nos ayuda a escoger en qué enfocarnos y cuando hacerlo de forma que podamos reponer nuestra energía y cuidar mejor de nosotros mismos [cantando] para ser nuestras versiones más productivas. ¡Siiiii! No puedo conmigo misma a veces. ¿cómo hacer una auditoria energética? Dentro de la auditoría energética lo primero y lo más importante es identificar qué actividades te dan energía y qué actividades drenan tu energía. Para eso vamos a ver una gráfica que puedes hacer tu mismo en casa. Les explicaré rápidamente cómo rastreo mis niveles de energía durante el día. Al principio puede ser un poco raro preguntarte: ¿cómo me siento ahora mismo? ¿Me siento con energía? ¿Me siento con poca energía? Pero creo que con el tiempo, entre más practiques, como con todo, será cada vez más fácil. Buenos días amigos. Ahhhh. Mi nivel de energía ahora mismo está más arriba del promedio. De hecho está bastante alto. Me siento muy bien. Me siento bastante energizada. Ok. Como me desperté un poco tarde no tuve tiempo para leer hoy, pero como acaban de ver cepillarme los dientes y lavarme la cara, cosas tan pequeñas, tareas tan sencillas, pero me siento muy despierta. Me siento muy viva. Esto es lo que desayunaré. No siempre tengo tiempo para preparar un desayuno así acompañado de un hermoso jugo verde, pero trato de comer al menos un poco de algo porque sé que si no como mi glucosa disminuye y si mi glucosa disminuye me pondré hambrienta después. Y...empieza el día de trabajo. Aquí estamos en una reunión de trabajo. Almuerzo rápido y mi gráfica de auditoría energética para este día en específico. Como acaban de ver mi día empezó relativamente bien después de lavarme la cara. Llegué a una especie de pico. Y como usualmente hago qigong media hora o una hora todas las tardes eso mantiene mi energía hasta que naturalmente dismunuye. Como acto de autocuidado hoy escribí en mi diario. Y solo como referencia así es como fue mi día previamente así que cada día puede lucir muy diferente cada vez. Así es como se grafican tus niveles de energía durante el día. Si es demasiado abstracto para ustedes hay una cosa más que pueden probar. Es el marcador de hábitos de James Clear. Lo que haces es, desde el momento en que te levantas hasta el momento en que te vas a dormir, escribe todas las cosas que haces. No importa lo pequeña que sea. Y al final del día repasa la lista y dale a cada actividad un +, un - o un =(neutro) Ese proceso es algo muy personal. Para algunas personas levantarse y apagar la alarma puede ser algo muy neutro, pero para mi sería un + gigante porque yo me duermo después de la alarma. Puedo dormir por horas. Entonces, de nuevo, todo es muy personal. Voy a leer algo del boletín de noticias de James Clear donde habla sobre el marcador de hábitos porque creo que es muy importante. "A medida que creas tu marcador de hábitos, no hay necesidad de cambiar nada al principio. La meta es solo darse cuenta de qué está pasando. Observa tus pensamientos y acciones sin juicios o criticas internas. No te culpes por tus faltas. No te elogies por tus éxitos. El proceso de cambio de conducta siempre empieza estando consciente. Estrategias como Señalar-y-llamar y el marcador de hábitos se enfocan en llevarte a reconocer tus hábitos y reconocer las señales que los desencadenan, lo cual hace más fácil descubrir qué hábitos deberías cambiar y responder de una manera que te beneficie". La segunda parte es entender que los niveles de energía fluctúan y hay estacionalidad en nuestra vida. La estacionalidad en nuestra vida significa que nuestros hábitos pueden cambiar dependiendo del flujo y reflujo y los altos y bajos en tu vida. Como referencia, siento que todos creemos que nuestros niveles de energía son fijos. "Así es como debería sentirme todos los días, cada momento del día". Entonces, cuando bajan un poco decimos: "Oh Dios mio, ¿por qué me siento así?" "¿Por qué no estoy feliz?" "¿Por qué no estoy motivada?" "¿Por qué no estoy prr prr prr–" [risas] "¿Por qué no soy productiva?" En realidad, nuestros niveles de energía fluctúan a lo largo del día de la semana, del mes y del año. Quizá te mudaste, quizá iniciaste un proyecto o un nuevo trabajo que es ya sea menos o más demandante que antes. Quizá es la época del mes. Quizá simplemente te levantaste con el pie izquierdo. Las diferentes temporadas requieren salidas diferentes al igual que entradas así que es algo a tener siempre en cuenta cuando hablamos de gestionar nuestra energía. La tercera cosa es la elección. Locus de control. Tener la opción de hacer las cosas cuando quieres o saber cuál es el momento correcto para hacer ciertas cosas en cierto momento. "Las decisiones que son más poderosas generando motivación son las decisiones que hacen dos cosas: Nos convencen de que tenemos el control y dotan nuestras acciones con más significado". Cuando nos damos cuenta de que tenemos opciones una parte de nuestro celebro llamado cuerpo estriado se ilumina. Es responsable de la motivación o falta de motivación cuando nos enfrentamos a una tarea. Estudios también han mostrado que cuando los individuos creen que tienen el control tienden a trabajar más duro, exigirse más, tienen más confianza y superan contratiempos más rápido. Creer que tienes control sobre los eventos de tu vida en lugar de factores externos fuera de tu control también conocido como locus de control, es muy, muy importante. Dentro del factor de la elección, como pertenece a la gestión de la energía también está priorizar y saber qué es más importante para ti. Porque es algo que tienes que elegir también, pero primero tienes que saber cuales son esas cosas antes de poder escoger hacer esas cosas. ¿Recuerdas la regla del 80/20 en la que el 80% de tus resultados son producidos por el 20% de tu esfuerzo? Este es un recordatorio rápido. Hay 24 horas en un día. Si duermes o tienes tiempo de ocio unas 8 horas te quedan 16 horas el 20% de 16 es aproximadamente 3 horas, entonces, ¿qué vas a priorizar durante esas 3 horas? Ahora que hemos identificado qué nos da energía y qué nos resta energía y entendemos que hay estacionalidad en nuestras vidas y que está totalmente bien sentirnos así...a veces y que el elemento de elección es muy importante, hemos llegado a la cuarta cosa la cual es reponer(la energía) Y estaremos hablando sobre el kit de autocuidado. Con tu gráfica has identificado tus altos y tus bajos. Ahora es momento de identificar cuando tienes bajones, por qué tienes bajones y cómo mantener los altos un poco más y cómo minimizar tus bajones. Digamos que eres alguien que se cansa después del almuerzo y sabes que esos momentos en que te sientes pesad@ y cansad@ eres más susceptible a perder tiempo con el teléfono en Instagram o viendo series en Netflix. Ese podría ser un buen momento para optar a salir a caminar o hacer algún tipo de actividad de autocuidado que te ayude a que el bajón no dure tanto como lo hace. Yo normalmente caigo en otro bajón después de la cena. Eso es más o menos a las 8-9pm. Eso pasa más que todo porque ha sido un largo día. He estado despierta por tantas horas y creo que es hora de ir a dormir. Cuando medito durante ese tiempo, escribo en mi diario o leo de nuevo lleva mis niveles de energía de vuelta al pico. La energía en ese sentido, debería haber aclarado más temprano en el vídeo, no es como energía de cafeína en que estás como que: "¡Si, me siento despierta!" Se trata de poder estar presente. Y cuando se está presente y enfocado puedes enfocarte mejor en las cosas que se supone que debes hacer y tu atención es menos dividida porque estás presente y enfocado. Con eso quiero decir es bueno tener un repertorio o un kit de hábitos de autocuidado en los que puedas confiar. Si sabes que ejercitarte, escribir y/o meditar te da energía puedes optar por hacer al menos una de esas cosas cada mañana para darte ese primer impulso inicial. O a lo largo del día cuando estés experimentado un bajón quizá puedes practicar una de esas cosas o escoger una de ellas para hacer. Es mejor escoger y comprometerse a hacer una cosa y hacer esa cosa bien en lugar de hacer varias cosas a medias. Y creo que esa es la trampa en la que he caído yo personalmente. Siento que tengo que hacer todas esas cosas. Meditar, escribir, qigong, ejercitarme. Hacer todas esas cosas todos los días. Pero mi corazón no estaba ahí en realidad así que realmente no estaba reteniendo la información que leía. Realmente no estaba obteniendo los beneficios de la meditación porque mi mente no estaba totalmente concentrada. Una cosa. Hazla bien. Y si puedes hacer más genial... Si no... al menos haz una cosa. En resumen, primero identifica los bajones. Segundo, reflexiona por qué se producen y busca patrones de por qué y donde es consumida tu energía. Tercero, mira si hay alguna manera de cuidar de ti mism@ durante esos bajones porque esa es la manera en que nuestro cuerpo nos dice que bajemos el ritmo o lo alimentemos o tomemos un descanso o reconsideremos si es importante e imprescindible hacer esa tarea agotadora. Este es el ciclo de mejora de James Clear. En este vídeo exploramos profundamente la fase de consciencia y doblegamos en la parte de practica deliberada. Toma la próxima semana para monitorear tus niveles de energía y cómo fluctúan durante el día solo observándolos. En el próximo vídeo, que con suerte será el viernes. Quiero ser más consistente con los vídeos. Lo siento, no he sido tan consistente. Hablaremos de cómo podemos convertir esos descubrimientos en pasos accionables. También hablaremos de las 4 dimensiones de la energía. Al igual que cómo establecer rituales y hábitos específicos para renovar y reponer nuestra mente, cuerpo y alma. Algo muy importante por recordar... las cosas toman tiempo y eso está bien. Por mucho que queremos cambiar de la noche a la mañana probablemente no va a pasar. Puede tomarte una semana o varias semanas entender tus hábitos y sus patrones y eso está totalmente bien. La verdadera recompensa es que te entenderás mejor y siento que la consciencia, autoconsciencia, saber quiénes somos, saber qué nos da energía y qué nos quita energía conocernos a nosotros mismos está muy infravalorado y es muy importante. Hará mucho por nosotros y nos hará trabajar de forma más inteligente no más dura de forma que podamos ser nuestra mejor versión y más amables con nosotros mismos y apreciarnos más porque todos necesitamos ser apreciados, realmente todos. Quiero darle una mención especial a Audible por patrocinar este vídeo. Si han estado siguiendo mi jornada por un tiempo saben que he estado inhalando libros vía Audible así que esto no debería ser sorpresa. Quiero darles tres recomendaciones de audiolibros ya que se relacionan con el vídeo de hoy. El primero es 'Más agudo, más rápido y mejor' De hecho tengo una copia física de este libro. Es de uno de mis autores favoritos, Charles Duhigg. Él también escribió 'El poder de los hábitos'. Me encanta la forma en que escribe. Me encanta la cantidad de estudio e investigación en sus libros y lo fácilmente entendibles que hace los datos y la parte científica y las estadisticas porque con algunos autores puede ser bastante pesado pero no Charles Duhigg. Soy fan. Otro libro es por supuesto 'Hábitos atómicos'. Lo tengo aquí. Como ya saben, todo sobre hábitos. A partir de él creé mi video de sistemas vs metas. Este es el libro que más menciono. Siento que estos días, siempre que hablo de productividad y formar hábitos realmente te enseña como cambios pequeños pueden llevar a resultados extraordinarios con el tiempo así que recomiendo altamente ese libro. El último libro que quiero recomendar es 'Esencialismo'. También es un libro que ha cambiado drásticamente la forma en que veo el mundo. Este libro también es leído por el autor. Siento que cuando el libro es leído por un narrador aunque el narrador puede tener una mejor voz o puede sonar mejor o es un poco más profesional, creo que cuando los autores leen sus propios libros les da más alma porque son los que lo escribieron así que saben las historias que contiene, saben cómo decir ciertas partes de la forma en que las quieren decir entonces creo que es fantástico. Si están interesados en escuchar alguno de esos libros pueden visitar audible.com/rowena o enviar 'rowena' al 500-500(solo USA) Si no están familiarizados con Audible son el proveedor líder de entretenimiento auditivo y audiolibros. Desde best-sellers hasta autobiografías de celebridades y desarrollo personal. Aparte de libros también tienen podcasts, programas de bienestar, programas de sueño, con Nick Jonas y Diddy. Es genial. Y actuaciones teatrales, comedia, al igual que titulos originales de Audible exclusivos. Más que todo lo uso para escuchar libros pero hay muchas cosas que puedes explorar con tu membresía. Si esto es algo que quieren probar, visiten audible.com/rowena o envía 'rowena' al 500-500(solo Estados Unidos) Y con eso, muchas gracias por acompañarme. Gracias por ser parte de la familia de patatas dulces. Gracias por ver hasta el final. Si vieron todo hasta el final dénme algunas patatas dulces y corazones en la sección de comentarios. Quizá no habrá ninguno. Quizá habrá un montón. Ya veremos. Abrazo. Abrazo. Como siempre. Espero que estén teniendo un día hermoso. Acaba de empezar una tormenta en Nueva York ahora mismo, pero, ¿saben qué? Está bien. A veces es así. Y está haciendo calor. Muy bien. Me siento como una mujer nueva, por cierto, con mi cabello así de corto. Bueno adiós.

John Lewis "Jan" Hall (born August 21, 1934) is an American physicist, and Nobel laureate in physics. He shared the 2005 Nobel Prize in Physics with Theodor W. Hänsch and Roy Glauber for his work in precision spectroscopy. == Biography == Born in Denver, Colorado, Hall holds three degrees from Carnegie Institute of Technology, a B.S. in 1956, an M.S. in 1958, and a Ph.D. in 1961. He completed his postdoctoral studies at the Department of Commerce's National Bureau of Standards, now the National Institute of Standards and Technology (NIST), where he remained from 1962 until his retirement in 2004. He has lectured at the University of Colorado Boulder since 1967.Hall is currently a NIST Senior Fellow, Emeritus and remains a Fellow at JILA, formerly the Joint Institute for Laboratory Astrophysics, and Lecturer at the CU-Boulder Physics Department. JILA is a research institute managed jointly by CU-Boulder and NIST. Hall shared half of the Nobel prize with Theodor W. Hänsch for their pioneering work on laser-based precision spectroscopy and the optical frequency comb technique. The other half of the prize was awarded to Roy J. Glauber. Hall has received many other honors for his pioneering work, including the Optical Society of America's Max Born Award "for pioneering the field of stable lasers, including their applications in fundamental physics and, most recently, in the stabilization of femtosecond lasers to provide dramatic advances in optical frequency metrology". In 2015, Hall signed the Mainau Declaration 2015 on Climate Change on the final day of the 65th Lindau Nobel Laureate Meeting. The declaration was signed by a total of 76 Nobel Laureates and handed to then-President of the French Republic, François Hollande, as part of the successful COP21 climate summit in Paris. == Honours and awards == National Carbon Company Fellow in Physics, 1957–1961 Department of Commerce Gold Medal, 1969 Samuel W. Stratton Award, 1971 Department of Commerce Gold Medal, 1974 (group awards) IR-100: Laser stabilizer selected as one of "100 best new products of the year," 1975 IR-100: Laser wavelength meter ("Lambdameter") selected as one of "100 best new products of the year," 1977 E. U. Condon Award, 1979 Charles Hard Townes Award of the Optical Society of America, 1984, jointly with V. P. Chebotayev (Academy of Sciences, USSR) Davisson-Germer Prize of the American Physical Society, 1988 Docteur Honoris Causa de l'Universite Paris Nord, 1989 Frederic Ives Medal of the Optical Society of America, 1991 Einstein Prize for Laser Science, 1992 Arthur L. Shawlow Prize of the American Physical Society, 1993 Allen V. Astin Measurement Science Award, 2000 Max Born Award of the Optical Society of America, 2002 Presidential Rank Award from the Office of Personnel Management, 2002 Department of Commerce Gold Medal, 2002 (group awards) Rabi Award of the IEEE Ultrasonics, Ferroelectrics, and Frequency Control Society, 2004 Légion d'Honneur Membership, 2004 Nobel Prize in Physics, 2005 Doctor of Science, honoris causa, University of Glasgow, 2007 == References == == External links == The Nobel Prize in Physics 2005 CV and publication list National Institute of Standards and Technology (NIST) JILA U.S. Patent 6201638 Comb generating optical cavity that includes an optical amplifier and an optical modulator (John Lewis Hall) Hall's website Group photograph taken at Lasers '92 including, right to left, Marlan Scully, Willis Lamb, John L. Hall, and F. J. Duarte.

Hi everybody! Welcome to microeconomics! The next eight weeks will fly by as we look at some of the theory behind microeconomics! So, let's start right and learn the process in week one! If you'll notice as you look over the website you have the navigation menu on the left. If you click on modules it will bring you here. Please make sure that you spend some time looking at the course foundations, read through every single page, and then as you get to the bottom you will have an orientation quiz. Please submit this by Sunday evening at 11:59 p.m., and this is your required attendance activity to make sure that you don't get withdrawn as a no-show. The next group of content is information about the homework and exam manager. It gives you everything you need to know to make sure that you sign up for the right package for the homework manager. And, then lastly if you'll click on this link, this gives you access to the virtual text. Hope that you have a great evening and I look forward to our class starting tomorrow! Good night!

The United Nations Educational, Scientific and Cultural Organization (UNESCO; French: Organisation des Nations unies pour l'éducation, la science et la culture) is a specialized agency of the United Nations (UN) based in Paris. Its declared purpose is to contribute to peace and security by promoting international collaboration through educational, scientific, and cultural reforms in order to increase universal respect for justice, the rule of law, and human rights along with fundamental freedom proclaimed in the United Nations Charter. It is the successor of the League of Nations' International Committee on Intellectual Cooperation. UNESCO has 193 member states and 11 associate members. Most of its field offices are "cluster" offices covering three or more countries; national and regional offices also exist. UNESCO pursues its objectives through five major programs: education, natural sciences, social/human sciences, culture and communication/information. Projects sponsored by UNESCO include literacy, technical, and teacher-training programs, international science programs, the promotion of independent media and freedom of the press, regional and cultural history projects, the promotion of cultural diversity, translations of world literature, international cooperation agreements to secure the world's cultural and natural heritage (World Heritage Sites) and to preserve human rights, and attempts to bridge the worldwide digital divide. It is also a member of the United Nations Development Group.UNESCO's aim is "to contribute to the building of peace, the eradication of poverty, sustainable development and intercultural dialogue through education, the sciences, culture, communication and information". Other priorities of the organization include attaining quality Education For All and lifelong learning, addressing emerging social and ethical challenges, fostering cultural diversity, a culture of peace and building inclusive knowledge societies through information and communication.The broad goals and objectives of the international community—as set out in the internationally agreed development goals, including the Millennium Development Goals (MDGs)—underpin all UNESCO strategies and activities. == History == UNESCO and its mandate for international cooperation can be traced back to a League of Nations resolution on 21 September 1921, to elect a Commission to study feasibility. On 18 December 1925, the International Bureau of Education (IBE) began work as a non-governmental organization in the service of international educational development. However, the onset of World War II largely interrupted the work of these predecessor organizations. After the signing of the Atlantic Charter and the Declaration of the United Nations, the Conference of Allied Ministers of Education (CAME) began meetings in London which continued from 16 November 1942 to 5 December 1945. On 30 October 1943, the necessity for an international organization was expressed in the Moscow Declaration, agreed upon by China, the United Kingdom, the United States and the USSR. This was followed by the Dumbarton Oaks Conference proposals of 9 October 1944. Upon the proposal of CAME and in accordance with the recommendations of the United Nations Conference on International Organization (UNCIO), held in San Francisco in April–June 1945, a United Nations Conference for the establishment of an educational and cultural organization (ECO/CONF) was convened in London 1–16 November 1945 with 44 governments represented. The idea of UNESCO was largely developed by Rab Butler, the Minister of Education for the United Kingdom, who had a great deal of influence in its development. At the ECO/CONF, the Constitution of UNESCO was introduced and signed by 37 countries, and a Preparatory Commission was established. The Preparatory Commission operated between 16 November 1945, and 4 November 1946—the date when UNESCO's Constitution came into force with the deposit of the twentieth ratification by a member state.The first General Conference took place from 19 November to 10 December 1946, and elected Dr. Julian Huxley to Director-General. The Constitution was amended in November 1954 when the General Conference resolved that members of the Executive Board would be representatives of the governments of the States of which they are nationals and would not, as before, act in their personal capacity. This change in governance distinguished UNESCO from its predecessor, the CICI, in how member states would work together in the organization's fields of competence. As member states worked together over time to realize UNESCO's mandate, political and historical factors have shaped the organization's operations in particular during the Cold War, the decolonization process, and the dissolution of the USSR. Among the major achievements of the organization is its work against racism, for example through influential statements on race starting with a declaration of anthropologists (among them was Claude Lévi-Strauss) and other scientists in 1950 and concluding with the 1978 Declaration on Race and Racial Prejudice. In 1956, the Republic of South Africa withdrew from UNESCO saying that some of the organization's publications amounted to "interference" in the country's "racial problems." South Africa rejoined the organization in 1994 under the leadership of Nelson Mandela. UNESCO's early work in the field of education included the pilot project on fundamental education in the Marbial Valley, Haiti, started in 1947. This project was followed by expert missions to other countries, including, for example, a mission to Afghanistan in 1949. In 1948, UNESCO recommended that Member States should make free primary education compulsory and universal. In 1990, the World Conference on Education for All, in Jomtien, Thailand, launched a global movement to provide basic education for all children, youths and adults. Ten years later, the 2000 World Education Forum held in Dakar, Senegal, led member governments to commit to achieving basic education for all by 2015.UNESCO's early activities in culture included, for example, the Nubia Campaign, launched in 1960. The purpose of the campaign was to move the Great Temple of Abu Simbel to keep it from being swamped by the Nile after construction of the Aswan Dam. During the 20-year campaign, 22 monuments and architectural complexes were relocated. This was the first and largest in a series of campaigns including Mohenjo-daro (Pakistan), Fes (Morocco), Kathmandu (Nepal), Borobudur (Indonesia) and the Acropolis (Greece). The organization's work on heritage led to the adoption, in 1972, of the Convention concerning the Protection of the World Cultural and Natural Heritage. The World Heritage Committee was established in 1976 and the first sites inscribed on the World Heritage List in 1978. Since then important legal instruments on cultural heritage and diversity have been adopted by UNESCO member states in 2003 (Convention for the Safeguarding of the Intangible Cultural Heritage) and 2005 (Convention on the Protection and Promotion of the Diversity of Cultural Expressions). An intergovernmental meeting of UNESCO in Paris in December 1951 led to the creation of the European Council for Nuclear Research, which was responsible for establishing the European Organization for Nuclear Research (CERN) in 1954. Arid Zone programming, 1948–1966, is another example of an early major UNESCO project in the field of natural sciences. In 1968, UNESCO organized the first intergovernmental conference aimed at reconciling the environment and development, a problem which continues to be addressed in the field of sustainable development. The main outcome of the 1968 conference was the creation of UNESCO's Man and the Biosphere Programme.In the field of communication, the "free flow of ideas by word and image" has been in UNESCO's constitution from its beginnings, following the experience of the Second World War when control of information was a factor in indoctrinating populations for aggression. In the years immediately following World War II, efforts were concentrated on reconstruction and on the identification of needs for means of mass communication around the world. UNESCO started organizing training and education for journalists in the 1950s. In response to calls for a "New World Information and Communication Order" in the late 1970s, UNESCO established the International Commission for the Study of Communication Problems, which produced the 1980 MacBride report (named after the Chair of the Commission, the Nobel Peace Prize laureate Seán MacBride). The same year, UNESCO created the International Programme for the Development of Communication (IPDC), a multilateral forum designed to promote media development in developing countries. In 1991, UNESCO's General Conference endorsed the Windhoek Declaration on media independence and pluralism, which led the UN General Assembly to declare the date of its adoption, 3 May, as World Press Freedom Day. Since 1997, UNESCO has awarded the UNESCO / Guillermo Cano World Press Freedom Prize every 3 May. In the lead up to the World Summit on the Information Society in 2003 (Geneva) and 2005 (Tunis), UNESCO introduced the Information for All Programme. UNESCO admitted Palestine as a member in 2011. Laws passed in the United States in 1990 and 1994 mean that it cannot contribute financially to any UN organisation that accepts Palestine as a full member. As a result, it withdrew its funding which accounted for about 22% of UNESCO's budget. Israel also reacted to Palestine's admittance to UNESCO by freezing Israel payments to the UNESCO and imposing sanctions to the Palestinian Authority, stating that Palestine's admittance would be detrimental "to potential peace talks". Two years after they stopped paying their dues to UNESCO, US and Israel lost UNESCO voting rights in 2013 without losing the right to be elected; thus, the US was elected as a member of the Executive Board for the period 2016–19. == Activities == UNESCO implements its activities through the five programme areas: education, natural sciences, social and human sciences, culture, and communication and information. Education: UNESCO supports research in comparative education; and provide expertise and fosters partnerships to strengthen national educational leadership and the capacity of countries to offer quality education for all. This includes the UNESCO Chairs, an international network of 644 UNESCO Chairs, involving over 770 institutions in 126 countries. Environmental Conservation Organisation Convention against Discrimination in Education adopted in 1960 Organization of the International Conference on Adult Education (CONFINTEA) in an interval of 12 years Publication of the Education for All Global Monitoring Report Publication of the Four Pillars of Learning seminal document UNESCO ASPNet, an international network of 8,000 schools in 170 countries.UNESCO does not accredit institutions of higher learning. UNESCO also issues public statements to educate the public: Seville Statement on Violence: A statement adopted by UNESCO in 1989 to refute the notion that humans are biologically predisposed to organised violence. Designating projects and places of cultural and scientific significance, such as: Global Geoparks Network Biosphere reserves, through the Programme on Man and the Biosphere (MAB), since 1971 City of Literature; in 2007, the first city to be given this title was Edinburgh, the site of Scotland's first circulating library. In 2008, Iowa City, Iowa became the City of Literature. Endangered languages and linguistic diversity projects Masterpieces of the Oral and Intangible Heritage of Humanity Memory of the World International Register, since 1997 Water resources management, through the International Hydrological Programme (IHP), since 1965 World Heritage Sites World Digital Library Encouraging the "free flow of ideas by images and words" by: Promoting freedom of expression, including freedom of the press and freedom of information legislation, through the Division of Freedom of Expression and Media Development, including the International Programme for the Development of Communication Promoting the safety of journalists and combatting impunity for those who attack them, through coordination of the UN Plan of Action on the Safety of Journalists and the Issue of Impunity Promoting universal access to and preservation of information and open solutions for sustainable development through the Knowledge Societies Division, including the Memory of the World Programme and Information for All Programme Promoting pluralism, gender equality and cultural diversity in the media Promoting Internet Universality and its principles, that the Internet should be (I) human Rights-based, (ii) Open, (iii) Accessible to all, and (iv) nurtured by Multi-stakeholder participation (summarized as the acronym R.O.A.M.) Generating knowledge through publications such as World Trends in Freedom of Expression and Media Development, the UNESCO Series on Internet Freedom, and the Media Development Indicators, as well as other indicator-based studies. Promoting events, such as: International Decade for the Promotion of a Culture of Peace and Non-Violence for the Children of the World: 2001–2010, proclaimed by the UN in 1998 World Press Freedom Day, 3 May each year, to promote freedom of expression and freedom of the press as a basic human right and as crucial components of any healthy, democratic and free society. Criança Esperança in Brazil, in partnership with Rede Globo, to raise funds for community-based projects that foster social integration and violence prevention. International Literacy Day International Year for the Culture of Peace Health Education for Behavior Change program in partnership with the Ministry of Education of Kenya which was financially supported by the Government of Azerbaijan to promote health education among 10-19-year-old young people who live in informal camp in Kibera, Nairobi. The project was carried out between September 2014 - December 2016. Founding and funding projects, such as: Migration Museums Initiative: Promoting the establishment of museums for cultural dialogue with migrant populations. UNESCO-CEPES, the European Centre for Higher Education: established in 1972 in Bucharest, Romania, as a de-centralized office to promote international co-operation in higher education in Europe as well as Canada, USA and Israel. Higher Education in Europe is its official journal. Free Software Directory: since 1998 UNESCO and the Free Software Foundation have jointly funded this project cataloguing free software. FRESH Focussing Resources on Effective School Health. OANA, Organization of Asia-Pacific News Agencies International Council of Science UNESCO Goodwill Ambassadors ASOMPS, Asian Symposium on Medicinal Plants and Spices, a series of scientific conferences held in Asia Botany 2000, a programme supporting taxonomy, and biological and cultural diversity of medicinal and ornamental plants, and their protection against environmental pollution The UNESCO Collection of Representative Works, translating works of world literature both to and from multiple languages, from 1948 to 2005 GoUNESCO, an umbrella of initiatives to make heritage fun supported by UNESCO, New Delhi OfficeThe UNESCO transparency portal has been designed to enable public access to information regarding Organization's activities, such as its aggregate budget for a biennium, as well as links to relevant programmatic and financial documents. These two distinct sets of information are published on the IATI registry, respectively based on the IATI Activity Standard and the IATI Organization Standard. There have been proposals to establish two new UNESCO lists. The first proposed list will focus on movable cultural heritage such as artifacts, paintings, and biofacts. The list may include cultural objects, such as the Jōmon Venus of Japan, the Mona Lisa of France, the Gebel el-Arak Knife of Egypt, The Ninth Wave of Russia, the Seated Woman of Çatalhöyük of Turkey, the David (Michelangelo) of Italy, the Mathura Herakles of India, the Manunggul Jar of the Philippines, the Crown of Baekje of South Korea, The Hay Wain of the United Kingdom and the Benin Bronzes of Nigeria. The second proposed list will focus on the world's living species, such as the Komodo Dragon of Indonesia, the Panda of China, the Bald eagle of North American countries, the Aye-aye of Madagascar, the Asiatic Lion of India, the Kakapo of New Zealand, and the Mountain tapir of Colombia, Ecuador and Peru. == Media == UNESCO and its specialized institutions issue a number of magazines. The UNESCO Courier magazine states its mission to "promote UNESCO's ideals, maintain a platform for the dialogue between cultures and provide a forum for international debate." Since March 2006 it is available online, with limited printed issues. Its articles express the opinions of the authors which are not necessarily the opinions of UNESCO. There was a hiatus in publishing between 2012 and 2017.In 1950, UNESCO initiated the quarterly review Impact of Science on Society (also known as Impact) to discuss the influence of science on society. The journal ceased publication in 1992. UNESCO also published museum international quarterly from the year 1948. == Official UNESCO NGOs == UNESCO has official relations with 322 international non-governmental organizations (NGOs). Most of these are what UNESCO calls "operational"; a select few are "formal". The highest form of affiliation to UNESCO is "formal associate", and the 22 NGOs with formal associate (ASC) relations occupying offices at UNESCO are: == Institutes and centres == The institutes are specialized departments of the organization that support UNESCO's programme, providing specialized support for cluster and national offices. == Prizes == UNESCO awards 22 prizes in education, science, culture and peace: Félix Houphouët-Boigny Peace Prize L'Oréal-UNESCO Awards for Women in Science UNESCO/King Sejong Literacy Prize UNESCO/Confucius Prize for Literacy UNESCO/Emir Jaber al-Ahmad al-Jaber al-Sabah Prize to promote Quality Education for Persons with Intellectual Disabilities UNESCO King Hamad Bin Isa Al-Khalifa Prize for the Use of Information and Communication Technologies in Education UNESCO/Hamdan Bin Rashid Al-Maktoum Prize for Outstanding Practice and Performance in Enhancing the Effectiveness of Teachers UNESCO/Kalinga Prize for the Popularization of Science UNESCO/Institut Pasteur Medal for an outstanding contribution to the development of scientific knowledge that has a beneficial impact on human health UNESCO/Sultan Qaboos Prize for Environmental Preservation Great Man-Made River International Water Prize for Water Resources in Arid Zones presented by UNESCO (title to be reconsidered) Michel Batisse Award for Biosphere Reserve Management UNESCO/Bilbao Prize for the Promotion of a Culture of Human Rights UNESCO Prize for Peace Education UNESCO-Madanjeet Singh Prize for the Promotion of Tolerance and Non-Violence UNESCO/International José Martí Prize UNESCO/Avicenna Prize for Ethics in Science UNESCO/Juan Bosch Prize for the Promotion of Social Science Research in Latin America and the Caribbean Sharjah Prize for Arab Culture Melina Mercouri International Prize for the Safeguarding and Management of Cultural Landscapes (UNESCO-Greece) IPDC-UNESCO Prize for Rural Communication UNESCO/Guillermo Cano World Press Freedom Prize UNESCO/Jikji Memory of the World Prize UNESCO-Equatorial Guinea International Prize for Research in the Life Sciences Carlos J. Finlay Prize for Microbiology === Inactive prizes === International Simón Bolívar Prize (inactive since 2004) UNESCO Prize for Human Rights Education UNESCO/Obiang Nguema Mbasogo International Prize for Research in the Life Sciences (inactive since 2010) UNESCO Prize for the Promotion of the Arts == International Days observed at UNESCO == International Days observed at UNESCO is provided in the table given below == Member states == As of January 2019, UNESCO has 193 member states and 11 associate members. Some members are not independent states and some members have additional National Organizing Committees from some of their dependent territories. UNESCO state parties are the United Nations member states (except Liechtenstein), as well as Cook Islands, Niue and Palestine.The United States and Israel left UNESCO on 31 December 2018. == Governing bodies == === Director-General === There has been no elected UNESCO Director-General from Southeast Asia, South Asia, Central and North Asia, Middle East, North Africa, East Africa, Central Africa, South Africa, Australia-Oceania, and South America since inception. The Directors-General of UNESCO came from West Europe (5), Central America (1), North America (2), West Africa (1), East Asia (1), and East Europe (1). Out of the 11 Directors-General since inception, women have held the position only twice. Qatar, the Philippines, and Iran are proposing for a Director-General bid by 2021 or 2025. There have never been a Middle Eastern or Southeast Asian UNESCO Director-General since inception. The ASEAN bloc and some Pacific and Latin American nations support the possible bid of the Philippines, which is culturally Asian, Oceanic, and Latin. Qatar and Iran, on the other hand, have fragmented support in the Middle East. Egypt, Israel, and Madagascar are also vying for the position but have yet to express a direct or indirect proposal. Both Qatar and Egypt lost in the 2017 bid against France. The list of the Directors-General of UNESCO since its establishment in 1946 is as follows: === General Conference === This is the list of the sessions of the UNESCO General Conference held since 1946: === Executive Board === == Offices and Headquarters == UNESCO headquarters are located at Place de Fontenoy in Paris, France. UNESCO's field offices across the globe are categorized into four primary office types based upon their function and geographic coverage: cluster offices, national offices, regional bureaus and liaison offices. === Field offices by region === The following list of all UNESCO Field Offices is organized geographically by UNESCO Region and identifies the members states and associate members of UNESCO which are served by each office. ==== Africa ==== Abidjan – National Office to Côte d'Ivoire Abuja – National Office to Nigeria Accra – Cluster Office for Benin, Côte d'Ivoire, Ghana, Liberia, Nigeria, Sierra Leone and Togo Addis Ababa – Liaison Office with the African Union and with the Economic Commission for Africa Bamako – Cluster Office for Burkina Faso, Guinea, Mali and Niger Brazzaville – National Office to the Republic of the Congo Bujumbura – National Office to Burundi Dakar – Regional Bureau for Education in Africa and Cluster Office for Cape Verde, Gambia, Guinea-Bissau, and Senegal Dar es Salaam – Cluster Office for Comoros, Madagascar, Mauritius, Seychelles and Tanzania Harare – Cluster Office for Botswana, Malawi, Mozambique, Zambia and Zimbabwe Juba – National Office to South Sudan Kinshasa – National Office to the Democratic Republic of the Congo Libreville – Cluster Office for the Republic of the Congo, Democratic Republic of the Congo, Equatorial Guinea, Gabon and Sao Tome and Principe Maputo – National Office to Mozambique Nairobi – Regional Bureau for Sciences in Africa and Cluster Office for Burundi, Djibouti, Eritrea, Kenya, Rwanda, Somalia, South Sudan and Uganda Windhoek – National Office to Namibia Yaoundé – Cluster Office to Cameroon, Central African Republic and Chad ==== Arab States ==== Amman – National Office to Jordan Beirut – Regional Bureau for Education in the Arab States and Cluster Office to Lebanon, Syria, Jordan, Iraq and Palestine Cairo – Regional Bureau for Sciences in the Arab States and Cluster Office for Egypt, Libya and Sudan Doha – Cluster Office to Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, United Arab Emirates and Yemen Iraq – National Office for Iraq (currently located in Amman, Jordan) Khartoum – National Office to Sudan Manama - Arab Regional Centre for World Heritage Rabat – Cluster Office to Algeria, Mauritania, Morocco and Tunisia Ramallah – National Office to the Palestinian Territories ==== Asia and Pacific ==== Apia – Cluster Office to Australia, Cook Islands, Fiji, Kiribati, Marshall Islands, Federated States of Micronesia, Nauru, New Zealand, Niue, Palau, Papua New Guinea, Samoa, Solomon Islands, Tonga, Tuvalu, Vanuatu and Tokelau (Associate Member) Bangkok – Regional Bureau for Education in Asia and the Pacific and Cluster Office to Thailand, Burma, Laos, Singapore and Vietnam Beijing – Cluster Office to North Korea, Japan, Mongolia, the People's Republic of China and South Korea Dhaka – National Office to Bangladesh Hanoi – National Office to Vietnam Islamabad – National Office to Pakistan Jakarta – Regional Bureau for Sciences in Asia and the Pacific and Cluster Office to the Philippines, Brunei, Indonesia, Malaysia, and East Timor Manila - National Office to the Philippines Kabul – National Office to Afghanistan Kathmandu – National Office to Nepal New Delhi – Cluster Office to Bangladesh, Bhutan, India, Maldives and Sri Lanka Phnom Penh – National Office to Cambodia Tashkent – National Office to Uzbekistan Tehran – Cluster Office to Afghanistan, Iran, Pakistan and Turkmenistan ==== Europe and North America ==== Almaty – Cluster Office to Kazakhstan, Kyrgyzstan, Tajikistan and Uzbekistan Brussels – Liaison Office to the European Union and its subsidiary bodies in Brussels Geneva – Liaison Office to the United Nations in Geneva New York City – Liaison Office to the United Nations in New York Moscow – Cluster Office to Armenia, Azerbaijan, Belarus, Moldova and Russia Venice – Regional Bureau for Sciences and Culture in Europe ==== Latin America and the Caribbean ==== Brasilia – National Office to Brazil Guatemala City – National Office to Guatemala Havana – Regional Bureau for Culture in Latin America and the Caribbean and Cluster Office to Cuba, Dominican Republic, Haiti and Aruba Kingston – Cluster Office to Antigua and Barbuda, Bahamas, Barbados, Belize, Dominica, Grenada, Guyana, Jamaica, Saint Kitts and Nevis, Saint Lucia, Saint Vincent and the Grenadines, Suriname and Trinidad and Tobago as well as the associate member states of British Virgin Islands, Cayman Islands, Curaçao and Sint Maarten Lima – National Office to Peru Mexico City – National Office to Mexico Montevideo – Regional Bureau for Sciences in Latin America and the Caribbean and Cluster Office to Argentina, Brazil, Chile, Paraguay and Uruguay Port-au-Prince – National Office to Haiti Quito – Cluster Office to Bolivia, Colombia, Ecuador and Venezuela San José – Cluster Office to Costa Rica, El Salvador, Guatemala, Honduras, Mexico, Nicaragua and Panama Santiago de Chile – Regional Bureau for Education in Latin America and the Caribbean and National Office to Chile == Controversies == === New World Information and Communication order === UNESCO has been the centre of controversy in the past, particularly in its relationships with the United States, the United Kingdom, Singapore and the former Soviet Union. During the 1970s and 1980s, UNESCO's support for a "New World Information and Communication Order" and its MacBride report calling for democratization of the media and more egalitarian access to information was condemned in these countries as attempts to curb freedom of the press. UNESCO was perceived as a platform for communists and Third World dictators to attack the West, in contrast to accusations made by the USSR in the late 1940s and early 1950s. In 1984, the United States withheld its contributions and withdrew from the organization in protest, followed by the United Kingdom in 1985. Singapore withdrew also at the end of 1985, citing rising membership fees. Following a change of government in 1997, the UK rejoined. The United States rejoined in 2003, followed by Singapore on 8 October 2007. === Israel === Israel was admitted to UNESCO in 1949, one year after its creation. Israel has maintained its membership since 1949. In 2010, Israel designated the Cave of the Patriarchs, Hebron and Rachel's Tomb, Bethlehem as National Heritage Sites and announced restoration work, prompting criticism from the Obama administration and protests from Palestinians. In October 2010, UNESCO's Executive Board voted to declare the sites as "al-Haram al-Ibrahimi/Tomb of the Patriarchs" and "Bilal bin Rabah Mosque/Rachel's Tomb" and stated that they were "an integral part of the occupied Palestinian Territories" and any unilateral Israeli action was a violation of international law. UNESCO described the sites as significant to "people of the Muslim, Christian and Jewish traditions", and accused Israel of highlighting only the Jewish character of the sites. Israel in turn accused UNESCO of "detach[ing] the Nation of Israel from its heritage", and accused it of being politically motivated. The Rabbi of the Western Wall said that Rachel's tomb had not previously been declared a holy Muslim site. Israel partially suspended ties with UNESCO. Israeli Deputy Foreign Minister Danny Ayalon declared that the resolution was a "part of Palestinian escalation". Zevulun Orlev, chairman of the Knesset Education and Culture Committee, referred to the resolutions as an attempt to undermine the mission of UNESCO as a scientific and cultural organization that promotes cooperation throughout the world.On 28 June 2011, UNESCO's World Heritage Committee, at Jordan's insistence, censured Israel's decision to demolish and rebuild the Mughrabi Gate Bridge in Jerusalem for safety reasons. Israel stated that Jordan had signed an agreement with Israel stipulating that the existing bridge must be dismantled for safety reasons; Jordan disputed the agreement, saying that it was only signed under U.S. pressure. Israel was also unable to address the UNESCO committee over objections from Egypt.In January 2014, days before it was scheduled to open, UNESCO Director-General, Irina Bokova, "indefinitely postponed" and effectively cancelled an exhibit created by the Simon Wiesenthal Center entitled "The People, The Book, The Land: The 3,500-year relationship between the Jewish people and the Land of Israel." The event was scheduled to run from 21 January through 30 January in Paris. Bokova cancelled the event after representatives of Arab states at UNESCO argued that its display would "harm the peace process". The author of the exhibition, Professor Robert Wistrich of the Hebrew University's Vidal Sassoon International Center for the Study of Anti-Semitism, called the cancellation an "appalling act," and characterized Bokova's decision as "an arbitrary act of total cynicism and, really, contempt for the Jewish people and its history." UNESCO amended the decision to cancel the exhibit within the year, and it quickly achieved popularity and was viewed as a great success.On January 1 2019, Israel formally left UNESCO in pursuance of the US withdrawal over the continuous anti-Israel bias. ==== Occupied Palestine Resolution ==== On 13 October 2016, UNESCO passed a resolution on East Jerusalem that condemned Israel for "aggressions" by Israeli police and soldiers and "illegal measures" against the freedom of worship and Muslims' access to their holy sites, while also recognizing Israel as the occupying power. Palestinian leaders welcomed the decision. While the text acknowledged the "importance of the Old City of Jerusalem and its walls for the three monotheistic religions", it referred to the sacred hilltop compound in Jerusalem's Old City only by its Muslim name "Al-Haram al-Sharif", Arabic for Noble Sanctuary. In response, Israel denounced the UNESCO resolution for its omission of the words "Temple Mount" or "Har HaBayit," stating that it denies Jewish ties to the key holy site. After receiving criticism from numerous Israeli politicians and diplomats, including Benjamin Netanyahu and Ayelet Shaked, Israel froze all ties with the organization. The resolution was condemned by Ban ki-Moon and the Director-General of UNESCO, Irina Bokova, who said that Judaism, Islam and Christianity have clear historical connections to Jerusalem and "to deny, conceal or erase any of the Jewish, Christian or Muslim traditions undermines the integrity of the site. Al-Aqsa Mosque is also Temple Mount, whose Western Wall is the holiest place in Judaism." It was also rejected by the Czech Parliament which said the resolution reflects a "hateful anti-Israel sentiment", and hundreds of Italian Jews demonstrated in Rome over Italy's abstention. On 26 October, UNESCO approved a reviewed version of the resolution, which also criticized Israel for its continuous "refusal to let the body's experts access Jerusalem's holy sites to determine their conservation status." Despite containing some softening of language following Israeli protests over a previous version, Israel continued to denounce the text. The resolution refers to the site Jews and Christians refer to as the Temple Mount, or Har HaBayit in Hebrew, only by its Arab name — a significant semantic decision also adopted by UNESCO's executive board, triggering condemnation from Israel and its allies. U.S. Ambassador Crystal Nix Hines stated: "This item should have been defeated. These politicized and one-sided resolutions are damaging the credibility of UNESCO."In October 2017, the United States and Israel announced they would withdraw from the organization, citing in-part anti-Israel bias. === Palestine === ==== Palestinian youth magazine controversy ==== In February 2011, an article was published in a Palestinian youth magazine in which a teenage girl described one of her four role-models as Adolf Hitler. In December 2011, UNESCO, which partly funded the magazine, condemned the material and subsequently withdrew support. ==== Islamic University of Gaza controversy ==== In 2012, UNESCO decided to establish a chair at the Islamic University of Gaza in the field of astronomy, astrophysics, and space sciences, fueling controversy and criticism. Israel bombed the school in 2008 stating that they develop and store weapons there, which Israel restated in criticizing UNESCO's move.The head, Kamalain Shaath, defended UNESCO, stating that "the Islamic University is a purely academic university that is interested only in education and its development". Israeli ambassador to UNESCO Nimrod Barkan planned to submit a letter of protest with information about the university's ties to Hamas, especially angry that this was the first Palestinian university that UNESCO chose to cooperate with. The Jewish organization B'nai B'rith criticized the move as well. === Wikileaks === On 16 and 17 February 2012, UNESCO held a conference entitled "The Media World after WikiLeaks and News of the World." Despite all six panels being focused on WikiLeaks, no member of WikiLeaks staff was invited to speak. After receiving a complaint from WikiLeaks spokesman Kristinn Hrafnsson, UNESCO invited him to attend, but did not offer a place on any panels. The offer also came only a week before the conference, which was held in Paris, France. Many of the speakers featured, including David Leigh and Heather Brooke, had spoken out openly against WikiLeaks and its founder Julian Assange in the past. WikiLeaks released a press statement on 15 February 2012 denouncing UNESCO which stated, "UNESCO has made itself an international human rights joke. To use 'freedom of expression' to censor WikiLeaks from a conference about WikiLeaks is an Orwellian absurdity beyond words." === Che Guevara === In 2013, UNESCO announced that the collection "The Life and Works of Ernesto Che Guevara" became part of the Memory of the World Register. US Congresswoman Ileana Ros-Lehtinen condemned this decision, saying that the organization acts against its own ideals: This decision is more than an insult to the families of those Cubans who were lined up and summarily executed by Che and his merciless cronies but it also serves as a direct contradiction to the UNESCO ideals of encouraging peace and universal respect for human rights. UN Watch also condemned this selection by UNESCO. === Listing Nanjing Massacre documents === In 2015, Japan threatened to halt funding for UNESCO over the organization's decision to include documents relating to the 1937 Nanjing massacre in the latest listing for its "Memory of the World" program. In October 2016, Japanese Foreign Minister Fumio Kishida confirmed that Japan's 2016 annual funding of ¥4.4 billion had been suspended although denied any direct link with the Nanjing document controversy. === US withdrawals === After withdrawing from UNESCO in 1984, the United States rejoined January 10, 2003. Former U.S. Congressman Jim Leach stated before a Congressional subcommittee: The reasons for the withdrawal of the United States from UNESCO in 1984 are well-known; my view is that we overreacted to the calls of some who wanted to radicalize UNESCO, and the calls of others who wanted the United States to lead in emasculating the UN system. The fact is UNESCO is one of the least dangerous international institutions ever created. While some member countries within UNESCO attempted to push journalistic views antithetical to the values of the west, and engage in Israel bashing, UNESCO itself never adopted such radical postures. The U.S. opted for empty-chair diplomacy, after winning, not losing, the battles we engaged in… It was nuts to get out, and would be nuttier not to rejoin. He concluded that the record showed Israel bashing, a call for a new world information order, money management, and arms control policy to be the impetus behind the withdrawal; he asserted that before the UNESCO withdrawal, a withdrawal from the IAEA had been pushed on him. The United States rejoined UNESCO shortly thereafter. On 12 October 2017, the United States notified UNESCO that it will again withdraw from the organization on 31 December 2018 and will seek to establish a permanent observer mission beginning in 2019. The Department of State cited "mounting arrears at UNESCO, the need for fundamental reform in the organization, and continuing anti-Israel bias at UNESCO."The United States has not paid over $600 million in dues since stopping to pay its $80 million annual UNESCO dues when Palestine became a full member in 2011. Israel and the US were among only 14 votes against the membership, of 194 member countries. === Turkish–Kurdish conflict === On May 25, 2016, the noted Turkish poet and human rights activist Zülfü Livaneli resigned as Turkey's only UNESCO goodwill ambassador. He highlighted human rights situation in Turkey and destruction of historical Sur district of Diyarbakir, the largest city in Kurdish-majority southeast Turkey, during fighting between the Turkish army and Kurdish militants as the main reasons for his resignation. Livaneli said: "To pontificate on peace while remaining silent against such violations is a contradiction of the fundamental ideals of UNESCO." == Products or services == UNESDOC – Contains over 146,000 UNESCO documents in full text published since 1945 as well as metadata from the collections of the UNESCO Library and documentation centres in field offices and institutes. === Information processing tools === UNESCO develops, maintains and disseminates, free of charge, two interrelated software packages for database management (CDS/ISIS [not to be confused with UK police software package ISIS]) and data mining/statistical analysis (IDAMS). CDS/ISIS – a generalised information storage and retrieval system. The Windows version may run on a single computer or in a local area network. The JavaISIS client/server components allow remote database management over the Internet and are available for Windows, Linux and Macintosh. Furthermore, GenISIS allows the user to produce HTML Web forms for CDS/ISIS database searching. The ISIS_DLL provides an API for developing CDS/ISIS based applications. OpenIDAMS – a software package for processing and analysing numerical data developed, maintained and disseminated by UNESCO. The original package was proprietary but UNESCO has initiated a project to provide it as open-source. IDIS – a tool for direct data exchange between CDS/ISIS and IDAMS == See also == Academic Mobility Network UNESCO Reclining Figure 1957–58, sculpture by Henry Moore WikiProject UNESCO

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I HAVE THESE GORGEOUS WINDOWS. INSIDE THE LUXURY HOTEL WHERE LUCKY COLLEGE STUDENTS ARE STAYING INSTEAD OF DORM ROOMS. LIVE FROM THE CHANNEL 4 STUDIOS IN BOSTON, THIS IS WBZ NEWS AT 6. POLICE IN NEW HAMPSHIRE ARE SEARCHING FOR THIS MAN WITH A MACHETE. IS ACCUSED OF BREAKING INTO A WOMAN'S APARTMENT AND SEXUALLY ASSAULTING HER WHILE SHE WAS ASLEEP. POLICE ARE CALLING IT A RANDOM ATTACK. THE WOMAN SAYS SHE WAS ATTACKED IN HER HOME IN MANCHESTER. PAUL BURTON SHOWS US POLICE ARE NOW SEARCHING THE AREA FOR CLUES. MANCHESTER POLICE SAY THEY ARE SEARCHING FOR THIS MAN. AFTER THEY RECEIVED A 911 CALL THIS MORNING FROM A MAN WHO SAID HIS GIRLFRIEND HAVE BEEN SEXUALLY ASSAULTED INSIDE OF HER APARTMENT ON AUBURN STREET. IT'S UNBELIEVABLE. SHE WOKE UP TO A MAN SHE DID NOT KNOW. SHE WAS ABLE TO STRUGGLE WITH HIM AND GET HIM OFF OF HER. SHE WAS ABLE TO ESCAPE THE APARTMENT. Reporter: THE MAN BROKE INTO HER APARTMENT AND HAD A MACHETE BUT DID NOT HURT HER. WHEN DETECTIVE DID NOT FIND THE SUSPECT. POLICE BELIEVE THIS WAS A RANDOM ATTACK. THEY CHECKED ALL AROUND THE NEIGHBORHOOD. ACCORDING TO HER HE HAD A MACHETE. HE DID NOT HURT HER WITH THE MACHETE BUT HE WAS HOLDING A. A RANDOM CRIME THAT IS EXTREMELY TROUBLING FOR ALL OF US HERE AT THE MANCHESTER POLICE DEPARTMENT. WE ARE HOPING SOMEBODY MAY RECOGNIZE HIM. I LIKE MY DOORS LOCK MY DOORS ALL THE TIME. WE DO NOT KNOW WHO THIS INDIVIDUAL IS. HE IS A STRANGER TO THESE PEOPLE.

It appears that North Korea's fresh declaration of its nuclear ambitions and defiance of UN sanctions are not resonating with its only long-time ally China. A South Korean news outlet reports... citing unnamed sources in China that Beijing is tightening sanctions against Pyongyang... refusing to issue new working visas for North Koreans and halting their financial transactions in the country. Kim Hye-sung reports. Chinese authorities announced Monday that it will stop issuing new visas for North Koreans who plan to work for Chinese firms and North Korean restaurants operating near border cities, according to Korea's Yonhap News Agency. Such a move is expected to cut the inflow of foreign currency to the cash-strapped North. Chinese business owners operating North Korean restaurants say that visas will only be extended for North Koreans already working in the country, which is likely to cut at their business. "There are around 20,000 North Koreans working in China. They usually work for three years then return to home. If new working visas are not issued, many Chinese firms may soon face labor shortages and an annual loss of 100 million dollars." The Chinese government is also reportedly planning to stop North Korean workers from using credit and debit cards in China. This is all part of a larger effort to tighten up on the North in line with the tougher UN Security Council sanctions following Pyongyang's fourth nuclear test earlier this year. In March, China, which usually vetoes tough sanctions against the North, agreed to ban exports of coal, iron and iron ore, and rare earth minerals from North Korea for the first time. And now it's cracking down on North Korean labor. "China is frustrated by Pyongyang's nuclear and missile tests, which only serve to increase U.S. involvement in Northeast Asia. By imposing tighter sanctions, China is pressuring the North to return to the negotiation table." Last month, 13 North Korean restaurant workers fled China and defected to the South, as those businesses struggled to make profits. As sanctions against the regime tighten further, businesses operating along the North Korea-China border could suffer even more. Kim Hye-sung, Arirang News.

Well, the word got around, they said, this kid is insane, man Took up a collection just to send him to the mainland Get your education, don't forget from whence you came And the world is gonna know your name What's your name, man? Alexander Hamilton My name is Alexander Hamilton And there's a million things I haven't done But just you wait, just you wait When he was ten his father split, full of it, debt-ridden Two years later, see Alex and his mother bed-ridden Half-dead sittin' in their own sick, the scent thick And Alex got better but his mother went quick Two Virginians and an immigrant walk into a room Diametric'ly opposed, foes They emerge with a compromise, having opened doors that were previously closed, bros The immigrant emerges with unprecedented financial power: A system he can shape however he wants The Virginians emerge with the nation's capital And here's the pièce de résistance No one else was in the room where it happened, the room where it happened, the room where it happened No one else was in the room where it happened, the room where it happened, the room where it happened No one really knows how the game is played. The art of the trade. How the sausage gets made We just assume that it happens But no one else is in the room where it happens Ladies and gentlemen, welcome to the show The ten-dollar founding father without a father Got a lot farther by working a lot harder By being a lot smarter By being a self-starter To your union! (To the union!) (To the revolution!) And the hope that you provide! (Provide, to provide) And may you always (Always) Be satisfied Rewind This is Hamilton ¡Alexander Hamilton!

ವೆನಿಲ್ಲಾ ಕಸ್ಟರ್ಡ್ ಕೇಕ್ ಟುಟ್ಟಿ ಫ್ರೂಟಿ ಜೊತೆ ಸಬ್ಸ್ಕ್ರೈಬ್ ಮಾಡಿ ಮಂದಗೊಳಿಸಿದ (ಕಂಡೆನ್ಸ್ಡ್) ಹಾಲು 1/2 ಕಪ್ ನಿಮ್ಮ ಹತ್ತಿರ ಕಂಡೆನ್ಸ್ಡ್ ಹಾಲು ಇಲ್ಲದಿದ್ದರೆ ಅದನ್ನು ತಯಾರಿಸುವ ವಿಧಾನ ಈ ಚಾನೆಲ್ನಲ್ಲಿ ನೋಡಿ ಕರಗಿದ ಬೆಣ್ಣೆ 1/2 ಕಪ್ ಹಾಲು 1/2 ಕಪ್ ಸಕ್ಕರೆ 4 ಚಮಚ ಚೆನ್ನಾಗಿ ಬೆರೆಸಿ ವೆನಿಲ್ಲಾ ಎಸೆನ್ಸ್ 1 ಟೀಸ್ಪೂನ್ ಮೈದಾ ಹಿಟ್ಟು 1½ ಕಪ್ ಅಡಿಗೆ ಸೋಡಾ ¼ TSP ಬೇಕಿಂಗ್ ಪೌಡರ್ 1 ಟೀಸ್ಪೂನ್ ಜರಡಿ ಹಿಡಿಯಿರಿ ನಿಧಾನವಾಗಿ ಕಲಸಿ ಉಪ್ಪು ಸ್ವಲ್ಪ ನಿಧಾನವಾಗಿ ಮಡಿಸಿ ಬ್ಯಾಟರ್ ಅನ್ನು ಗ್ರೀಸ್ ಮಾಡಿದ ಪಾತ್ರೆಯಲ್ಲಿ ಸುರಿಯಿರಿ ಸಮವಾಗಿ ಹರಡಿ ಪೂರ್ವಭಾವಿಯಾಗಿ ಕಾಯಿಸಲ್ಪಟ್ಟಿರುವ ಓವೆನ್ನಲ್ಲಿ 30 ನಿಮಿಷಗಳ ಕಾಲ ಕನ್ವೆಕ್ಷನ್ ಮೋಡ್ನಲ್ಲಿ 160 °Cಯಲ್ಲಿ ಬೇಕ್ ಮಾಡಿ ಕೇಕ್ ಬೇಕ್ ಆಗುತ್ತಿರುವಾಗ ಕಸ್ಟರ್ಡ್ ತಯಾರಿಸಿ 3 ಚಮಚ ಕಸ್ಟರ್ಡ್ ಪೌಡರ್ ಅನ್ನು ½ ಕಪ್ ಹಾಲಿಗೆ ಬೆರೆಸಿ ಮಿಶ್ರಣ ಮಾಡಿ 2½ ಕಪ್ ಹಾಲು ಕುದಿಸಿ ½ ಕಪ್ ಸಕ್ಕರೆ ಸೇರಿಸಿ ನಿಧಾನವಾಗಿ ಬೆರೆಸಿ ಬೆರೆಸುತ್ತಾ ಕಸ್ಟರ್ಡ್ ಸೇರಿಸಿ ಚೆನ್ನಾಗಿ ಕುದಿಯುವ ತನಕ ಬೆರೆಸುತ್ತಾ ಇರಿ ಕೇಕ್ ಬೇಕ್ ಆದ ಮೇಲೆ ಸಣ್ಣ ಸಣ್ಣ ರಂಧ್ರಗಳನ್ನು ಮಾಡಿ ಮತ್ತು ಕಸ್ಟರ್ಡ್ ಸುರಿಯಿರಿ ಟೂಟಿ ಫ್ರೂಟಿ ಸಿಂಪಡಿಸಿ ನಿಧಾನವಾಗಿ ಟ್ಯಾಪ್ ಮಾಡಿ ತಣ್ಣಗಾಗಲು ಬಿಡಿ 1 ರಿಂದ 2 ತಾಸು ಫ್ರಿಜ್ ನಲ್ಲಿ ಇಡಿ ಸೆಟ್ ಆದಮೇಲೆ ಬಯಸಿದಂತೆ ಕತ್ತರಿಸಿ ಸರ್ವ್ ಮಾಡಿ

Here, you are so good to the NFL. You are a fan. You'd talk it up and yet you have yet to play the halftime Super Bowl show. No desire. I turned it down many, many years ago. Oh, you did? I didn't like that you had to team up with other people and you had these people come in on your stage and all the demands and then the pressures on it. I, it didn't appeal to me to play at the New Jersey one. It seemed too obvious. Uh, the last time that honest to God we were at all interested was back when they had it in Dallas and we didn't get it. And I said, that's the end of it. I don't want it. I'm not even, I won't even talk about it again. That is such a smart thing, Jon. That is so wise. I think that's a lose-lose proposition. I never liked it. I liked some of the performances have been unbelievable. Whether it was Prince or U2 or, you know, there's been some amazing ones over the years, but not for me.

In a very real way, for the next five minutes, fucking zone out, I know they made... They made, like, an announcement topic, don't be on your phone, pay attention, we're taping. I would say, "zone out." (audience laughs) Standup is such an outdated and boring medium. It's embarrassing we're allowed to be up here. I understand how standup was interesting in, like, the 1920's, when entertainment was truly awful, and people were like, "This morning, we watched a locomotive go by," (audience laughs) "and then, we saw a show where "one of the whites talked for a whole 40 minutes," But now... "He didn't die of polio once!" But, now, it's 2020, you understand what you could be doing with your time instead of being here? You understand how good technology and entertainment has gotten? Right now, you could have sex with your phone while you lay down in the backseat of your self driving car, while your dog is in the driver's seat wearing sunglasses, cruising around, just fucking freaking people out. But, now, we're going to watch this? And, look, here's the thing: when I first found out about this, this is a huge honor to be here. I love everyone that works at Comedy Central. As a comedian, this means a lot to someone, to, like, be on this show, but, like, my honest-to-God first thought was, like, oh, yeah, it'll be great to do this taping because then, I can get a clip up on Instagram. (audience laughs) That's what this art form has become, do you understand that? No one's even watching specials unless you're like dragging trans people, being like, I've got to watch that because I'm going to need an opinion. The only thing... (audience laughs) That's it, that's honestly it! And, this is not anti-comedy that I'm doing, because nothing is more embarrassing than anti-comedy. That's, like, a comedian that comes up, who's like, I'm actually cooler than standup. Oh, cool, guess who else is? Fucking, everyone. You can't even admit to yourself that you want to do the embarrassing job of standup. That's like the person who wanted to be a singer, but now they bring, like, their own CD's to karaoke, like, oh, maybe put this in! Fucking, admit to yourself, you want to do it. It breaks my heart, because I love this thing more than anything, okay, I fly away from people that I love so I can do this job. And, Instagram clips, you understand what that means? That means now, as a comedian, we are competing against, for your attention, we're competing against Instagram butt models, an impossible task! You're looking at, like, a picture of someone's open birth canal, like, "Mykonos, take me back!" (audience laughs) And, then, it's my fucking well-crafted joke from eight months, that's what we're competing against? I do love, though, on the Instagram butt models' posts, there'll be like 400 horny guys commenting, right, but then there'll be like, that one, like, fucking white knight that's going to let her know, like, he's not like the rest of the guys, right? So, he'll post something innocuous, like, "Oh, nice pic, but, actually, like, what book you reading?" Cool, man, throw her off the send, let her know that I'm not into her, like, her boobs' meat, but also, like, her mind's meat. Or, I don't honestly have a joke for this, and you shouldn't do this on a taping, anyone watching, but, like, what's that thing, where, this is, like, a new thing, where, like, a new mom with a baby, she'll make an Instagram for her baby, and then all the captions are from the baby's point of view? Who is the... Why, who is that for? It's, like, a photo of a baby covered in chocolate, and it'd be like, "Mom said chocolate was going to "spoil dinner, good thing I got the ch-" (audience laughs) Who, why, which one of you is that for? I understand- look, fuck- its deeply sweet, but it's so creepy. It's the same kind of, like, creepy and sweet as like, when PornHub, around December, will upload, like, Christmas themed porn, and you're like, oh, why, is that for... Who? It's like, "Jizz the Season," what? Who the fuck is that for? Is anyone in this room, like, jerking off feels great, but what's the theme? So, I'll leave you guys on this. With your guys' help, because that's what the art form has become, and, no, I'm not cooler than it, I respect this more than anything, I need the perfect Instagram clip, so, I need you guys' help. First thing we need is for the camera guy, you're in the wide, can you frame me with enough head room so I can put an embarrassing meme, like, title above me? It has nothing to do with the joke, it's just like, "Dat moment your mom "makes your ex be homework." And, then, we'll put two very low-res emojis above me. You couldn't get the rights to this face, so... And, then, we'll leave some room for some embarrassing subtitles, because, you know, nothing's funnier than reading a joke. I'm not laughing, what's wrong, oh, what, okay, "dat moment the pussy slaps," okay, I'm laughing now. And, then, I need the joke itself, it needs to be, like, very broad, something that anyone could come up with, like, vegans suck, or gluten free people... And the visuals of the joke, it needs to stand out on your scroll, so I'm going to be very physical. So, don't be thrown by the fact that the visuals will have nothing to do with the joke itself, okay? And, the last thing I need from you guys, and, are you on there, does anyone have a camera facing this way? Last thing I need from you guys, is, from the dawn of time, Comedy Central will always do this one thing, where, they'll cut to someone who's really enjoying the set. Right, on the level of, just, like, Tom Cruise, I have all the Adderall and money in the world, and the person right next to them is this guy who's actually sleeping right here. And, it's, like, why, you guys are here. Why cut to this guy who's actually sleeping, and, no, no, no, you, go back to sleep, I need you, I need you, no, I need you. Shh, shh, it feels very weird, but you need to go back to sleep. So, you go back to sleep, you guys are killing it, so, the punch line will be, let's see. "That's like swallowing the needles." So, when you hear, "That's like swallowing the needles," you go crazy, you go back to sleep, okay? So, remember, physicality not going to match the joke itself. (audience laughs) Thank you, please subscribe. (audience cheers)

[ Jet engine revving up ] [ Sonic boom ] [ Music ] >> From an early age, I found that I had a fair amount of mechanical intellect just from playing with Legos and K'Nex. From the crazy designs that I used to come up with, it was pretty obvious to me that I needed to go into something with design. [ Music ] >> When I was a kid, I raised birds, and I also liked everything mechanical. I got a car from my grandpa, and I took it completely apart and put it back together again. Here's the HUD camera prototype. I want to see if it fits. That's way too big. This is the HUD right there. >> Yeah. >> So, yeah, we don't have much room at all. I've always liked mechanical things, and I think engineering was just the perfect fit for me. I think I was born to do this. [ Music ] >> I went to air shows when I was a kid where you could fly in the plane for a penny a pound so it was a pretty good deal when you're little. And I think, at that point in time, I always thought I'd be working on aircraft in the future. Aero mechanical design group integrates hardware and systems into typical military and commercial aircraft to make them flight research vehicles. >> A common task for the design group is creating and designing a bracket or a fixtures to hold a research instrument on one of our airplanes. >> You might have a new probe that goes on an airplane and they want to fly it on an F-15, we'll help build a probe or tell them where they can put it or tell them what their limits are and what we can do for them. >> Generally, it'll be an instrument that measures something in the air or some sort of camera system, that kind of thing as far as taking what somebody already did and integrating it into the aircraft. >> We are the middleman in coming up with the data for research projects. >> A lot of the design work that we do has to account for the environment that airplanes operate in. That might include climate, where it gets very cold and very hot, and being able to function well in the air stream if something is mounted on the outside of the airplane. It also has to account for precipitation and corrosive effects of the environment to make sure that the air worthiness of the part isn't compromised during its mission. For example, if a sensor is being mounted to the skin of a wing, we might have to design or change the shape of the wing to allow for proper airflow around it during flight. >> This is our Gulfstream aircraft. And right now we're testing a morphing flap. Basically, this flap flexes instead of actuates downwards. My job in this project was to facilitate the installation of the flap into the wing. Some of those roles include creating drawings for structural components that attach the two together and providing up-to-date inspections, verifying that the flap surfaces align well with the predicted flap data. Right now, I'm going to bring in the reference model for the right wing that the scan will be compared to. And you can see that we have a really good match. Basically, the green shows that the two surfaces are aligned very well. The blue surface is showing that the surface is slightly below where we predicted and red slightly above. It's important for us to know that the two surfaces are aligned well because previous predictions were based off of an idealized model. The idealized model tells us that the plane is safe. However, if we go back and we find out that the actual airplane is not joining up well with that idealized model, our predictions for flight safety are no longer valid. [ Airplane Sounds ] [ Music ] [ Background conversation ] >>If we can-- if we put the cone on and then just leave it. Can we leave it for a while? We'll come up with the design and then we'll often times run it by the crew and decide if it's okay with them as to where we put it and how it's going to be mounted. And then we'll have structures people look at it. Knock, knock. >> Yeah? >> We'll take the preliminary drawings down to the shop, either sheet-metal or the machine shop, and have them look at it-- see how manufacturable it is. Is there a lot of difference between manufacturability as far as aluminum vs. stainless-? >> Absolutely. >> On these parts? >> Oh, yeah. >> Aluminum would give us a good trial maybe. >> That's fine. We could always come back and make another one. >> Right. >> Are you redrawing this now, then? Are you making some modifications? >> I'm just making the fixes. >> Okay. >> All right. >> And then when you do, bring it back over. >> Yeah, I will. >> So we can look it over again. >> That sounds good. >> Okay. >> Thank you sir. >> All righty. >> All right. This is the inside of that nose cone that we're looking to put on. We've gotten the nominal sizes of the equipment from instrumentation and we put that on the pallet. We only have so much real estate so we have to just make sure that everything is adequately spaced, we know how big it is. And we're just taking those components and doing a-- just making sure we have enough room for everything. [ Airplane taking off ] >> In SOFIA, we added all kinds of things to the aircraft inside and outside, pretty extensive modifications on that aircraft. We had to install large thermal insulation blankets and foam insulation into the telescope cavity. We added maintenance stairways and scaffolding into the cavity, added all the racks. [ Airplane landing ] >> After the part has been installed and it's been signed off, we may be called back to do revisions if the project requirements change while the part is being used. For example, we found that the cameras on the back of the aircraft were getting way too cold. Because they were getting cold, they were distorting the lens and, thus, distorting the picture that people were seeing in the control room. I'll be taking a look at that and trying to find out a way to prevent the cameras from getting too cold so we don't have this problem in the future. >> The HD camera goes to minus 22 degrees when we're at 40,000. >> I think what's happening is you've got an aluminum body which contracts a lot with cold. >> Exactly. Yeah. >> And it's just crushing the lands. >> So it's not even the polycarbonate that's the problem, It's the body. >> If we take the case that you can-- you're talking about and we cut it in such a way that we fit it into-- like take-out-- >> This RTV. Make this hole a little bit bigger and then glue the case to the panel, so that the camera's still not really touching the case... >> That sounds good. Okay. We'll do that. >> I like designing because I get to try to be imaginative, try to figure out things, develop my own ideas on how to do something. It's interesting to me. >> You never know what good idea is going to turn into something great. >> One of the coolest things about my job is I get to work on nearly all the airplanes at the center. On one particular day, I might be working on a remote control airplane, a glider, and a fighter aircraft. On another, it might be a 747 or a small propellered airplane. What keeps the job interesting is the great amount of variety of design tasks that are always required. We provide support in many engineering areas kind of like handymen for the engineering world. >> I think a lot of people think that engineering isn't creative as art or something, but there's a lot of different things you can do with the facts you have. And that's what I like about engineering. We're doing good science and we're trying to make the world a better place. To get paid to have fun to do things like that- to do good things and feel good about it- I can't think of a better combination, really.

4 glass water for 4 portion Ramen noodles Prepare chicken stock add water and 1tsp pepper chicken marinate with salt&pepper celeries add seasoning packets of ramen noodles add oil,chopped garlic & kashmiri chilly add soya sauce 8 tsp(for one portion 2tsp) chicken stock add celeries boil egg for 6 minitues pour into bowl and top with fried chicken & celeries egg slice it into half n keep above the ramen

Kropotkin is a biography of the Russian anarchist Peter Kropotkin written by Martin A. Miller and first published in 1976 by University of Chicago Press. In comparison to the earlier Kropotkin biography, The Anarchist Prince, written by George Woodcock and Ivan Avakumović in 1950, Miller's Kropotkin was more comparatively more scholarly and critical, with a fuller bibliography

Blake Tower: They're calling this on The Punisher. Sam Stein:The Punisher he's dead. DareDevil:You run around this city like its your damn shooting gallery. Carson Wolf:You don't know how to die do you. George Buck:He just didn't want to die. Samantha Reyes:Frank castle. Samantha Reyes:Brutally tortured. Samantha Reyes:And Murdered thirty people. Billy Russo:You do this to me Frank!? Biily Russo:I said. Billy Russo:Did you do this to me? Frank Castle:You god damn right I did. Frank Cast:One batch. Frank Castle:Bang. Frank Castle:Two batch. Frank Castle:Penny and dime. Frank Castle:Next time I see you, only one of us walks away. Frank Castle:You should've stayed in your hole Bill. Frank Castle:You're gonna learn about pain. Frank Castle:You're gonna learn about loss. Frank Castle:RUSSO! Frank Castle:I'M GONNA WATCH YOU DIE!

Хочешь пикать как про? Изи Пик - лучший помощник! Выбирай героев и смотри лучшие контры / союзники Бесплатная приложуха на рус в описании!

Hi and welcome to our OpenSpace presentation today celebrating the 50th anniversary of the return of Apollo 8 on the mission that took the first humans to the moon fifty years ago today their successful return and just a few days ago during Christmas Eve they arrived at the Moon and stayed on the Moon for 20 hours which was essentially 10 orbits. And I'd like to thank the StarNet NASA at My Library for setting us up and allowing us to do this today. So once again my name is Carter Emmart and I'm the Director of Astrovisualization here at the American Museum of Natural History and what we'll be demonstrating today is something called OpenSpace. Thanks to our colleagues in NASA funding, the StarNet library network, we're very excited to work with today. So I'll just read a little bit of introduction about the StarNet library network: It's a hands-on learning network for libraries and their communities across the country which we're very honored to present to you today and the website is starnetlibraries org. The StarNet and NASA at My Library program helps library professionals build their STEM skills by providing science technology activities and resources — that's the STAR — and training to use these library resources. Over 8,000 librarians / STEM professionals have joined StarNet to access STEM activity and clearinghouse blogs, webinars, workshops, partnership opportunities, information about upcoming national STEM events and StarNet online newsletter. Partners include the Afterschool Alliance, American Library Association's Public Programs Office, American Society of Civil Engineers, Chief Officers of State Library Agencies, Cornerstones of Science, Education Development Center, Lunar Planetary Institute, and many others. I would also like to just give a shout out to what we're going to be demonstrating, OpenSpace. And OpenSpace is also supported by NASA's Science Mission Directorate and we'll go to this next slide. I'm here with Micah Acinapura our developer here at the American Museum of Natural History and he will be taking care of some of the technical challenges today as to enable me to present. So OpenSpace is an open-source software project. It is freely available thanks to our Science Mission Directorate funding, the same source of money that's supporting the the StarNet Library Alliance. And OpenSpace is really a project that is a collaboration that started working since 2002 at Linkoping University, which is one of Sweden's leading technical universities. And a lot of this code has been written by students doing their master's thesis projects in OpenSpace. And so we have it available for Mac and Windows as well as a Linux version can be compiled. And if you go to openspaceproject.com you'll also find tutorial videos to help get you started. So the American Museum of Natural History and Linkoping University and when we received NASA funding, it enabled a widening of our partnership to the University of Utah's Scientific Computing and Imaging Institute as well as New York University's Tandon School of Engineering. So without further ado I think we will now get started and what I'd like to do is take you back to December 21st 1968 and the beginning of Apollo 8. Wonderful, thank you, Micah. So I'm gonna take over now and and just be able to steer the earth into focus and I'd like to just give a little bit of a description not only of the mission — okay so we're running, okay, we're paused just before launch. And I'd like to just point out that the mission of Apollo 8, as bold as it was, was really because that there were many things at play. The tumultuous year of 1968 had had so many things happening — with the assassinations of Martin Luther King and then after that, Robert Kennedy, and chaos at the Democratic National Convention in Chicago, as well as race riots, and so on — that was a tremendously difficult year. Also same year that we endured the Tet Offensive in Vietnam, really pointing out that Vietnam was a war that we were going to be exiting from and trying to get out from. So a tremendous year of strife and then all of a sudden at Christmas Eve we arrived at the Moon. Apollo 8 was originally just going to be a test of the giant Saturn V Moon rocket and to ride this three hundred and sixty five foot tall rocket just into Earth orbit there had been an earlier mission in October, which is Apollo 7, which launched on the Saturn 1B rocket — smaller, but it also used third stage of the Saturn V to actually put it into orbit around the Earth. And Wally Schirra's crew was able to test the Apollo spacecraft for the first time in Earth orbit. With the success of that mission they proceeded for Apollo 8 with the notion of going directly to the Moon. The lunar module was a little bit not ready yet it was still overweight and the Grumman aerospace was taking care of that on Long Island to make the lunar module ready for the later flights and of course the successful landing in July of 1969. But we also had intelligence reports we had images of the Soviet N1 Moon booster rocket. Just the same size as the Saturn V, it was not successful in its launch attempts — the rocket kept failing, blowing up, but we did see it on the pad in the summer of 1968. So George Low, one of the chief engineers at NASA, came up with the idea of launching Apollo 8 directly to the Moon without the safety of a lunar module, which of course was necessary in the Apollo 13 mission in 1970, when something went wrong on the Apollo spacecraft in the service module, the can behind the sort of command module, the capsule that would return the astronauts safely to Earth. So let's pick up now on Apollo 8 and its launch. Now what we see here is South America in this view and we're just about at launch time and Florida is just emerging, the East Coast is just emerging into daylight, and so that we'll see this, it launched it just a little bit short of of 8:00 in the morning. So what I'm going to do is just come over and allow us to look at — okay, Micah is guiding, alright this one, okay, very good. So if I just fade down the clouds — and the clouds, by the way are not the clouds of that day in 1968. This is current data that OpenSpace allows us to see, and so this is yesterday's image, essentially of the Earth taken by the NASA satellite, the Suomi NPP satellite. The VIII RS sensor gives us a daily mosaic of the Earth. So let's just fade that down for a moment and so we can see at launch time where Florida and the launch site are just coming into sunlight and this is all defined by when they actually two orbits in around the Earth it will light their engine to take us to the Moon. So here we are we can see Florida just coming into view and that — I think we want to start the clock, okay just, okay — so we're going to start Apollo 8, oh I'm gonna just slow it down — okay, okay so press one — okay, so we started off and for a couple minutes into the flight let's just come down and look at this more in profile. We're four minutes into the flight so leaving Cape Canaveral and climbing up out of the atmosphere and you can see that it's moving in an eastward direction and so I'm just gonna come down so that we can look and appreciate how thin the atmosphere is. So the Saturn V Moon rocket, the Space Shuttle — all rockets essentially — first launched vertically to take them up through the atmosphere and then once they're through the atmosphere, they arc over and start to expend their energy to put them into an orbit around the Earth at about 17,500 miles an hour which is lower Earth orbit. And in the case of going to the Moon, the Saturn V Moon rocket had to be so large as to basically launch their fuel supply in the third stage — they drop away the first stage, in the second stage, and the third stage they get up into space — so that they carry their engine with them check everything out for the first two orbits, and then light that third stage which is to give them enough energy to make it all the way to the Moon. So here we see the trajectory reaching up and out of the atmosphere. I'll bring some of the clouds back in, and we're paused. And so now let's see, we're at one so I'm just going to — now I'm running the clock again so we are actually running. But at this point we're going so slowly that it's really hard to see progress in this case. I'll bring Florida out a little bit again so we can see it. Now let's see, I'm moving along now — if I press two, well we'll be, I wouldn't go one minute per second — okay so come over to our controls and there we see the climb of Apollo 8 at basically one minute per second. And I'm just gonna pause it so that I can recompose. We see South America, in fact that's the mouth of the Amazon River in front of me, and we can now see across the Atlantic, and I still want to get a view so that we can still see the trajectory of Apollo 8 as it flew eastward. But because of the latitude of Florida, which is about —or the latitude of the launch site — which is about 28 degrees north latitude — it then starts to, having launched directly east, we will then arc across Africa down to about 28 degrees south. It's the inclination essentially of just launching directly eastward. We actually use the rotation of Earth to give us momentum when we launch eastward direction, we're actually carrying that momentum of Earth which gives us a helpful speed, and so insofar as the additional rocket engine burn to actually put them into orbit. So here we see Africa and I'm going to pull away a little farther so that we can see the whole Earth in this case, and the lighting that was at that time, and we're just going to now proceed again, this is one minute per second. Here they are going across the Sahara, and then this is Sahel, and then farther down across Central Africa and into the night. And so at this point the Saturn V has done its job: The first stage, second stage, and third stage, they burn just a little bit to help them go into an orbit about a hundred miles above the Earth. And so at this altitude, they're really just checking things out. We can now see on the night side of Earth we can see they flew just over Perth, Australia, and coming up right across Brisbane, Australia, as we can see, and proceeding back toward the light. But we will see actually and the lights we can see just there's a little bit of light out in the middle of the Pacific and that's Hawaii — you actually see the lights of Oahu. And then coming in across Mexico and we can actually see now that the Earth has rotated, because as we've taken an hour and a half to go around the Earth at low Earth orbit, the Earth has rotated that much more more or the East Coast has rotated that much more into the sunlight. So here we are coming in for our second orbit and once again checking things out and this is when they're preparing and making sure with Houston that everything is fine for their "Go" decision to light their rocket engine to send them to the Moon. I'd like to also emphasize at this point that all previous space activities have taken place basically at this time around this distance from Earth, a couple hundred miles away from the ground, just above the atmosphere. And so if this is just a couple hundred miles away from the Earth, we're up above it, that going to the Moon requires going about a thousand times farther away. So we're coming up on on TLI and that's going to happen in just a second. There's a faint line that they're just crossing there which is the International Dateline and I'm gonna pause this here. Micah, do we have a specific time? We're gonna go, we're gonna take you to that exact time when the burn occurred — and there, just a little bit farther than I was showing — and we can see the lights of if I just turn us such that we can see the dawn and again the lights of Hawaii and this is where they lit their rocket engine for five minutes to expend the third stage and that would give them enough speed to go from 17,500 miles an hour to 25,000 miles an hour for the climb up and away. Breaking the Earth's gravity, essentially traveling at escape velocity and aimed directly toward their rendezvous with the Moon. So at this point what we'll do is we're now going to go from from here and we're at one second per second right now so what I'll do is I'll just okay okay so what I'm doing is I'm just manually bringing this up what are we at Oh excellent so this is about 10 times that speed so we can actually see it moving but in this case for five minutes they they lit the engine and when they came around into the light this time we can already sort of tell that there were rising up away from the earth and so at this point as we come into the light what I'd like to do I'm just gonna slow us down bring us back down three two one now we're actually traveling at the speed as if that they were I want to just make sure that when we bring up just bring up yesterday's weather so that we can see that and I'd like to come in a little closer and if I do we'll come up on the spacecraft that will see is the Apollo 8 command and service module here floating and so that we can get its view as after the translunar injunction burned so what I'm going to do I'll speed us up a little bit more but this is at one second per second and this is what typically looking out the International Space Station you see it going by a stately pace what we're coming up on as far as land is that we can see Baja California and we can also see Mexico coming up and we see you see the beautiful glow of the Earth's atmosphere properly represented here in open space what we're doing or using a physics-based atmosphere visualization so we're visualizing the sky of light and the thickness of the atmosphere is true it's only about 20 miles or about 30 kilometers before it goes to black it trails off exponentially measurably such that beyond that that altitude but the visible line before the blue goes to black is essentially in about 30 kilometers 20 miles so here we are and we're still at 1 second per second and so this is this is the view the astronauts had I'm gonna speed it up by a factor of 2 3 4 5 and when I do we can see the previous orbit which we're now climbing above and what I'm gonna do is just turn us around so that we can look at the earth now the astronauts had discarded their third stage and so now it was just the command module and service module and when they looked back at Earth they could see that the earth was getting smaller because they were climbing higher and higher and so this is this has been something here I'll just Pan the spacecraft back in and I'll just move around the spacecraft in such a way that we're looking across the western United States here we can see the Sea of Cortez Baja California and then across Mexico and then the Gulf of Mexico and as the astronauts climbed out from here they were taking pictures and that the pictures that you can see in fact if you'd like to see all of the Apollo pictures you can go to project Apollo archived on Flickr and you can see every picture that was taken by the Hasselblad cameras that they took the world's best cameras at the time photographing on film of course and now we can see where Florida is once again I'll just drop the the the weather from yesterday Lincoln's we can see Florida where they launch from and at this point we're climbing away from Earth after the translunar injection burn CLI and the astronauts had had little Jim Lovell and well commander Frank Borman Jim Lovell had spent two weeks in a Gemini spacecraft and their training Bill Anders was the lunar module pilot and because they didn't have a lunar module he was sort of reassigned to taking of becoming the photographer for the mission so a lot of the images you see of the moon and so forth that was his job in fact Earthrise which we're going to get to and look at that that Bill Anders was a photographer but in looking at the earth here if I just pan from side to side we are above we're at this point where the earth is more of a horizon when you're in close in low-earth orbit and the earth had started to shrink and so after this translunar injection burn so now we can look from coast to coast the United States from Florida and the East Coast all the way across maybe Baja California again we could see California we can see the Great Lakes just look at this perspective in fact we can see all the way up into Canada and the Maritimes we can see the tip of Greenland and if we look down we can see Cuba and we can see Haiti and the Dominican Republic Puerto Rico and then we can see South America coming into view and farther across the ocean will begin to see Africa as well so we'll speed up a little more so I'm going up to 10 times and also as they climb up and away from the earth the spacecraft is going slower it's it's pulled by the Earth's gravity even though it has enough energy after the translunar injection to escape the Earth's gravity and so now we can just and open space I can fit the entire earth sort of in this view as we see North America recede now we can begin to see Africa we bring back the clouds way the astronauts would have seen near and so there and the Astros remark about the difficulty of seeing the geography that they're as familiar as as they were in fact the Landers was was was proud of his knowledge of geography was that how difficult it was just glancing at the earth to immediately sort of pick up the geography over in the upper right what we're seeing now is the bright area of the Sahara Desert looking southward we can see South America but covered with a lot of clouds especially in the Amazon basin and then we see some frontal systems coming off in this case East Coast as we look back so what I'm gonna do is let me get rid of the trajectory for a second so we're just with the spacecraft now in this view of Earth and you can see as I started talking about this the earth was just sort of filling full width and now it really is shrinking as as they left the earth so Apollo 8 was really the first three humans to leave the earth in and in a sense traveling escape velocity but on their on their voyage to the moon and oddly enough if I once turn around here and look to where the moon was now the moon when they launched was just about new moon so it's basically in line with the Sun and in fact I'll put the spacecraft just underneath the moon right here and so they're traveling off to where the moon will be in about three and days so it does as long as it took them to get there so like out what I'd like to do is I'd like to proceed in time now the earth is almost filling the entire view or the the vertical dimension here as well so now we see the earth very much as a planet and wanted to take us to the first television transmission it was about 31 hours into the flight so just past a day after after they after they left and so we're going to jump ahead here on this perspective they had some issues of the TV broadcast was in black and white but they had some difficulty attaching a telephoto lens to the television camera which they figured out a little bit later but I have just over a day into the flight having left the earth that they will be about halfway between the earth and the moon and so they start off fast and then as as they go farther and further out even though they're traveling escape velocity the earth is still kind of slowing them down so what I'd like to do is is I'm going to move away from bring the earth up rotate like this and I'm gonna move away from the spacecraft for a second and it will disappear and will go faster and faster out but I wanted to demonstrate how far away the moon is and so we're going to just move around so that we will whoops there we go I sort of went the wrong direction but here if I just bring we can now see the constellation Orion and we see its belt and the red right shoulder of Orion well left in this case we see that red star Betelgeuse I'll put the earth right underneath it but we can also see just moving around between earth and moon you can see how far away the moon is a quarter million miles or 400,000 kilometers away from us and as I say about a thousand times the distance that all the previous space efforts had taken place in just a couple hundred miles off the earth so this is Apollo 8 was about halfway between the earth and the moon at this point so let me dive back down here I'll put the moon sort of in foreground for us but now I'll proceed back toward where Apollo 8 is notice how its Paolo 8 is actually off at a point not between the Earth and Moon it's actually on a trajectory that will it's moving toward where the moon will be and basically or three-and-a-half days after launch and so you're not seeing anything because I'm just I'm closing in on the spacecraft which is like literally finding a needle in the haystack there it is it came in from the side and so here it is and also another interesting aspect of Apollo is that out here in space the spacecraft would actually rotate so that it didn't get too hot on one side or too cold on the other so they called it barbecue mode and we see a four we see a cluster of four dish antennas which were typically aimed back at earth for the communications purposes so after traveling three and a half days now let's take us to the approach to the moon so I'm going to have my Chi set us up for that and it's important to point out just what a level of difficulty this was and the amazement of the engineering team at NASA in that launching to the moon they're actually not aiming directly at the moon but at a point about sixty miles off the surface on the leading edge of them yeah if we can show that this is great so now we're seeing the moon approach trajectory or the trail of the spacecraft and that it was coming in and also we can if I just look at this we can actually see the effect of the moon's gravity beginning to bend the the the path on its way in to the moon so we're gonna come in close and we're seeing now this is the far side but the thing was is that as they came in they came in darkness so they didn't actually see the moon on approach and they would see it only after they're flying out of communication with the earth so if I come in close enough now to the spacecraft at this point that the the earth has already set and so let's see so coming in that once the earth goes behind the moon there's no radio communication so ten minutes before they had to do their burn or fire their rocket engine the big rocket engine on the back of the service module is to break is to slow them down just right with a burn just long enough to actually put them in an orbit that's going to and essentially they'll stay at the moon for ten orbits around the moon but they're they're flying backwards essentially with their engine in the direction of travel so they could burn the engine and put them into orbit so 10 minutes before they had to light their engine they went into radio silence from Earth and so they had to carry this out on their own on the backside of the moon and so we're gonna come in we'll see the spacecraft and we also see the rugged far side of the Moon this is the first time that that humans had seen the far side of the moon in fact their first view of it because they are in so close at this point was to see the long shadows that were being cast by the sunlight on the very Terminator as is called the different the line between day and night on the moon so and I read preceding it one second for a second we are okay so here as they were going over the moon before their burn you can see there is a slight amount of you can detect the motion here of Apollo 8 around the moon now the famous Earthrise picture we'll get to but because the orientation of the spacecraft they didn't see the earth rise until their fourth orbit so here we are and we're going to proceed I guess a little bit to where they they burn the engine so proceed let's see it's 10 minutes so why don't we what should I do you want to just jump to it every game - ok so as I say shortly after the the earth went into essentially the earth set and they were out of communications The Sun has hadn't risen and so that Bill Anders talked about how when he looked at the moon me he saw that there was nothing there they saw the Stars once the earth set was kind of their light source the Sun had already set that they were in this this dark quadrant of the moon essentially not lit by earth or Sun and so they saw many stars but when they looked at the earth it just saw or they looked at the moon they just saw black we're flying over the where they did their burn this is on this line here is actually part of the map so that it illustrates the in fact the back side of the moon right in the middle of the backside of moon and this is where they fired their rocket engine we have a little bit of difficulty in rotating the spacecraft to actually show the engine and it would be in the opposite orientation so in the direction of travel we would have the rocket engine actually it would be a 180 degrees to what we see is okay we're three times the speed I'm gonna bring us back down to one second per second zero oh there we go to one second per second so this is how fast they were going once they had fired their engine slowed them down to go into orbit now I can't emphasize enough the danger in this in this maneuver because by braking by slowing down to go into orbit they would then have to use this rocket engine again successfully bring them home and so one design for the mission just had them go out go around the moon and come right back home but NASA knew that they would have to test this engine for the later flights so they decided that they would use the rocket engine to go in orbit around the moon they discussed well should they stay longer than ten orbits or just maybe one orbit and Frank Borman was in favor of I think just one orbit and coming home but NASA decided no I would like to take many pictures of the landing site and so on so they decided on 10 orbits and from this perspective this is what the moon really looks like so these maps just like the Earth Map that we saw is more recent data that in this case what we're looking at for the moon is actually data that's been taken it's a it's a mosaic of images from NASA's Lunar Reconnaissance Orbiter and their wide-angle camera bets down to about 70 meters per pixel or so and then we also have the laser altimeter that was on the Lunar Reconnaissance Orbiter that my many orbits it gets basically aligned it gives you the profile that we have this nice elevation map of the moon now that so that putting together that the image as well as the elevation allows us to look at the terrain and what we have here right now is a lighting it's an Eastern lighting so that we can we can see basically the shadows on the terrain thanks to this map as well so we'll turn the moon more like a landscape and set up for the earth rise that as I say the spacecraft was not oriented properly to see it until the fourth orbit but in rotating the moon here sort of flying low over it just in the same way that we had been flying previously in all previous space efforts around the earth is that while above the earth or in the moon in this case is that yes we're up close but still we're at this high altitude but everything we sort of see half of the sky if you will so we see the stars but then we look down we just see the moon because they're in so close once again they are about 60 miles off off the moon and at this case the first humans to go there that the first eye is to really set set on the set their sights on the moon so what I'd like to do is it has come out and pull away so that we can look at the trajectory around the moon and so we can gain an appreciation of that altitude that they were and we can see the the orbit I also want to point out that this trajectory everything that we're showing you had to be reconstructed from various sources us just beamed up now or actually should I go one minute okay let me pull back a little farther than that yeah one minute yeah okay so we're now gonna proceed at one minute per second and I was beginning to just talk about what it is we're visualizing here for you is that this path around the moon while we have records of it that were written down that an engineer at NASA Goddard's of science visualization studio studio Ernie Wright has put together a lot of these sources did a lot of work to reconstruct this trajectory and he's part of this visualization team to allow us to actually see where it was we flew we're passing into the dark again but on the near Side of the Moon so the the big circular area we see here is Mari Crisium and we also see other moiré features that before going into the dark side but or the dark night side of the moon in this case so from Earth we get a view like this so the moon was a crescent at the time that Apollo 8 flew so what I'd like to do is just set up now for the Apollo Earth earth rise all the way Reisman orbit for mike is going to help us here and we're going to also show you exactly what that looked like from this perspective with the trajectory creation and so we've jumped ahead in time now to this specific event for broadcast you want to talk about the broadcast yes and so we're also going to we're going to synchronize audio here to allow us to play the actual audio because NASA planning everything they knew exactly where everything was going to be and and their photography schedule but they nobody thought about hey let's take a picture of the earth rise and so they basically stumbled on this and and Bill Anders taking pictures you'll actually hear him remark about seeing the earth out his window we're coming up on a crater that's just up along the horizon called past door and so we're on the far side of the moon but as the Earth comes into view that when I get the radio signals to communicate back to Houston but also the astronauts this is the onboard recording that we'll hear so I'd like to get a little closer to the spacecraft and now we actually thanks to Ernie I mentioned the science visualization studio at NASA Goddard we also have his reconstruction here of the pointing of the spacecraft and we know that because of pictures that were being taken out one of the windows automatically and so that gives us the orientation the spacecraft was about to do a role as you'll hear from the audio okay we're just checking that out make sure that we have it for you it's Lincoln so we're just jumping to make sure the audio comes through for you all with this okay all right it's my good well Mike is taking care for that just mentioned that on board the spacecraft they had you know multiple cameras one of the Hasselblad was over by the commander's rendezvous window so they're two windows that sort of faced forward above the consulate oh here we go so we're just syncing that up for you to hear sorry for the delay wonderful great and there's a tremendous video that earning right along with Andrew Chaikin the author of a man on the moon did which you can you can watch that they've put together and they did a for 4k resolution version that they just released for this celebration he was looking down in this direction to that crater you can see the spacecraft is rolling and now there is here Oh ketchup so now inside the Landry window yeah what involved that window is about the size of a human head okay the first picture was black-and-white 250 and we also have the pictures that were taken I'll show you those that was the first one in black and white and by the time they got the color together we can see that the two color pictures sorry for talking over just a little bit at the end of that transmission but you can see that they were very excited by seeing this view and really only three exposures were taken but bill Enders really knew what he was doing and the famous one was the second one the earth above the limb and that had never been seen like this before in a sense of humans haven't seen it even though lunar orbiter had taken a picture a couple of years before electronically and digitally sending that back to earth that this was really the first view of Earth rise ever seen and seeing the Earth rising above a lunar landscape in the way that we're so familiar seeing the moon rise above an earthly landscape this interior scan I'll try to just move a little bit in away from the window is thanks to the Smithsonian allowing the freely distributing their three-dimensional scan of the Apollo spacecraft so if I there's the front rendezvous window and then we can look across the console that this is actually Apollo 11 so Columbia's module the Columbia spacecraft but they were virtually identical so we're using the scan to give you a view of the interior of and that's the hatch window and but these windows here emceeing Earthrise so what we had a funny comment that Peter said calm down level always makes him laugh well shit we probably laughed a hundred times at that putting together presentation right so this is Anders telling a level to calm down so what we're gonna do now I think is well we'll go back outside the spacecraft and and well we're gonna go to the beginning of their television broadcast and so in this case we're gonna sync up the audio as well and so this is on their last orbit they're coming around Earth had just risen so this is this is now multiple orbits later but the astronauts described the moon and their view of it and so first Frank Borman then Jim Lovell then Bill Anders and then the broadcast was long and with some dead times here and there so we've edited this will show you just the beginning and they describe and then the end with their message to earth oh wait this is the second broadcast okay just want to make sure yeah okay so we're we're just going to reset here for a second the spacecraft is roughly the correct orientation it was aimed somewhat northward so that they could get a good camera view with television camera which is black and white those color pictures of Earth rise of course had to wait for the film to be developed back on earth after they they got back so one can look at the broadcasts on on YouTube that are black and white but here we'll see the audio Frank Borman talking man so so we wanted to break at this point just to do an edit as we're getting short on time but we're also we want to bring you up to the dramatic closing of their television broadcast NASA well when they asked NASA what do you want us to say NASA merely said say something appropriate so we'll go to the end of the broadcast they also had technical difficulties such as the TV cutting in and out as we just heard the voice of control you only actually might go thing to turn the accurate normals off for a moment that's great and so we will now proceed think back Peter right behind the spacecraft is is what bill was describing that grill using the spacecraft as our pointer here Jim Lovell this is Apollo control Houston the speakers in the order that they read from what we believed to be chapters from Genesis for Bill Anders and Jim Lovell and close out with Frank Borman Fitz was a biblical and geological lesson that none of us will forget at 86 hours and nine minutes into the flight this is Apollo control Houston so with that the crew of Apollo 8 read from Genesis and prepared one more trip around the backside we'll do that now and and watch as Apollo 8 lit its engine on the backside and climbed away from the moon successfully bringing them back to earth so mike is just gonna help us I think proceeding toward that but they went into darkness and this crescent moon seen from the earth and then on their on their final orbit lighting the engine so that they could climb back the trans earth injection so just as we had to do a trans lunar injection burn here we can see the path of the spacecraft and we can see the previous orbits if we just move out in such a way like so that we can see and but at this point the spacecraft is is firing its engine area Joe one second for a second so at this point they are firing their engine I am a pro grade manner so the nose is pointed forward and that if I just pull out so that we can see the previous orbits and that will will now go for one second yeah one minute per second that we will now speed up but we will also be able to see how that orbit the increase in velocity allows them to pull away and climb up away from the moon on a trajectory that will arc and the moon will continue to sort of shape their and their orbit at this point but coming around in this way I'd only recenter this just a little bit that we can now see the trajectory extending up away from from the moon they had flown over a crater that has a dark flooring to it called silk off ski and the Russians named co-con ski because they were the first to visit the backside take a picture of the backside with a video camera in 1959 so here we see every scene climbing away all right so with this I would just want to thank you all for watching us on the presentation here and on this 50th anniversary of splashdown day the first successful nor the first trip really to the moon with humans it didn't land but in orbiting the moon coming back and setting up for the success of the later missions and the landing on the moon so thank you very much and we'll just let this play out a little bit as as we go riding back to earth great I'm gonna speed up again one hour per second yeah just look back to where the earth is yeah there's earth it's shot out in front but we'll Ark back to where where the earth is we see here the churning because I now have one hour per second okay so I'm going to I'll just stop that and welcome goes to the spacecraft yeah okay very good thank you thanks all

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onlin o dive you shoing to attcthe area fish areou loong io that at all infoation about tha Iean weny see t r t not in not in t usual lookg into thald would beinrs so I a I am I want to stre th it's that tt it's t presee of this is a pretor prey it'she predent's presee o seals tt areeally the dver re and ah is there any thought of beaches f tse twenty four hours wh what's actuay going on so cause of the rary ofhis issu an theact thawe hav consuld ver r fishers we fl le the thet pruden e to just contie toxpress whil rreatin smming and and reeating it's it's there again ie u takection suc as alosure th being sai toer I mig have bee in cse conta with coission bl pctor coervati as you a know whatepartt coervati is i charg of the state parks around theorner yohave pblem bea and rea thats an aa where bause ooday be ae to obsve a sharks inhe bod but I it's my undstandi tha park manag has p a a basicay a se for now ile we ctinue to iestiga an talk withhe expts on is matr thother swimmer dahter or granddahter she physicr I I can confirm that was her ughter and she was not injur sh was able to sng bk by and andr very shortly after but if you kni action tooth h daughr d som eyeitness who are able to both regnal and lal E two yes ago twen ydse was approximately ye is rresent reports of seals witn the aa are thas is i something tt is a coon you knofairly comn occurrence thrghout the rougho the yr is importt to not a cords dating bac in the late ghteen huneds around t in t Gulf of Maiwhite sharks so ports of gat white i tivity a aith great whis is is nn viously thi typ of issue is ceainly n t to Maine you have t o Maachuses I shld let you fol kw that ad schl schoo is definity avlable the havior a theions about chacteristics o great white he ie e subjec matter exper on the east coa the sorder whaver roadtle bit at networ ofhe Pacrs are wen actuay recving these pele yeah I a wt w are to prote th the family and ty kayake intie no goi to the nam but I I cat sess enoug the tnks that w ho you ow it in theace of that thatrea able to to kay into shore was was nothing mor tn than themand weertain sierely tnk them th were the numbers let's see do y know if the sha wri a ill inhe are when the kayake goth that we we're we're not are of y addional sigings aft after thenitial conct inrmatio about wt it wld be and the traction ah I I don't wna I I'm ceainly not t subje mter exrt but in having coersatis wit Massachuses you know those pe tha at a wearing thou it's is it's nott agaal somethg wev nsider in Maine wats as far as wo at's t given that gen t fact that it's summer and and even worked i f o more patls reinate ste park orke mething where you kno there gonnbe a large gathering of pele just do nothi to affect thputs some peopl a eas ye that' absutely our earlr to increase o ourtentn asd the public a highe profile alg t coast as oosed t en we' oen wking fieries related isss and ing so in a more cort 's cerinly a you kw thatt y know it ain i istt justt tric t als you kw when isoted incidene ki of you kw worki our w rough the the state nev with this occurree happengn beings or all thearbor master I mean that goes out to harbormasrice they can ping everybody say listen i y s anythg you need to k yeah we do that we do we depament mine rources andommunae thugh other outts and and you kw itommunite regular masts and our field sta as a heah harbormast is t local mmerci fishing commuty and otrs just along the the waterfnts communationethod of she was t did s in tt neiborhoo and sen they ty defitely ppertyyeahow rit in that area it underand it they snt fo five mths every smer here theye n thcommuny very acte within the community whi the were re duringhe sumr month yond that I I rlly d't knowf you ha athing to a thatou kw I'm I cse witief the Htzea l c d thatn fact Jia a her her huand are just well kwn very specte individls and the counity i reay abo a tryi to pcess yesterd's event one the fst things ttns onress was put it in an annncemen l throh our g delery system to our commeial fiermen wit an area an tod were eanding that notice to a members of the publis f you're seeg if youee any sort ofy r e u f formatn tha w get aund at activity will hel u a infoation ang to the rearchers who areollowi thshark we do kw that tre are som two hun tagg over the yea stly off Msachusts but th all he sateite tags on so reviing tt data to see ifand there any any indicaon that some the cent days butd nth in thisvent the fact that is happens contue to urge evebody main vigilant when ty're i any areas of high probality ght grea at a is all s tha yo pfect thankou ver mh I apprias Jeff Nichols

Una pregunta. ¿Tu perro tiene una identidad sexual? ¿Se identifica como caninosexual o algo así? Pues no. Los perros simplemente tienen sexo. Lo tienen en público, en tríos, con cochinos, patos, tigres, ¡incluso con seres humanos! ¿Tú tendrías sexo en la calle como los perros? ¿No? ¿Por qué? ¿Porque es ilegal? No creo. Bloquear una entrada con tu coche es ilegal pero muchos lo hacen sin pensarlo dos veces. Aun cuando todas las policías estuvieran de vacaciones, no tendrías sexo en la calle porque lo que te frena no es la ley sino la mirada y el juicio del otro. Ésa es la diferencia que vimos entre el sodomita y el homosexual en el vídeo anterior. La actividad del sodomita es regida por una ley externa, entonces simplemente toma precauciones. El homosexual, en cambio, es regido por una idea interna. La emoción que guía su conducta no es miedo a un castigo sino pena al no conformarse al ideal o norma que ha adoptado. Como había comentado, el poder de esta forma de controlar el sexo, un modo que Foucault llama el ‘despliegue de la sexualidad’, reside en que la norma no se percibe como algo impuesto sino como una manifestación de la propia naturaleza de uno. Una de las tesis generales de Foucault es que el poder en la modernidad se ejerce de esta forma, los sujetos vigilando a sí mismos. Uno de los tesoros de mi biblioteca es una edición de El amante de Lady Chatterly de D. H. Lawrence que en la primera página dice “Es prohibida la venta de este libro en el Imperio Británico”. ¿Por qué era prohibida? Porque hablaba explícitamente de una relación entre un hombre de clase baja y una mujer de la nobleza y la describía con palabras nada aptas para oídos gentiles. Estamos hablando aquí de 1925. Ahora, compara eso con Los cuentos de Canterbury de finales del siglo XIV. Ahí se habla del sexo de forma muy chistosa, colorida, como parte normal de la batalla entre los sexos y la vida social en general. Foucault no menciona estos libros pero podemos usarlos para ver cómo se dio la transición de una actitud muy abierta y franca a una donde la sexualidad queda muy circunscrita, delimitada de hecho a la recamara matrimonial. Lo que hace el despliegue de la sexualidad es que divide tajantemente lo normal de lo anormal. Si lo normal reside en la recamara matrimonial, ¿dónde está lo anormal? Pues, en los burdeles y manicomios. Volviendo a esa llamativa frase de Foucault - “El sodomita era un relapso, el homosexual es ahora una especie.” Lo que quiere decir es que el homosexual no es una persona sino un tipo, una clasificación, igual que “la prostituta” o “el loco”. Ya estamos muy lejos de los cuentos de Canterbury. Dice Foucault que ese despliegue de la sexualidad efectuó algo de gran momento, 1 que “subrepticiamente transfirió los placeres no hablados al orden de las cosas que se contabilizan”. ¿Qué dice aquí? Pues, por un lado el placer es algo que simplemente se experimenta. El punto es sentirlo y disfrutarlo. En este sentido es mudo, no hablado, siendo una experiencia que compartimos con los animales. Pero, a diferencia de ellos, nosotros podemos fijarnos en la experiencia, analizarla, medirla, en una palabra - contabilizarla. Esta contabilidad es lo que explica el paso del sodomita al homosexual. A través de prácticas como la confesión religiosa, el análisis médico, y la interrogación psicoterapéutica, algo interior y vago se exterioriza y se define. Podemos ver un ejemplo actual de eso en el así llamado “trastorno de déficit de atención”. Esto se refiere a personas, principalmente niños de primaria y secundaria, a que les dificulta concentrarse y poner atención. ¿Te acuerdas de la comparación que hice entre la sexualidad y la vialidad en el último vídeo? Dije que hay muchas formas de manejar un coche en la calle. De igual modo, hay toda un gama de formas en que los niños pueden portarse en la escuela. En la vialidad, queremos eficiencia en el transporte, y por tanto se imponen leyes. En la escuela lo que se quiere es, a fin de cuentas, que los niños aprendan lo que sea necesario para funcionar bien en la sociedad. Se trata de un proceso de conformación o normalización. Por cierto, ¡no es por nada que las escuelas en Francia y en América Latina se llaman escuelas normales! Bueno, estamos hablando de ese trastorno que comenté. ¿Por qué se llama trastorno? Pues, cuando tornamos algo, como un tornillo, la rosca tiene que ir en un sólo sentido para que logre meterse en la madera o lo que sea. En el salón de clases eso es lo que se busca, que la rosca de todos vaya en la misma dirección. Aquí vemos un salón que parece bastante ordenado, pero siempre hay un travieso, como un Bart Simpson que trastorna las cosas. Su rosca va en el sentido contrario. ¿Cómo corregir el problema? Se podría imponer leyes cuya infracción tiene consecuencias. En esta situación Bart es simplemente malo. Es como el sodomita en nuestro ejemplo anterior. Pero hay otra forma de control mucho más sutil que consiste en convertirlo en un tipo, en una especie. Esto es lo que ha sucedido con ese trastorno de déficit de atención. Hay que tener claro que para Foucault esta categoría de personas no es natural sino socialmente producida. Ciertas personas, por no conformarse al régimen requerido, son medicalizados, convertidos en patologías y así tachados de anormales. Es en este sentido que la simple experiencia de un travieso es transferida al orden de las cosas que se contabilizan. 2 Les damos medicamentos para tratar el problema pero el verdadero efecto del ejercicio de este poder reside en la identidad que produce y que los niños adoptan. La conciencia de su penosa “condición” influye mucho más ampliamente en su comportamiento. Bueno, volviendo al tema del libro, hasta ahora hemos discutido a fondo el despliegue de la sexualidad y el tipo de poder que ejerce. Es lo que opone a la hipótesis represiva con la que empezamos el primer vídeo. Como debe ser muy claro a estas alturas, lejos de una represión del sexo, hubo una explosión discursiva sobre él. Lo que quiero ver ahora es cómo Foucault explica concretamente este proceso de convertir el sexo, ese placer no hablado, en discurso, en el orden de cosas que se contabilizan. En pocas palabras, cómo el discurso produjo la sexualidad. Foucault introduce una metáfora literaria para describir el interés fundamental que guía su investigación en estos libros. Dice que lo que quiere hacer es “transcribir como historia la fábula de Las joyas indiscretas”. Éste es un libro de Diderot en el que un sultán tiene un anillo que puede hacer que hablen los órganos sexuales de las mujeres. Eso nos hace reír, pero simboliza para Foucault la historia de la sexualidad en Occidente, una historia en la que una voluntad de saber nos hace hablar la verdad sobre nuestros deseos y da a luz por tanto a la sexualidad. Es por eso que Foucault subtituló este primer libro “la voluntad de saber”. Nuestra pregunta, entonces, es, en nuestra realidad social, ¿qué es el equivalente de ese anillo del sultán? ¿Qué nos hace hablar la verdad sobre nuestros deseos? Para Foucault, el despliegue de la sexualidad se lleva a cabo principalmente con diferentes formas de confesión. En Occidente, las diferentes formas en que hablamos la verdad de nosotros mismos se rastrean a la práctica confesional de la Iglesia. Pero se originó no para los feligreses sino para los monjes. Al convertirse en monje, uno no se convertía automáticamente en un santo perfecto. Aun luchaba con deseos pecaminosos. ¿Cómo controlarlos? Como en el caso de Bart Simpson, un castigo como la auto-flagelación podría servir, pero los abades se dieron cuenta de que los malos deseos podrían dominarse al exteriorizarlos en el habla, una especie de exorcismo lingüístico. ¿Suena familiar? Al sacarlos de la tenebrosa región del alma y ponerlos sobre la mesa, se vuelven claros y manejables. Pero la confesión se trata no sólo de pecados ya cometidos sino de controlar los que cometerás en el futuro. Es que las detalladas preguntas del confesor, ¿cuándo, 3 cómo, cuántas veces, dónde estabas, qué sentías, en qué pensabas? – todo eso llega al nivel del deseo mismo y lo moldea. De lo efímero de nuestros placeres y sensaciones, la práctica de la confesión va tejiendo una estructura psíquica que canaliza el deseo, y por tanto la conducta a futuro, en términos de las normas implícitas en las preguntas. De las celdas de los monjes, pasó a constituir un medio para el control social en general. La relación confesor-penitente se manifiesta en las relaciones psiquiatra- paciente, maestro-alumno, padre-hijo, médico-enfermo, juez-criminal. En estos casos, no se trata de confesar pecados sino de contabilizar estados físicos y mentales, hacer detallados exámenes, desarrollar historiales autobiográficos, documentar pacientemente la conducta de uno y su contexto. Todos estos datos legan a formar un sistema que, por la autoridad del médico o terapeuta, pretende ser científicamente objetiva. De la misma manera en que el botánico encuentra un hongo en la selva, el terapeuta encuentra en su práctica a un histérico o la autoridad judicial a un delincuente. Las historias que investiga Foucault a lo largo de su obra, sea sobre la locura, el castigo y la vigilancia, o sobre la sexualidad, tienen en común esta producción discursiva de identidades: el loco, el neurótico, el homosexual. El hongo no se produce de esta forma, pero el homosexual sí porque la misma dinámica de esta interrogación entre autoridad y paciente, la observación, el examen, y la confesión, requiere de la noción de “la sexualidad” como sustrato causal para dar cuenta de todos los datos que surgen. Parece que el terapeuta o la autoridad que sea, al hacer todas estas preguntas y exámenes, procede de forma científica y que gracias a ello llega a descubrir algo, pero para Foucault no es algo descubierto sino producido por el propio discurso que maneja. El resultado es la producción de un sujeto con una identidad que, siendo aparentemente natural, sirve para moldear y controlar su conducta. El sexo siempre ha sido controlado por códigos y tabúes, pero dado el éxito del moderno despliegue de la sexualidad ha llegado a someterse a cuestiones de verdad y falsedad, las categorías tradicionales de la ciencia. Esta scientia sexualis como le llama Foucault se distingue del ars erótica característico de las tradiciones orientales. Nosotros investigamos el sexo, pero en el famoso texto hindú de la Kama Sutra, por ejemplo, el sexo es tratado como una fuente de placer. Habla de cómo aumentarlo, no solamente en la cama sino en el seno de la vida familiar y social también. Es un tratamiento artístico que toma el sexo como un bocadillo entre muchos en el banquete de la vida. Fíjate que esta metáfora de la comida me ha hecho pensar que nosotros tratamos tanto el sexo como la comida como objetos 4 de estudio. No podemos simplemente disfrutar un plato sino que tenemos que saber cuántas calorías tiene o si nos va a subir el colesterol. Mejor no comerlo porque soy un gordo. En fin. Ahora, en el último vídeo hablé de la revolución sexual en los años 60 con los hippies y todo eso. Luego, en los años 70 empezó el movimiento de la liberación gay. Este libro de Foucault, publicado más o menos en esas fechas, podría verse como un apoyo teórico a movimientos generalmente liberacionistas. Se podría pensar que lo que nos ofrece aquí es una especie de desenmascaramiento, que nos ha dicho cómo diferentes discursos y prácticas sociales han manipulado y distorsionado nuestra sexualidad y que ahora, sabiendo la verdad, podemos liberarnos. Es importante entender que esto no es su intención. Uno de los aspectos más valiosos del pensamiento de Foucault es cómo piensa la relación entre la verdad (o el conocimiento) y el poder. No son mutuamente exclusivos, de modo que la verdad nos puede liberar del poder, sino que se implican el uno al otro. Reducir la verdad a una función del poder es, para muchos, uno de los excesos del pensamiento posmoderno. En el próximo y último vídeo en esta serie, veremos de cerca esta relación entre el conocimiento y el poder, sus consecuencias filosóficas, y en base a ella lo que Foucault propone como alternativo a los discursos liberacionistas.

Danish: Et sted ind imellem Afsnit 3 - bagefter ADVARSEL: Denne video indeholder stærkt følelsesmæssige og ubehagelige scener som kan virke suggestiv for depressive!!!! Vil du måskeske fortælle mig noget? Eller havd skal det her betyde? Jeg... Er det min min kjole? Ja. Tag den af. Nu! Hør lige, jeg ville..... Hvad ville du fortælle? At jeg skal til at være lesbisk nu? Eller hvad? Du forstår det ikke. Jeg kan ikke forklare dig det. Alex, du er bare ækel! Du er åndsvag, det er bare sygt det her!! English: Somewhere In Between Episode 3 - After TRIGGER WARNING: This video may be unsettling for viewers with depressive thoughts. Do you want to tell me something? Or, uh, what is that supposed to mean? I... Is this my dress?? Yes. Take it off now! Look, I wanted to... What did you want to tell me? That I should be into women, or what? You don't understand that. I can't explain it to you. Alex, you're disgusting! You're mad, that's just sick!! Polish: GDZIEŚ POMIĘDZY Odcinek 3 - Potem Chcesz mi coś powiedzieć? Albo, co to w ogóle ma znaczyć? Ja... To moja sukienka? Tak. Zdejmuj ją! Słuchaj, chciałem... Co chcesz mi powiedzieć? Że powinnam przerzucić się na kobiety czy co? Nie zrozumiesz. Nie mogę ci wyjaśnić. Alex, jesteś obrzydliwy. Jesteś szalony, to chore. Bengali: এর মাঝে কোথাও * ট্রিগার সতর্কতা *: ট্রান্সফোবিয়া পর্ব 3 - এরপরে ট্রিগার সতর্কতা: এই ভিডিওটি হতাশাজনক চিন্তার অধিকারী লোকদের জন্য উদ্বেগজনক হতে পারে। তুমি আমাকে কিছু বলতে চাও? বা, আহ, এর অর্থ কী? আমি ... এটা কি আমার পোশাক? হ্যাঁ। তাড়াতাড়ি খুলে ফেল! দেখো, আমি তোমাকে চেয়েছিলাম ... তুমি আমাকে কী বলতে চাইলে? যে আমার এখন মহিলাদের পছন্দ করা উচিত বা কি? আপনি এটা বুঝতে পারছেন না। আমি আপনাকে এটি ব্যাখ্যা করতে পারি না। অ্যালেক্স, তুমি ঘৃণ্য! তুমি পাগল, এটাই অসুস্থ !! Turkish: Arada Bir Yerde Üçüncü Kısım: Ya Sonra UYARI: Bu video depresif bozukluğu olan kişiler için tetikleyici olabilir. Bir açıklaman var mı? Yani bu ne demek oluyor şimdi? Ben... O benim elbisem mi? Evet. Çıkar şunu! Bak, istedim ki... Ne demek şimdi bu? Kadınlardan mı hoşlanayım yani? Ne bu? Anlamıyorsun. Sana açıklayamam. Alex, midemi bulandırıyorsun! Delirmişsin. Hastasın sen! Esperanto: Ie Intere *AVERTO*: kontraŭ transseksuloj fiagado Epizodo 3 - Poste AVERTO: ĉi-tiu filmeto povas aflikti depresiohavajn homojn. Ĉu vi eble havas ion por diri min? Aŭ -- kion signifas tio? Mi ... Estas mia robo?? Jes. Tuj malvestu ĝin! Mi volis-- ...diri kion? Ke mi virinojn emu? Vi ne komprenas. Mi malpovas ekspliki. Aleks', vi estas naŭziga! Vi frenezas, estas tute malsanaĉ'! Portuguese: Algures no meio *ADVERTÊNCIA*: Transfóbia Episódio 3 - Depois AVISO: este vídeo pode ser desconcertante para pessoas deprimidas. Tem alguma coisa a me dizer? Ou - o que significa isso? Eu ... Isso é meu vestido?? É. Tire-o em seguida! Eu quis di-- ...dizer-me o quê? Que quer que eu goste de mulheres? Não entende. Não posso lhe explicar. Alex, é nojento! Está louco, fica doentio. German: Irgendwo Dazwischen *TRIGGERWARNUNG*: Transphobie Folge 3 - Danach TRIGGERWARNUNG: Dieses Video kann für Menschen mit depressiven Gedanken verunsichernd sein. Willst du mir vielleicht irgendetwas sagen? Oder, öh, was hat das zu bedeuten? Ich... Ist das mein Kleid?? Ja. Zieh das sofort aus! Guck mal, ich wollte dir... Was wolltest du mir sagen? Dass ich jetzt auf Frauen stehen soll, oder was? Du verstehst das nicht. Ich kann es dir nicht erklären. Alex, du bist ekelhaft! Du spinnst doch, das ist einfach nur krank!! English: What's wrong with you?? Sick pig! Why?? Polish: Co jest z tobą nie tak? Chora świnia. Dlaczego? German: Was ist falsch mit dir?? Krankes Schwein! Warum?? Esperanto: Kio eraras pri mi? Malsana perversulo! Pro kio?? Bengali: তোমার কি হয়েছে? অসুস্থ শূকর! কেন ?? Danish: Hvad er der forkert med dig?? Sygt svin!! Hvorfor?? Turkish: Problemin ne senin? Pis domuz! Neden? Portuguese: O que há de errado comigo?? Pervertido! Porque?? Esperanto: Pri tio li ne povas esti serioza! Li frenezegas. Vestinta miajn vestojn! Fek. Polish: On nie jest poważny. Musi być chory. On w moich ciuchach. Cholera. Danish: Det kan da ikke være hans alvor nu. Han er tosset. Ham i mit tøj. Shit. Bengali: এটা এখন গুরুতর হতে পারে না। এটি ঘুরছে। আমার জামার মধ্যে একটি। ধুর। Turkish: Benimle resmen taşak geçti Kafayı sıyırmış. O... Benim kıyafetlerimle... Hay sikeyim. English: He can't be serious. He must be mad. Him in my clothes. Shit. German: Das kann doch jetzt nicht sein Ernst sein. Der spinnt doch. Der in meinen Klamotten. Scheiße. Portuguese: Ele não pode estar a sério. Deve estar louco. Vestindo minha roupa... Merda. English: What a pretty dress you're wearing, huh? Let me see what's underneath, come on. - Hey, come on, don't be like that. It's only fun! - Just let me be! - It's only fun. I only make some petting and so. Come on! Shit! Fuck! Shit! German: Was hast du denn für ein hübsches Kleidchen an, hä? Lass mal gucken, was du da drunter hast, na komm. - Hey, komm, hab dich nicht so. Ist doch nur Spaß! - Lass mich doch in Ruhe! - Ist doch nur Spaß. Ich mach doch nur ein bisschen fummeln und so. Komm schon! Scheiße! Fuck! Scheiße! Polish: Jaka śliczna sukienka. Pokaż coś masz pod nią, no dalej. - Dalej, nie bądź taka. Zabaw się. - Zostaw mnie. - Zabaw się trochę. Popieszczę cię trochę. Nie daj się prosić. Cholera. Kurwa, ja pierdole. Bengali: তুমি কি সুন্দর পোষাক পরছ, হাহ? আসুন দেখি আপনার নীচে কী আছে, আসুন। - আরে এসো, এমন হয়ো না। এটা ঠিক মজা! - আমাকে একা ছেড়ে দাও! - এটা ঠিক মজা। আমি কেবল কিছুটা ফিডিং এবং স্টাফ করছি। আসুন ধুর! ফাক! ধুর! Turkish: O elbisen ne kadar güzel öyle. Hadi aç göster bakalım içindekileri, hadi. - E hadi ama direnme. Eğleniyoruz şurada. - Bıraksana beni! - Hadi ama karşı koyma. Sikip gidicem işte hadi uzatma Siktir! Sikeyim böyle işi. Danish: Hvad er det da for en sød kjole du har på? Lad se hvad der er nedenunder, kom så. - Kom nu, ikke være så sur. Det er kun for sjov! - Lad mig være! - det er da kun for sjov. Jeg vil da kun pille lidt og sådan noget. Kom nu! Shit! Fuck! Shit! Esperanto: Kian beletan robeton vi surhavas... Lasu min rigardi, kion vi subhavas. - Hej, ne tiom rifuzu. Estas nur amuzaĵo. - Lasu min en paco! - Amuzeto. Nur tuŝetadon. Ekpermesu! Fek. Aĉ. Fek. Portuguese: Que vestido lindo.... Vamos, deixa ver o que tem embaixo. - Não seja cabra. - Deixe-me em paz! - É só brinquinho. Quero é só brincar um pouco. Vamos. Merda! Droga! Merda! German: Oh scheiße! So ne dumme Fotze! Verpiss dich! Alex? Also was geht mit dir? Mann, verpisst euch, Mann! Hey, ich wusste ja gar nicht, dass deine Freundin jetzt auf Frauen steht. Mach mal ein Foto! Nah, ey, jetzt lach mal ein bisschen! Süß! Mann, haut doch ab! Lach mal, lach mal! Seid ihr bescheuert! Weiß Pina schon von ihrem Glück? - Ihr tragt ja schon eure Klamotten! - Verpisst euch! Komm, wir gehen. Polish: O cholera. Co za... pieprzony gnojek. Spierdalaj. Alex? Co z tobą? Stary, odwal się. Hej, nie wiedziałem, że twoja dziewczyna przerzuciła się na kobiety. Rób zdjęcie! Nah, uśmiechnij się trochę. Uroczo. Spierdalajcie! Uśmiech. Głupi jesteś. Pina wie, że ma szczęście? - Nosisz już jej ubrania. - Spierdalaj. Chodź, idziemy. Turkish: Kahretsin! İbneye bak Amına koyayım. Ha siktir lan! Alex? Ne oldu lan sana? Siktir git lan düdük! Kız arkadaşının kızlardan hoşlandığını bilmiyordum. Fotoğrafını çeksene. Hey, gülsene biraz. Tatlısın. Defol gidin lan. Gülümse hadi. Malsınız ikiniz de Pina'nın haberi var mı bundan? - Ama zaten aynı elbiseleri giyiyorsunuz artık! - Hadi ikileyin be. Gidelim hadi. English: Oh shit! Such a stupid cunt! Piss off! Alex? What's up with you? Man, piss off, man! Hey, I didn't know that your girlfriend is into women now. Take a photo! Nah, ey, now smile a bit! Cute! Man, just fuck off! Smile, smile! You are stupid! Does Pina already know of her luck? - You're already wearing each other's clothes. - Piss off! Come, let's go. Danish: Oh shit! Sådan en dum fisse! Pis af med dig! Alex? Hvad sker der lige med dig? Pis af med jer, for fanden. Vidste ikke at din kæreste er til kvinder nu. Lav et billed! Smil nu lidt til os! Så sød! For fanden, forsvind med jer! Smil lidt, smil lidt! Er i gået fra forstanden! Har du fortalt Pina om hendes lykke? - I bærer også jeres tøj! - Pis af med jer! Kom, vi går. Bengali: ওরে ছিঃ! তাই না বোকা কান্ট! প্রস্রাব বন্ধ! অ্যালেক্স? তাহলে তোমার কি হচ্ছে? মানুষ, প্রস্রাব বন্ধ, মানুষ! আরে, আমি জানতাম না তোমার বান্ধবী এখন মহিলাদের মধ্যে into ছবি তোলা! নাহ, এই, এবার একটু হাসি! খুব সুন্দর! মানুষ, পালাও! হাসি, হাসি! তুমি কি বোকা! পিনা কি তার ভাগ্য সম্পর্কে ইতিমধ্যে জানে? - আপনি ইতিমধ্যে আপনার পোশাক পরেন! - প্রস্রাব বন্ধ! আসুন, চলুন। Portuguese: Merda, isso. Filha da puta. Vai te foder. Alex? Que passa contigo? Saiam. Nem sabia que tua namorada gosta de mulheres. Tira uma foto! - Nem, que ri um pouco. Meigo. - Que saiam daqui! - Sorridinho! - Estão loucos? - Pina já sabe desta sorte? - Vocês já compartilhando a roupa... - Vão se foder! - Vamos, saiamos. Esperanto: Fek. Fia virinaĉo! Foriĝu! Aleks'? Kio okazas pri vi? - Ke foriru. - Mi ne sciis ke via koramikino nun virinojn emas. Faru foton! Nu, vi iom ekridu. Ĉarme! - Ke foriru! - Ekridu, ridu! - Vi frenezegas? - Pina jam scias je sia bonŝanco? - Eĉ vestantaj la robojn de la alia. - Foriĝu! - Ni foriru. Turkish: Philipp Marzo zaman tünelinde bir fotoğraf paylaştı. Siktir ya! English: Philipp Marzo has posted a photo in your timeline. Oh shit! Bengali: ফিলিপ মারজো আপনার ক্রনিকলে একটি ফটো পোস্ট করেছেন। ওরে ছিঃ! Portuguese: [Phillipp Marzo pôs uma foto na tua crônica.] Que merda! Polish: Philipp Marzo dodał post na twojej osi czasu. Cholera. Esperanto: [Filipo Martso aldonis foton al via kroniko.] Fek! German: Phillipp Marzo hat ein Foto in deine Chronik gepostet. Oh, scheiße! Danish: Phillipp Marzo har postet et billed i din tidslinje. Oh, shit! Polish: Samobójstwo nie jest rozwiązaniem. Jeśli jesteś zdesperowany, porozmawiaj o tym z przyjaciółmi i rodziną. W wielu krajach istnieją również bezpłatne infolinie, którym możesz zaufać w razie potrzeby. Rozmowa może uratować życie. Portuguese: Não é solução suicidar-se. Se você fica desesperado, fale sobre isso com amigos e parentes. Em muitos países tem linhas gratuitas que você pode chamar, quando precisar. Falar pode salvar. Bengali: আত্মহত্যা কোনও সমাধান নয়। আপনি যদি মরিয়া হয়ে থাকেন তবে বন্ধুরা এবং পরিবারের সাথে এটি সম্পর্কে কথা বলুন। অনেক দেশে ফ্রি হটলাইনগুলিও রয়েছে যা আপনি প্রয়োজনের ক্ষেত্রে বিশ্বাস করতে পারেন। কথা বলা বাঁচাতে পারে। Esperanto: Sinmortigo ne estas solvo. Se vi malesperas, ekparolu kun amikoj kaj familianoj. En multaj landoj estas senpagendaj telefonnumeroj, kiujn vi povas alvoki helpbezonante. Parolado povas savi. Danish: Selvmord er ingen løsning. Er du fortvivlet, så snak med venner og familie om det. I mange lande er der gratis rådgivnings telefoner du kan ringe til og få råd og hjælp. At snakke kan redde liv! Danske undertekster: Michael W. English: Suicide is not a solution. If you are desperate, then talk to friends and family members about it. In many countries there are also free hotlines you can confide in when in need. Talking can save lives. Subtitles: Lukas G. German: Selbstmord ist keine Lösung. Wenn du verzweifelt bist, dann sprich mit Freunden und Familienmitgliedern darüber. In vielen Ländern gibt es außerdem kostenlose Hotlines, denen du dich in der Not anvertrauen kannst. Reden kann retten. Untertitel: Lukas G. Turkish: İntihar çözüm değildir. Eğer çaresiz hissediyorsanız, arkadaşlarınızla ya da ailenizle iletişime geçin. Birçok ülkede ayrıca acil yardım hatları da ihtiyaç duyulduğunda hizmet vermekte. Konuşmak hayat kurtarır!

Turkish: Ya seni öldüreceğiz ya da gitmene izin vereceğiz Bu yerden canlı çıkıp çıkamayacağın... ...tamamen sana bağlı. Yolun biraz ilerisinde bir meyve bahçesi var. Bunun yanında, ortalarda dolaşan bir Alman devriyesi olduğunu da biliyoruz. Eğer o devriyede bir keskin nişancı varsa... ...o meyve bahçesi onun için tam bir eğlence olur. Şimdi , eğer bir daha lahana turşulu sandviç yemek istiyorsan... ...onların nerede olduğunu bu harita üzerinde göstermek zorundasın. Bana kaç kişiler... ...ve ne tür ağır silahlar taşıyorlar anlatacaksın. Benden Almanların hayatını tehlikeye atacak bilgiler vermemi bekleyemezsin. Werner, yanılıyorsun. Senden beklediğim şey tam olarak da bu. Almanların içinde saklandığı ağaçların yerini öğrenmeliyim. English: Either kill you or let you go. Whether or not you're going to leave this ditch alive depends entirely on you. Up the road a piece, there's an orchard. Besides you, we know there's another Kraut patrol fucking around here somewhere. If that patrol were to have any crack shots, that orchard would be a goddamn sniper's delight. So if you ever want to eat a sauerkraut sandwich again, you got to show me on this here map where they are. You got to tell me how many they are, and you got to tell me what kind of artillery they're carrying with them. You can't expect me to divulge information that would put German lives in danger. Well, now, Werner, that's where you're wrong, because that's exactly what I expect. I need to know about Germans hiding in trees. Italian: Ucciderti, o lasciarti andare Che tu lasci questo fosso vivo o morto dipende tutto da te Più avanti sulla strada, c'è un frutteto Oltre a voi, sappiamo che c'è un altra fottuta pattuglia di mangiacrauti qua intorno da qualche parte Se quella pattuglia si mettesse a sparare Quel frutteto diventerebbe una dannata delizia del cecchino Quindi se vorrai mai mangiare un panino ai crauti di nuovo Devi mostrarmi su questa mappa dove si trovano Devi dirmi quanti sono e devi dirmi che tipo di artiglieria hanno a disposizione Non puoi aspettarti che io divulghi informazioni che metterebbero vite tedesche in pericolo Bene,ora..Werner, è proprio questo che sbagli, perchè era proprio ciò che mi aspettavo da te. Devo sapere se ci sono tedeschi nascosti tra gli alberi, Turkish: Bana söylemen gerekiyor. Bana hemen söylemen gerekiyor. Şimdi parmağını doğrult ve... ...bütün olayın nerede döndüğünü... ...kaç kişi olduklarını ve yanlarında neler taşıdıklarını göster. Saygıyla reddediyorum, efendim. [SOPA SESİ] Duydun mu? Evet. Bu çavuş Donny Donowitz. Onu takma ismiyle biliyor olabilirsiniz... ...Yahudi Ayısı. Apaçi Aldo'yu duyduysan, Yahudi Ayısını da duymuşsundur. Yahudi Ayısını duydum. Ne duydun? Alman askerlerini sopasıyla dövdüğünü. Beyinlerini beyzbol sopasıyla parçalıyor. Yaptığı bu. Werner, sana bir kez daha soracağım... ...ve bir daha saygıyla reddedersen... Yahudi Ayısını çağıracağım... ...haşmetli sopasını alacak... English: And you need to tell me. And you need to tell me right now. Now, just take that finger of yours and point out on this here map where this party is being held, how many is coming and what they brought to play with. I respectfully refuse, sir. [ BAT TAPPING ] Hear that? Yes. That's Sergeant Donny Donowitz. You might know him better by his nickname. The Bear Jew. Now, if you heard of Aldo the Apache, you got to have heard about The Bear Jew. I heard of The Bear Jew. What did you hear? Beats German soldiers with a club. He bashes their brains in with a baseball bat, what he does. And, Werner, I'm going to ask you one last goddamn time, and if you still respectfully refuse, I'm calling The Bear Jew over. He's going to take that big bat of his, Italian: E tu devi dirmelo. Tutto ciò che devi fare è dirmelo ora. Adesso, devi solo prendre quel tuo dito e indicarmi su questa mappa dove si tiene la festa, Il numero di invitati e che tipo di giochi hanno portato Con rispetto signore, rifiuto. [ MAZZA CHE SBATTE ] Lo senti? Si. È il sergente Donny Donowitz. Forse lo conosci meglio con il suo soprannome L'Orso Ebreo Ora, se hai sentito di Aldo l'Apache, devi aver sentito anche dell'Orso Ebreo Ho sentito dell'Orso Ebreo Che cosa hai sentito? Che picchia is soldati tedeschi con un bastone Gli fracassa il cervello con una mazza da baseball, questo fa. E, Werner, Telo chiedo per l'ultima volta, e se il tuo è sempre un no... Farò venire l'Orso Ebreo qui. Prenderà quella grossa mazza English: and he's going to beat your ass to death with it. Now, take your Wiener-schnitzel-licking finger, and point out on this map what I want to know. Fuck you. And your Jew dogs. [ BASTERDS LAUGHING ] Actually, Werner, we're all tickled to hear you say that. Quite frankly, watching Donny beat Nazis to death is the closest we ever get to going to the movies. Donny! DONNY: Yeah? Got us a German here who wants to die for country. Oblige him. [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] Turkish: ...ve seni ölene kadar dövecek. Şimdi o şnitzel yaladığın parmağını al ve... haritadaki bilmek istediğim yeri göster. Seni de sikeyim... ... Yahudi köpeklerini de. [SOYSUZLAR GÜLÜYOR] Werner, aslında bu dediğin hepimizin hoşuna gitti. Açıkçası Donny'nin bir Naziyi öldürene... ...kadar dövmesi filmlerdeki gibi olacak. Donny! Evet? Burada ülkesi için ölmek isteyen bir Alman var. Ona bir iyilik yap. Italian: e ti spaccherà il culo a morte Ora, prendi quel dito, e punta su questa mappa quello che ti ho detto. Vaffanculo! Anche ai tuoi cani ebrei [ BASTARDI RIDONO ] Vedi, Werner, in realtà aspettavamo tutti che dicessi ciò Molto francamente, guardare Donny picchiare Nazisti a morte è molto vicino a guardare un film. Donny! DONNY: Si? Abbiamo qui un tedesco che vuole morire per la patria Accontentalo. [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] Italian: [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ MAZZA CHE SBATTE ] [ BASTARDI ACCLAMANO ] Hai ricevuto questo per aver ucciso gli Ebrei? Per il coraggio. English: [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BAT TAPPING ] [ BASTERDS CHEERING ] Did you get that for killing Jews? Bravery. Turkish: Bunu sana Yahudilerini öldürdüğün için mi verdiler? Cesaretimden dolayı. Italian: [ BASTARDI ACCLAMANO ] Si! BASTARDO 1:Oh,no! BASTARDO 2:Oh,no! [ BASTARDI ACCLAMANO ] E adesso mi cacherei addosso se fossi in voi [ RISATE ] Teddy Williams è il capo dello stadio! L'arena Fenway è tutta in piedi per la fottuta giocata di Teddy Ho fatto un fuoricampo, la palla è finita sulla fottuta Lansowne Street! Tu! Diamine, Hirschberg! Donnyy porta qui quell'altro...Vivo! Alzati cazzo! In piedi! Due colpi. Io ti colpisco, tu colpisci per terra. Inglese? [ PARLANDO TEDESCO ] ALDO: Wicki. Turkish: Evet! Yerinizde olsam şuan altıma sıçıyordum. Teddy Williams topu stadın dışına gönderiyor! Fenway Park maçı kazandıran Teddy için ayakta! Şampiyon topu Lansdowne Sokağına kadar gönderdi! Sen! Kahretsin, Hirschberg! Donny, diğerini buraya getir... canlı olarak! Ayağa kalk! Sırada sen varsın. İki vuruş, ben sana vururum sen de toprağa İngilizcen var mı? Nein Wicki. English: [ BASTERDS EXCLAIMING ] Yeah! BASTERD 1: Oh, no! BASTERD 2: Oh, no! [ BASTERDS EXCLAIMING ] About now I'd be shitting my pants if I was you. [ LAUGHING ] Teddy Fucking Williams knocks it out of the park! Fenway Park is on its feet for Teddy Fucking Ballgame! He went yard on that one, on to fucking Lansdowne Street! You! Damn it, Hirschberg! Donny, bring that other one over here. Alive! Get the fuck up! Batter up. You're on deck! Two hits. I hit you, you hit the ground. English? [ SPEAKING GERMAN ] ALDO: Wicki.

Okay. So let's, uh, get started with the actual, ah, technical content. So remember from last time, we gave an overview of the class. We talked about different types of models that we're gonna explore: reflex models, state-based models, variable based models, and logic models which we'll see throughout the course. But underlying all of this is, is, you know, machine learning. Because machine learning is what allows you to take data and, um, tune the parameters of the model, so you don't have to, ah, work as hard designing the model. Um, so in this lecture, I'm gonna start with the simplest of the models, the reflex based models, um, and show how machine learning can be applied to these type of models. And throughout the class, ah, we're going to talk about different types of models and how learning will help with those as well. So there's gonna be three parts, we're gonna talk about linear predictors, um, which includes classification regression, um, loss minimization which is basically stating an objective function of how you, ah, want to train your machine learning model, and then stochastic gradient descent, which is an algorithm that allows you to actually, ah, do the work. So let's start with, ah, perhaps the most, um, cliched example of, uh, you know, machine learning. So you have- we wanted to do spam classification. So the input is x, um, an email message. Um, and you wanna know whether an email message is spam or not spam. Um, so we're gonna denote the output of the classifier to be Y which is in this case, either spam or not spam. And our goal is to, ah, produce a predictor F, right? So a predictor in general is going to be a- a function that maps some input x to some output y. In this case, it's gonna take an email message and map it to whether the email message is spam or not. Okay. So there- there's many types of prediction problems, um, binary classification is the simplest one where the output is one of two, um, possibilities either yes or no. And we're gonna usually denote this as plus 1 or minus 1, sometimes you'll also see 1 and 0. Um, there's regression where you're trying to predict a numerical value, for example, let's say housing price. Um, there's a multi-class classification where Y is, ah, not just two items but possibly, um, 100 items, maybe cat, dog, truck, tree, and different kind of image categories. Um, there's ranking where the output, um, is a permutation of the input, this can be useful. For example, if the input is a set of, um, articles, or products, or webpages, and you want to rank them in some order to show to a user. Um, structured prediction is where Y, ah, the output is an object that is much more complicated. Um, perhaps, it's a whole sentence or even an image. And it's something that you have to kind of construct, you have to build this thing from scratch, it's not just a labeling. Um, and there's many more types of prediction problems. Um, but underlying all of this, you know, whenever someone says I'm gonna do machine learning. The first question you should ask is, okay what's the data? Because without data, there's no learning. So we're gonna call an example. Um, x, y pair is something that specifies what the output should be when the input is x, okay? And a training data or a set of examples, the training set is going to be simply a list or a multiset of, er, examples. So you can think about this as a partial specification of behavior. So remember, we're trying to design a system that has certain- certain types of behaviors, and we're gonna show you examples of what that sum should do. If I have some email message that has CS221 then it's not spam but if it has, um, lots of, ah, dollar signs then there might, um, um, be spam. Um, and, ah- so remember this is not a false specification behavior. These, ah, ten examples or even a million examples might not tell you what exactly this function is supposed to do. It's just examples of, ah, what the function could do on those particular examples. Okay. So once you have this data, so we're gonna use D_train to denote, ah, the data set. Remember, it's a set of input output pairs. Um, we're going to, ah, push this into a learning algorithm or a learner. And what is the learning algorithm is gonna produce? It's gonna produce a predictor. So predictors are F and the predictor remember is what? It's actually itself a function that, um, takes an input x and maps it to an output y. Okay? So there's kind of two levels here. And you can understand this in terms of the, uh, modeling inferences of a learning paradigm. So modeling is about the question of what should the types of predictors after you should consider are. Ah, inference is about how do you compute y given x? And learning is about how you take data and produce a predictor so that you can do inference? Okay. Any questions about this so far? [NOISE] So this is pretty high level and abstract and generic right now, and this is kinda, kind of on purpose because I wanna highlight how, um, general machine learning is before going into the specifics of, uh, linear predictors, right? So this is an abstract framework. Okay. So let's dig in a little bit to this actual, um, an actual problem. Um, so just to simplify, ah, the email problem, let's, eh, consider the task of, um, predicting whether a string is an email address or not. Okay. Um, so the input is an em-, ah, is a string and, ah, the output is- it's a binary classification problem, it's either 1 if it's an email or minus 1 if it's not, that's what you want. Um, um, so the first step of, um, doing linear prediction is, um, known as feature extraction. And the question you should ask yourself is, what properties of the input x might be relevant for predicting the output y? Right, so I say, I really highlighted might be, right? At this point, you're not trying to encode the actual set of rules that solves a problem, that would involve no learning, and that would just be trying to do it directly. But instead of- for learning you're kind of taking a, um, you know, a more of a backseat and you're saying, "Well, here are some hints that could help you." Okay. Ah, so formally, a feature extractor takes an input and outputs a set of feature name, feature value pairs, right? So I'll go through an example here. So if I have abc@gmail.com, what are the properties that might be useful for determining whether a string is an email address or not? Well, you might consider the length of the string, if it's greater than 10, maybe long strings are less likely to be email addresses than shorter ones. Um, and here, the feature name is length greater than 10. So that's just kind of a label of that feature, and the value of that feature is 1, ah, representing it's true. So it will be 0, if it's false. Here's another feature, the fraction of alphanumeric characters, right? So that happens to be 0.85 which is the number. Um, there might be features that test for a particular, um, you know, letters for example, that it doesn't contain an "at" sign or that has a, you know, feature value of 1 because there is an "at" sign, endsWith.com is one, endsWith.org is a 0 because that's not true. So, um, and there you could have many, many more features, ah, and we'll talk more about features on next time. But the point is that you have a set of properties, you're kind of distilling down this input which is could be a string, or could be an image, or could be something more complicated into kind of a um, you know, ground-up fashion that later, we'll see how a machine learning algorithm can take advantage of. Okay. So you have this, ah, feature vector which has- is a list of feature values and their associated names or labels. Okay. But later, we'll see that the- the names don't matter to the learning algorithm. So actually, what you should also think about the feature vector is simply a list of numbers, and just kind of on the side make a note that all this, you know. position number three corresponds to contains "@" and so on. Right, so I've distilled the- the email address abc@gmail.com into the list of numbers 0- or 1, 0.85, 1, 1, 0. Okay. So that's feature extraction. It's kind of distilling complex objects into lists of numbers which we'll see is what the kind of the lingua franca of these machine learning algorithms is. Okay. So I'm gonna write some concepts on a board. There's gonna be a bunch of, um, concepts I'm going to introduce, and I'll just keep them up on the board for reference. So feature vector is again an important notion and it's denoted Phi, um, of x on input. So Phi itself- sometimes, you think about it, er, you call it the feature map which takes an input and returns, um, a vector, and this notation means that returns in general, ah, d-dimensional vector, so a list of d numbers. And, um, the components of this feature vector we can write down as Phi_1, Phi_2, all the way to Phi_d of x. Okay. So this notation is, eh, you know, convenient, um, because we're gonna start shifting our focus from thinking about the features as properties of input to features as kind of mathematical objects. So in particular, Phi of x is a point in a high-dimensional space. So if you had two features, that would be a point in two-dimensional space, but in general, you might have a million features, so that's a feature, ah, it's a point enough, a hundred- ah, uh, million dimensional space. So, you know, it might be hard to think about that space, but well, we'll see how we can, you know, deal with that in a later in a, in a bit. Okay. So- so that's a feature vector, you take an input and return a list of numbers. Okay. Um, and now, the second piece is a weight vector. So let me write down a weight vector. [NOISE] So a weight vector is going to be noted W. Um, and this is also, uh, a list of D numbers. It's a point in a D-dimensional space but we're gonna interpret it differently, as we'll see later. Okay. So- so a way to think about a weight vector is that, for each feature J. So for example, frac of Alpha, um, we're gonna have a real number WJ, that represents the contribution of that feature to the prediction. So this contribution is 0.6. So what does this 0.6 mean? So, so the way to think about this is that you have your weight vector and you have a feature vector of a particular input, and you want- the score of, uh, your prediction is going to be, uh, the dot product between the weight vector and the feature vector. Okay. So um, that's written W dot a phi of X um, which is um, written out as basically, looking at all the features and multiplying the feature of the value times the weight of that feature and summing up all those numbers. So for this example, it will be minus 1.2, that's the weight of the first feature, times 1, that's the feature value, plus 0.6 times 0.85 and so on. And then, you get this number of 4.51 which is- happens to be the score for this example. Question? So the feature extraction which is phi of X, is that, uh, supposed to be like an automated process or is it a part of manual extraction classification procedures? Yeah. So the question is, is the feature extraction manual or automatic? So uh, phi is going to be implemented as a function like encode, right. Um, you're going to write this function manually. But you know, the function itself is run automatically on examples. Um, later we'll see how you can actually learn features as well. So you can slowly start to do less of a manual effort but uh, we're going to hold off until, next time for that. Question? So we're talking about weight gaining and I know that in certain tests of regressions like, uh, the weights being, uh, a percentage change, [inaudible] weights to percentage change of the outcome it doesn't, it doesn't mean the sphere? Yeah. So the question is about interpretation of weights. Sometimes weights can have a more precise meaning. In general, um, you can, you can try to read the tea leaves but it I don't think there is maybe, uh, in general a mathematically precise thing you can say about the meaning of individual weights. But intuitively, and the intuition is important, is that you should think about each feature as you know, a little person that's going to make a vote on this prediction, right? So you're voting either plus, yay or nay? And the weight of a particular feature is- specifies both the direction level whether- if positive weight means that, um, that little person, um, is voting positive and negative weight means, that it's voting negative. The magnitude of that weight, is how strongly that little person feels about the prediction, right? So, you know, contains add as three because maybe like "@" signs generally do occur in email addresses but you know the fraction of alphanumeric characters, it's you know, less. So at that level, you can have some intuition but the precise numbers and y is 0.6 versus 0.5. Um, that's, um, you can't really say much about that. Yeah. Another question? Does, uh, [inaudible] [NOISE] is it the same dot product for deeper networks. They can feel like more weight vectors afterwards. It's still like it's, like just more than one products. [NOISE] So right now we're focusing on linear classifier. So the question is what happens if you have a neural net with more layers? Um, there's gonna be more dot products but there's also goin- it's not just adding more features. There's gonna be other uh, components which we'll get to in a later lecture. Yeah? Do the weights have to add up to a certain number or how do you normalize it, so the weights, like you have to change the score value [inaudible] . Yeah. So the question is, do the weights have to add up to something? Short answer is. No. There's obviously restricted settings, where you might want to normalize the weights or something but we're not gonna, you know, uh, consider that right now. Later, we'll see that the magnitude of weight does tell you, you know, something. Okay, so, so just to summarize it's important to note that the weight vectors, there's only one weight vector, right, you have to find one set of parameters for every- everybody. But the feature vector is per example. So for every input, you get a new feature vector and the dot product of those two weighted combination of features is the uh, is the score. Okay, so, so now let's try to put the pieces together and define, um, uh, of the actual predictor. All right, so remember we had this box with f in it, which takes x and returns y. So what is inside that box? Um, and I'm hopefully giving you some intuition. Let me go to a board and write, uh, a few more things. So the score, uh, remember is w dot phi of x. And this is just gonna be a number, um, and uh, the predictor. So linear predictor actually let me call this linear. To be more precise, it's a linear classifier not just a predictor. Classifier is just a predictor that does classification. Um, so a linear classifier um, denoted f of w. So f is where we're going to use, you know, predictors. W just means that this predictor depends on a particular set of weights. And this predictor is, uh, going to look at the score and return the sign of that score. So what is the sign? The sign looks at the score and says, is it a positive of a number? if it's positive then we're gonna return plus 1. If it's a negative number, I'm gonna return minus 1. And if it's 0 then you know, I don't care. You can return plus 1 if you want, it doesn't matter. Um, so what this is doing the remember the score is either, is a real number. So it's either gonna be kind of leaning towards um, you know, large value, large positive values or leaning towards, uh, s- large small- negative values. And the sign basically says, okay you gotta commit are you- which side are you on? Are you on the positive side or you on the negative side? And just kind of discretizes it. That's what the sign does. Okay. Okay, so, so let's look at a simple example because I think a lot of what I've seen before is kind of more the, uh, formal machinery behind and the math behind how it works but it's really useful to have some geometric intuition because then you can draw some pictures. Okay, so let's consider this, uh, case. So we have a weight vector which is 2, 1, 2 minus 1, and a feature vector which is a 2, 0, and another feature vector which is x0, 2 and 2, 4. Okay. So there's only two dimensions so I can try to draw them on a board. So let's try to do that. Okay, so here is a two-dimensional plot. Um, and let's draw the fea- the weight vector first. Okay so the weight vector is going to be at 2 minus 1. Okay. So that's this point. And the way to think about the weight vector is not the point. Um, but actually um, the, the, the vector going from the origin to that point for reasons that will become clear later. Okay so that's the, that's the weight. Okay. Um and then what about the other points so we have 2, 0, 0, 2. So 2, 0 is here, 0, 2 is here and 2, 4 is, uh, here. Right? Okay, so we have three points here. Okay, so, um, how do I think about what this weight vectors is, is doing? So just for just for reference remember the classifier is looking at the sign of W dot, uh, phi of x. Okay. Um, so let's try to do uh, classification on these three points. Okay so w is um, let me write it out formally, so 2, 1. Um, and this is 0, 2. So what's the score when I do W dot phi of x here? It's 4, right? Because this is um, uh, 2, 0, 0, 2 um, 2, 4. So this is just a dot product that's 4, um, and take the sign what's the sign of 4? One. Okay. So that means I'm going to label this point as a positive, right? Positive point, okay what about 0, 2? Actually, sorry, this is just be a minus 1, right? Okay. This is 2, minus 1. Okay, so if I take the dot product between this, I get minus 2 and then the sign of minus 2 is, is minus 1, okay, so that's a minus. Um, and what about this one? So what's the dot product there? It's gonna be 0. Okay. So, um, so this classifier will classify this point as a positive. This is a negative and this one I don't know. Okay. So we can fill in more points. Um, but, but, you know, does anyone see kind of um, maybe a more general pattern? I don't wanna have to fill in the entire board with classifications. Yeah? Orthogonal, everything to the right of it is positive and to the left of it is negative. Yeah so so let's try to draw the orthogonal. Uh, this needs to go through that line. Okay, [NOISE] okay, so let's draw the orthogonal. So this is a right angle. Okay. And, ah, what that gentleman said is that, the points- any point over here because it has acute angle width w, is going to be classified as positive. So all of this stuff is um, you know, positive, positive, positive, positive, positive, and everything over here because it's an obtuse angle with w is going to be negative, so everything over here is negative. And then, everything on this line is going to be 0. Okay? So, so I don't know. Okay, and this line is called, um, the decision boundary, which is the concept not just for linear classifiers, but whenever you have any sort of classifier the decision boundary is the separation between the regions of the space where the classification is positive versus negative. Okay? And in this case, um, it's, it's separate because uh, we have linear classifiers, the decision boundary is straight, and we're just separating the, the space into two halves. Um, if you were in three-dimensions, um, this vector would still be just a you know vector, but this decision, um, boundary would be a plane. So you can think about it as you know coming out of the board if you want, but I'm not gonna try to draw that. Um, and that's, that's kind of the geometric interpretation of how linear classifiers, ah, you know, work here. Question, yeah? It seems like your weight could be any values here. Right? Yeah. So we have one last [inaudible]. Yeah. [inaudible] . Yeah. So that's a good point. So the, the observation is that, no matter, if you scale this weight by 2, it's actually gonna still have the same decision boundaries. So the magnitude of the weight doesn't matter it's the direction that matters. Um, so this is true for just making a prediction. Um, when we look at learning, ah, the magnitude of the weight will matter because we're going to, you know, consider other more nuanced loss functions. Yeah. Okay. So let's move on. Any questions about linear predictors? So, so, far what we've done is, we haven't done any learning. Right. If you've ah, you know, noticed, we've just simply defined the set of predictors that we're interested in. So we have a feature vector, we have weight vectors, multiply them together, get a score and then you can send them through a sign function and you get these linear classifiers. Right. There, there's no specification of data yet. Okay. So now, let's actually turn to do some learning. So remember this framework, learning needs to take some data and return a predictor and our predictors are ah, specified by a weight vector. So you can equivalently think about the learning algorithm as outputting a weight vector if you want for linear classifiers. Um, and let's unpack the learner. So the learning algorithm is going to be based on optimization which we started ah, reviewing last lecture um, which separates ah, what you want to compute from how you want to compute it. So we're going to first define an optimization problem which specifies what properties we want a- a classifier to have in terms of the data, and then we're going to figure out how to actually optimize this. [NOISE] And this module is actually really really powerful um, and it allows people to go ahead and work on different types of criteria for and different types of models separately from the people who actually develop general purpose algorithms. Um, and this has served kind of the field of machinery quite well. Okay. So let's start with an optimization problem. So this is an important concept um, called a loss function and this is a super general idea that's using the machine learning and statistics. So a loss function takes a particular example x, y and a weight vector, um, and returns a number and this number represents how unhappy we would be if we used the predictor given by W to make a prediction on x when the correct output is y. Okay. So it's a little bit of a mouthful but, um, this basically is trying to characterize, you know, if you handed me a classifier, and I go on to this example and try to classify it, is it gonna get it right or is it gonna get it wrong? So high loss is bad ah, you don't wanna lose and low loss is good. So normally, zero loss is the- the best you can then hope for. Okay. So let's do figure out the loss function for binary classification here. Um, so just some notation, the correct label is, ah, denoted y and, um, the predicted label remember is um, the score, ah, sent through the sign function and that's going to give you some particular label. Um, and let's look at this example. So w equals 2 minus 1 phi of x equals ah, 2, 0 and y equals minus 1. Okay. So we already defined the score as, um, one example is a w dot phi of x which is, um, how co- confident we're predicting minu- plus 1. That's the way to, uh, you know, interpret this. Okay. So um, what's the score of this, for this particular example again? It's 4. Right. Um, which means I'm kind of, kinda positive that it's ah, you know, a plus 1. Yeah. Question? Ah, I was wondering, is the loss function generally 1-dimensional or, or the output of the loss function? Yeah. So the- the question is whether the output of loss function is usually a single number or not. Um, in most cases it is for basically all practical cases you should think about the loss functions outputting a single number. The inputs can be, you know, a crazy high-dimensional. Yeah. Why is it not 1-dimension? [NOISE] Um, there are cases where you might have multiple objectives that you're trying to optimize at once ah, but in this class it's always gonna be, you know, 1-dimensional. Like maybe you care about, you know, both time and space or accuracy but robustness or something. Sometimes you have multi-objective optimization. But that's way beyond the scope of this class. Okay. So we have a score. Um, and now we're gonna define a margin. So let me, um. Okay. So let's, let's actually do this. So we're talking about classification. I'm gonna sneak regression in a bit. So score is w dot phi of x. This is how confident we are about plus 1, um, and the margin is the score ah, times y. Um, and this relies on y being plus 1 or minus 1. So this might seem a little bit mysterious but let's try to, you know, decipher that, um here. Um, so in this example, the score is 4. So what's the margin? You multiply by minus 1. So the margin is, ah, minus 4. Right. And the margins interpretation is how correct we are. Right. So imagine the correct answer is ah, if, if the score in the margin had the same sign, then you're gonna get positive numbers and then the, the confident, the more confident you are then the more correct you are. Um, but if y is minus 1 and the score is positive, then the margin is gonna be negative which means that you're gonna be confidently wrong um, which is bad. [LAUGHTER] Okay. So just to to see if we kind of understand what's going on. Um, so when is a binary classifier making a mistake on a given example. Um, so I'm gonna ask for a kind of a show of hands. How many people think it's, it's when the margin is, uh, less than 0. Okay. I guess we can kind of stop there. [LAUGHTER] I used to do these online quizzes where it was anonymous but we're not doing that this year. Okay. So yes, the margin is less than 0. Um, when the margin is less than 0 that means y and the score are different signs which means that you're making a mistake. [NOISE] Okay. So now we have the notion of a margin. Let's define ah, something called the zero-one loss and it's called zero-one because it returns either a 0 or a 1. Okay. Very creative name. Um, so the loss function is simply, did you make a mistake or not? Okay. So this notation let's try to decipher a bit. So if f of x here is the prediction when the input is x, um, and not equal y is saying, did you make a mistake? So that's, think about it as a Boolean, and this one bracket is um, just notation. It's called an indicator function that takes a condition and returns either a 1 or 0. So if ah, if the, the condition is true, then it's gonna return a 1 and if the condition is false, it returns a 0. Okay. So all this is doing is basically returning a 1, if you made a mistake and 0, if you didn't make a mistake. Okay. And we can write that as follows. We can write that as um, the margin less or equal to 0. Right. Because pre- on the previous side of the margin is less than or equal to 0, then we've made a mistake and we should incur ah, a loss of 1 and if the margin is greater than 0, then we didn't make a mistake and we should incur a loss of 0. Okay. All right so, um, it will be useful to draw these loss functions, um, pictorially like this. Okay, so on the axi- x-axis here, we're going to show the margin, right? Remember the margin is how, uh, correct you are. And on the, uh, y-axis we're gonna show the- the loss function which is how much you're gonna suffer for it. Okay, so remember the margin, if the margin is positive, that means you're getting it right which means that the loss is 0. But if the margin is less than 0, that means you are getting it wrong and the loss is 1. Okay, so this is a 0-1 loss. That's, uh, thi- this thing- the visual that you should have in mind when you think about zero-one loss. Yeah. [NOISE] Like less than 0 because we are not defining the event actually 0 [inaudible] classified as correct. Yeah, so there is this kind of boundary condition of when ex- what happens exactly at 0 that I'm trying to sweep under the rug because it's not, um, terribly important. Um, here, it's less we go to 0 to be kind of on the safe side. So if you don't know you're also, uh, gonna get it wrong. Um, otherwise you could always just return 0 and then you, that, you don't want that. Okay. So is it- uh, any questions about, uh, kind of binary classification so far. So we've set up these linear predictors and I've defined the 0-1 loss as a way to capture, um, how unhappy we would be if we had a classifier that was, ah, operating on a particular data point x, y. So, um, just to- I'm gonna go on a little bit of a digression and talk about linear regression. Um, uh, um, [NOISE] and, and the reason I'm doing this is that loss minimization is such a powerful and general framework, and it go- transcends, you know, all of these, you know, linear classifiers, regression, setups. So I want to kind of emphasize over- the overall story. So I'm gonna give you a bunch of different examples, um, classification, linear regression side-by-side so we can actually see how they compare and hopefully, their- the common denominator will kind of emerge more, um, clearly from that. Okay, so we talked a little bit about linear regression in the last lecture, right? So linear regression in some sense is simpler than classification because if you have a linear, uh, uh, predictor, um, and you get the score w dot phi of x, it's already a real number. So in linear regression, you simply return that real number and you call that your prediction. Okay? Okay so now we- let's move towards defining our loss function. Um, so there's gonna be, uh, a concept that's gonna be useful, it's called the residual, um, which is, as- against kind of trying to capture how, uh, wrong you are. Um, so here is a particular linear, uh, predictor, um, linear regresser, um, and it's making predictions all along, you know, for different values of x. Um, and here's a data point of Phi of xy. Okay? So the residual is the difference between, um, the true value y and the predictor value y. Okay, um, and in particular it's the amount by which, um, the prediction is overshooting the, you know, target. Okay, so this is- this is a difference. Um, and if you square the [NOISE] difference you get something called, uh, the squared loss. [NOISE] So this is something we mentioned last lecture. Um, residual can be either negative or [NOISE] positive. Um, but errors, either, if you're very positive or very negative, that's bad and squaring them makes it so that you're gonna, you know, suffer equally for, um, errors in both, you know, directions. Okay, so the square loss is the residual squared. So let's do this kind of simple example. So here we have our weight vector 2 minus 1. The feature vector is 2, 0. What's the score? It's 4, y is minus 1. So, uh, the residual is 4 minus minus 1 which is 5 and, uh, 5 squared is 25. So the squared loss on this particular example is 25. Okay, so let's plot this. So just like we did it for a 0-1 loss. Let's see what this loss function looks like. So the, the horizontal axis here instead of being the margin is going to be this quantity, uh, for regression called the residual. Um, it's going to be the difference between the prediction and the, the true target. And I'm gonna plot the loss function. Um, and this loss function is just, you know, the squared function, right? So with- if the residual is 0, then the loss is 0. If as a residual grows in either direction, then I'm going to pay, uh, something for it. And it's a quadratic penalty which means that, um, it actually grows, you know, uh, pretty fast. So if I'm, you know, the residual is 10 then I'm paying 100. Okay, so, so that's the squared loss. Um, there's also another loss. I'll throw in here, um, called the absolute deviation loss. And this might actually be the last thought, if you didn't know about regression you might, uh, immediately come to. It's basically the absolute difference between the prediction and, um, the, the actual true target. [NOISE] Um, turns out the squared loss. The- there's a kind of a longer discussion about, you know, which loss function, um, you know, makes sense. The- the salient points here are that the absolute deviation loss is kind it has this kink here. Um, and so it's not smooth. Sometimes it makes it harder to optimize, um, but the squared loss also has this kind of thing that blows up, which means that it's, uh, uh, it really doesn't like having outliers or, uh, really large values because it's gonna, you- you're gonna pay a lot for it. Um, but at this level, just think about this as, you know, different losses. There's also something called a Huber loss which kind of, uh, um, combines both of these, is smooth, and also grows linearly instead of quadratically. Um, okay, so we have both classification and regression. We can define margins and residuals. We get either, uh, different loss functions out of it. Right? Um, and now we want to minimize the loss. Okay? Um, so it turns out that for one example and this is really easy, right? So if I- if I told you, okay, how do I minimize the loss here? Well, okay, it's 0. Done. [NOISE] So that- that's not super interesting. And this corresponds to the fact that, you know, if you have a classifier, you're just trying to fit one point, um, it's really not that hard. So that's kind of not the point. [NOISE] The point of machine learning is that you have to fit all of them. Remember, you only get one weight vector, you have all of these examples, you have a million examples. And you want to find one weight vector that kind of balances, uh, errors across all of them. And in general, you might not be able to achieve loss of 0, right? So tough luck . Life is hard. Ah, so you have to make trade-offs, you know, which examples are you going to kind of sacrifice for the good of other examples. And this is kind of actually a lot of where, you know, issues around fairness of machine learning actually come in because in cases where you can't actually make a prediction that's, you know, equally good for everyone. You know, how do you actually, you know, responsibly make these trade-offs. Um, but, you know, that's a- that's a broader topic. Let's just focus on trade-off defined by the simple sum over all the loss examples. So lets just say we want to minimize the average loss over all the examples. Okay, so once we have these loss functions, if you average [NOISE] over the training set, you get something which we're gonna call a train loss. Um, and that's a function of W. Right? So loss is on a particular example. Train loss is on the entire data set. [NOISE] Okay. So any questions about this, uh, so far? Okay. So there is this, uh, discussion about which regression loss to use, which I'm gonna skip. Um, you can feel free to read it in the notes if you're interested. The punchline is that if you want things that look like the mean square loss, if you want things that look like the median, use the absolute deviation loss. Um, but I'll skip that for now. Yeah? [inaudible] regression like this. Uh, when do people start thinking of regressions like in terms of loss minimization? Yeah. Uh, so regression has, Least Squares Regression is from like the early 1800s. Um, so it's been around for is- you know, kind of, you can call it the first machine learning that was ever done, um, if you- if you want, um, I guess the loss minimization framework is, um, it's hard to kind of pinpoint a particular point in time, you know, it's kind of not a terribly, uh, um, er, er, you know, it's not like, uh, um, you know, innovation in some sense. It's just more of a- at least right now it's kind of a pedagogical tool to organize, um, all the different methods that exist. Yeah. Say I'm training on mean and median. Do you mean that like, uh, in that particular training, training set, the median would be the [NOISE] highest accuracy and the most confident, whereas like with, uh, loss [inaudible] deviation would be the median instead of the mean? Yeah. So, um, I don't wanna get into these examples but, uh, bri- briefly, if you have three points that you- you can't exactly f- fit perfectly, um, you- if you use absolute deviation, then you're gonna find the median value. You're gonna basically predict the median value. And if you use the square loss, you're gonna predict the mean value. But, um, I'm happy to talk offline [NOISE] if- if you want. [NOISE] Okay. So what we've talked about so far is we have these wonderful linear predictors which are driven by feature vectors and weight vectors, and now we can define a bunch of different loss functions that capture, you know, how we care about, um, you know, regression and classification. And now let's try to actually do some real, uh, machine learning. How, how do you actually optimize these objectives? So remember the learner is going, uh, so now we've talked about the optimization problem which is minimizing the training loss. Um, we'll come back to that next lecture. Um, and then now we're gonna talk about optimization algorithm. Okay? So what is a optimization problem? Now, remember last time we said, okay, let's just abstract away from the details a little bit. Let's not worry about if it's, uh, the square loss or s- you know, some other loss. [NOISE] Um, let's just think about as a kind of abstract function. So one-dimension, the training loss might look something like this. You have a single weight and for each weight you have a number which is your loss on your training samples. [NOISE] Okay? And you want to find this point. So in two dimensions, um, it looks something like this. Yeah. Let me try and actually draw this because I think it'll, [NOISE] uh, be, um, useful in a bit to solve, let me pull this up. [NOISE] Okay. So in two dimensions, um, what optimization looks like is as follows. So I'm gonna- I'm now plotting, um, W_1 and W_2 which are the two components of this two-dimensional weight vector. For every point I have a weight vector and that value is gonna be the loss, the training loss. Um, and it's, er, you know, [NOISE] it's pretty standard in these settings to draw what are called level curves. Um, so let's do this. So each curve here is a ring of points where, uh, the function value is identical. So if you, uh, look at terrain maps, those are level curves. So you know, kind of what I'm talking about. So this is the minimum and as you kind of grow out you get larger and larger, um. Okay. I'll keep on doing this for a little bit. Okay. [NOISE] All right. Um. [NOISE] And, uh, the goal is to find the minimum. Okay. All right. So how are we gonna do this? So yeah, question. Assuming that there is a single minimum. Yeah, why am I assuming, uh, there is a single minimum. [NOISE] in general for arbitrary loss functions, there is not necessary a single minimum, I'm just doing this for simplicity. It turns out to be true for, um, you know, uh, many of these linear classifiers. [NOISE] Okay. So last time we talked about gradient descent, right? And the idea behind gradient descent is that well, I don't know where this is. So let's just start at 0, [NOISE] as good as any place. And what I'm gonna do at 0 is I'm gonna compute the gradient. So the gradient is this vector that's, uh, perpendicular to the level curves. So the gradient is gonna point in this direction. That says, hey, in this direction is where the function is increasing the most dramatically. Um, and gradient descent says, um, takes- goes in the opposite direction, right? Because remember we wanna minimize loss. Um, so I'm gonna go here. And, um, now I'll hopefully reduce my, uh, function value, not necessarily but, um, we hope that's- that's the case. Now, we compute, uh, the gradient [NOISE] again. The gradient says, um, you know, maybe it's pointing this way. So I go in that direction and maybe now it's, uh, pointing this way. And I keep on going. Um, this is a little bit made up. Um, but hopefully, eventually I get to the, um, the [NOISE] origin. And you know, I'm, I'm kind of simplifying things quite a bit here. So in- there's a whole field of optimization that studies exactly what kind of functions you can optimize and how gradient descent when it works and when it doesn't. Um, I'm just gonna kind of go through the mechanics now and defer the kind of the formal proofs of when this actually works until, um, later. Okay. So that's kind of the- the schema of how gradient descent works. So in code this looks like this. So initialize at 0 and then loop in some number of iterations, um, which let's- for simplicity just think there's a fixed number of iterations. And then, I'm gonna pick up my weights, compute the gradient, move in the opposite direction, and then there's gonna be a step size that, uh, tells me how fast I want to, you know, make progress. Okay? And we'll come back to, you know, uh, what, uh, the step size, uh, does later. Okay. So let's specialize it to a least squares, uh, regression. So we kind of did this last week, but, um, just to kind of review, um. So the training loss for least squares regression is this. So remember it's an average over the loss of individual examples, and the loss of a particular example is the residual squared. So that's this expression. Um, and then all we have to do is compute the gradient. And you know, if you remember your calculus, it's just I've used the chain rule. So this two comes down here. You have the, um, you know, the residual times the derivative of what's inside here and the gradient with respect to W is, uh, phi of x. Okay. So last time we did this in Python in 1-dimension. So 1-dimension, and hopefully all of you should feel comfortable doing this because this is just kind of basic, um, calculus. Um, here we have w is a vector. So, uh, we're not taking derivatives but we're taking gradients. Um, so there's, you know, some things to be, uh, wary of but in this case it's often kind of useful to double-check that. Well, um, the gradient version actually matches, uh, the, the single-dimensional version as well because last time remember we have the x out here. Um, and one thing to note here is that, um, there's a prediction minus target, and that's the residual. So the gradient is driven by, um, you know, kind of this quantity. So if the prediction equals the target, uh, what's the gradient? It's going to be 0 which is kind of what you want. If you're already getting the answer correct, then you shouldn't want to move your, uh, your weights, right? So often you know we can do things in the abstract and everything will work. But you know it's, it's often a good idea to write down some objective functions, take the gradient and see if gradient descent on using these gradients that you computed is kind of a sensible thing because there's kind of many layers you can understand and get intuition for this stuff at the kind of abstract level optimization or kind of at the algorithmic level. Like you pick up an example is it sensible to update when the gradient other than when the prediction equals the target. Okay, so so let's take the code that we have from our, from last time, and I'm going to expand on it a little bit, and hopefully set the stage for doing stochastic gradient. Um, okay. So, so last time we had gradient descent. Okay, so remember last time we defined a set of points, we defined the function which is the train loss here. Um, we defined the derivative of the function, and then we have gradient descent. Okay, um, so I'm gonna do a little bit of housecleaning and I'm just, uh, um, don't mind me. Um, okay so I'm gonna make this a little bit more explicit, what this algorithm is. Gradient descent depends on, um, a function, a derivative of a function and let say, um, you know, the dimensionality, um, and I can call this gradient FDF and in this case it's, uh, D where D equals 2. Okay, and I want to kind of separate. This is the kind of algorithms and this is, you know, modeling. So this is what we want to compute and this is, you know, how we compute it. [NOISE] Okay and this code should still work. Okay, um. All right, so what I'm gonna do now is, um, upgrade this to vector. So remember the x here is just a number, right? But we want to support vectors. Um, so in Python, um, we're going to import NumPy so which is this, uh, nice vector and matrix library um, and, um, I'm gonna make some, you know, arrays here, um, which this is just going to be a one-dimensional array. So it's not that exciting. So this, this w dot x becomes, uh, the actual dot I need to call. And I think w needs to be np.zeros(d). Okay. All right. So that's just- should still run actually, sorry, this is 1-dimensional. Okay. So remember last time we ran this, uh, this program and, um, it starts out with some weights and then it converges to 0.8 and the function value kind of keeps on going on. Okay. All right, so let's, let's try to, um, you know it's really hard to kind of see you whether this algorithm is any, doing anything interesting because we only have two points, it's kind of trivial. So how do we go about, um, you know, because I'm going to also implement stochastic gradient descent. How do we have kind of a test case to see if this algorithm is, you know, working? Um, so there's kind of this technique which I, I really like [NOISE] which is to call, generate artificial data and ideas that, you know, what is learning. You're learning as you're taking a dataset and you're trying to fit- find the, the weights that best fit our dataset. Uh, but in general if I generate some arbitrary, if I downloaded a dataset I have no idea what the right kind of quote unquote right answer is. So there's a technique where I go backwards and say, okay let's let's decide what the right answer is. So let's say the right answer is, um, 1, 2, 3, 4, 5. So it's a 5-dimensional problem. Okay. Um, and I'm going to generate some data based on that so that this, uh, weight vector is kind of good for that data. Um, I'm going to skip all my breaks in this lecture. Um, so I'm going to generate a bunch of points. So let's generate 10,000 point. The nice thing about artificial data is you can generate as much as you'd want. Um, there's a question, yeah? A true w? So true w just means like the, the correct, the ground truth, the w. The true y, true output or? So w is a weight vector. So this is kind of going backwards. Remember, I want to fit the weight vector but um, I'm just kind of saying this is the right answer. So I want to make sure that the algorithm actually recovers this later. Okay, so I'm going to generate some random data. So there's a nice function, random.randn which generates a random d-dimensional vector and y. I'm gonna set- what should I set y to? Which side of w you want? Yeah. So I'm gonna do regressions. So I want to do, uh, true_w dot uh, x, right? So I mean if you think about it, if I took this data and I found the, the like true one- w is the right thing that we'll get 0 loss here. Okay. But I'm going to make your life a little bit more interesting and we're gonna add some noise. Okay, so let's print out what that looks like. Also I should add it to my dataset. So okay, so this is my dataset. Okay, I mean, I can't really tell what's going on but, but you can look at the code and you, you can assure yourself that, uh, this data has structure in it. [NOISE] Okay, so let's get rid of this print statement and let's train and see what happens. So let's. Okay. Oh, one thing I forgot to do. Um, so if you notice that the objective functions that I've, uh, written down they haven't divided by the number of data points. I want the average loss, not the, the sum. Um, it turns out that, you know if you have the sum, then things get really big and you know, blow up. So let me just normalize that. Okay. So let me lock it. Okay, so it's training, it's training. Um, actually so let me, uh, do more iterations. So I did 100 iterations, let's do 1000 iterations. Okay. So when the function value is going down, that's always something to- you know, good to check. Um, and you can see the weights are kind of slowly getting to, you know, what appears to be 1, 2, 3, 4, 5, right? Okay. So this is a hard proof but it's kind of evidence that this learning algorithm is actually kind of doing the right thing. Um, okay so now let's see if I add, you know more points. So I now have 100,000 points. Now, you know, obviously it gets slower, um, and you'll, you know, hopefully get there you know, one day but I'm just gonna kill it. Okay, any questions about, uh, oops, my terminal got screwed up. Okay. So what did I do here, I defined loss functions, took their derivatives. Um, the gradient descent is what we implemented last time and the only thing different I did, this time is generated data sets so I can kind of check whether gradient descent is working. Yeah question. So the fact that the gradient is just the residual [inaudible] a algorithm to learn from overpredictions versus like underpredictions? The question is whether the fact that the gradient is residual allows the algorithm to learn from under or over predictions. Um, yeah. So the gradient is if you think about it, yeah that's good intuition. So if you look at, um, if you're over-predicting, right? That means the gradient is kind of- assume that this is like 1. So that means this is going to be positive which means that, hey if you opt that way, you're going to over-predict more and more and incur more loss. So, um, by subtracting a gradient, you're kind of pushing the weights out in the other direction and same for when you're, um, you're under-predicting. Yeah, so that's good intuition to have. Yeah. What is the effect of the noise when you generate [inaudible] What is the effect of the noise? Um, the effect of the noise, it makes the problem a little bit, you know, harder so that it takes more examples to learn. Um, if you shut off the noise then it will- you know, we can try that. Um, I've never done this before, but presumably you'll learn, you know, f- faster, but maybe not. Um, the noise isn't, you know, that much. But, um, okay. So, so let's say you have, you know, like 500 examp- 1000 examples. You know, that's quite a few examples. As in now, you know, this algorithm runs, you know, pretty slowly, right? And in- in modern machine learning you have, you know, millions or hundreds of millions of examples. So gradient descent is gonna be, you know, pretty slow. So how can we speed things up a little bit, and what's the problem here? Well, if you look at the- the- what the algorithm is doing, it's iterating. And each iteration it's computing the gradient of the training loss. And the training loss is, um, average of all the points, which means that you have to go through all the points and you compute the lo- gradient of the loss and you add everything up. And that's what is expensive and, you know, it takes time. So, you know, you might wonder, well, how, how can you avoid this? I mean, you- if you wanted to do gradient descent you have to go through all your points. Um, and the, the key insight behind stochastic gradient descent is that, well maybe- maybe you don't have to do that. So, um, maybe- you know, here- here's some intuition, right? So what is- what is this gradient? So this gradient is actually the sum of all the gradients from all the examples in your training set. Right? So we have 500,000 points adding to that. So actually what this gradient is- is, um, it's actually kind of a sum of different things which are maybe pointing in slightly different directions which all average out to this direction. Okay. So maybe you can actually not average all of them, but you can, um, average just a couple or maybe even in an extreme case you can just like take one of them and just, you know, march in that direction. So, so here's the idea behind stochastic gradient descent. So instead of doing gradient descent, we are going to change the algorithm to say for each example in the training set, I'm just going to pick it up and just update, you know. It's- instead of like sitting down and looking at all of the training examples and thinking really hard, I'm just gonna pick up one training example and update right away. So again, the key idea here is, it's not about quality it's about, uh, quantity. May be not the world's best life lesson, but it seems to work in- it works in here. Um, and then, there's also this question of what should the step size be? And in- generally, in stochastic gradient descent, it's actually even a bit more important because, um, when you're updating on each- each individual example, you're getting kind of noisy estimates of the actual gradient. And, uh, and people often ask me like, "Oh, how should I set my step size and all." And the answer is like there is no formula. I mean, there are formulas, but there's no kind of definitive answer. Here's some general guidance. Um, so if step size is small, so really close to 0, that means you are taking tiny steps, right? That means that it'll take longer to get where you want to go, but you're kind of proceeding cautiously. so it's less likely you're gonna, you know- uh, if you mess up and go in the wrong direction you're not gonna go too far in the wrong direction. Um, conversely, if you have it to be really, really, large then, you know, it's like a race car. You, kind of, drive really fast, but you might just kind of bounce around a lot. So, pictorially what this looks like is that, you know, here's maybe a moderate step size, but if you're taking steps, really big steps, um, you might go over here and then you jump around and then maybe, maybe you'll end up in the right place but maybe sometimes you can actually get flung off out of orbit and diverge to infinity which is a bad situation. Um, so there's many ways to set the step size. You can set it to a, you know, constant. You can- usually, you have to, um, you know, tune it. Or you can set it to be decreasing the intuition being that as you optimize and get closer to the optimum, you kind of want to slow down, right? Like if you- you're coming on the freeway, you're driving really fast, but once you get to your house you probably don't want to be like driving 60 miles an hour. Okay. So- actually I didn't implement stochastic gradient. So let me do that. So let's, let's try to get stochastic gradient up and going here. Okay. So, so the interface to stochastic gradient changes. So- right? So the- in gradients then all you need is a function. And it just kind of computes the sum over all the training examples. Um, so in stochastic gradient, I'm just going to denote S as for stochastic gradient. I'm gonna take an index I, and I'm going to update on the Ith point only. So I'm going to only compute the loss on the Ith point. And same for its derivative. Um, you can look at the Ith point, um, and just compute the gradient on that Ith point. Okay? And this should be called SDF. Okay. So now instead of doing gradient descent, let's do stochastic gradient descent. And I'm going to pass in sf, sdf, d, and, um, the number of points because I need to know how many points there are now. Um, copy gradient descent, and it's basically kind of the same function. I'm just going to stick another for loop there. So stochastic gradient descent, it's going to take the stochastic functions, stochastic gradient, the dimensionality and- Okay? So now, before I was just going through, um, number of iterations and now, right, I'm not going to try to compute the value of the- all the training examples. I'm going to, um, loop over all the points and I'm going to call just evaluate the function at that point I, and compute the gradient at that point I instead of the entire, you know, dataset. And then everything else is the same. I mean, one other thing I'll do here is that I'll use a different step size schedule. So um, 1 divided by number of updates. So I want it so that the number of, uh, the step size is gonna decrease over time. Okay, so I start with a equals 1 and then it's half, and then it's a third, and it's a fourth, and it keeps on going down. Um, sometimes you can put a square root and that's more typical in some cases, but, um, I'm not going to worry about the details too much. Uh, question? The point I is the chosen randomly but here we just [inaudible]. Yes. The question is- the word stochastic means that there should be some randomness here. And, you know, technically speaking, the- the stochastic gradient descent is where you're sampling a random point and then you're updating on it. I'm cheating a little bit, um, uh, because I'm iterating over all the points. You know, in practice if you have a lot of points and you randomize the order it's kind of- it's- it's similar but it's- there is a kind of a technical difference that I'm trying to hide. Okay. So- so this is stochastic gradient descent. Um, to iterate, you know, go over all the points and just, you know update. Okay? Um, so let's see if this works. Um, okay. I don't think that worked. [LAUGHTER] Maybe- let's see what happened here? I did try it on 100,000 points. Maybe that works. And, nope, doesn't work either. Um, anyone see the problem? [inaudible] So I'm printing this, um, out, uh, at the- at the end, um, of each iteration. So that should be fine, um. Really, this should work. So gradient descent was working, right? Maybe I'll, I'll try- It's probably not the best idea to be debugging this live. Okay. Let's, let's make sure gradient descent works. Um, okay, so that was working right. Okay. So stochastic gradient descent. I mean, it's really fast and converges, [LAUGHTER] but it doesn't converge to the right answer. I think [inaudible]. Yeah, but that should get incremented to 1. So that- It might be true. Okay, so I do have a version of this code that does work. [LAUGHTER] So what am I doing here, that's different. Okay, I'll have some water. Maybe I need some water. [LAUGHTER] Okay, so this version works. Yeah. [inaudible] Yeah, that's- that's probably good. That's a good call. Yeah. okay. All right. Now, it works. Thank you. [LAUGHTER] Um, so yeah. Yeah, this is a good lesson. Um, it's that when you're dividing, um, these needs to be one- actually in Python 3, this is not a problem but I'm so- on Python 2 for some reason. But this should be, uh, 1.0 divided by numUpdates. Otherwise, I was getting- So how is it faster? Okay. So why is it faster? [LAUGHTER]. Yeah, okay. Okay. Let's- let's, uh, go back to 500,000, okay. Okay. So one full sweep over the data is the same amount of time. But you notice that immediately, it already converges to 1, 2, 3, 4, 5, right? So this is like way, way faster than gradient descent. Remember, I just, uh, kind of compare it. Um, gradient descent is, um, you run it. And after one stop, it's, like, not even close. Right. Yeah? What noise levels you have to have until gradient descent becomes better? What noise levels you have to have until gradient descent becomes better? Um, so it is true that if you have more noise, then gradient descent might be, uh, stochastic gradient descent can be unstable. Um, there might be ways to mitigate that with step size choices. But, um, yeah, probably, you have to add a lot of noise for stochastic gradient to be, um, really bad. Um, I mean, this is in some sense, you know, if you take a step back and think about what's going on in this problem, it's a 5-dimensional problem. There's only five numbers and I'm feeding it half a million data points, right? There, there aren't- there's not that much to learn here. And so there's a lot of redundancy in the dataset. And generally, actually, this is true. I go into a large dataset, there's gonna be a lot of, you know, redundancy. So, uh, going through all of the data and then try to make an informed decision is, you know, pretty wasteful, where sometimes you can just kind of get a representative sample from, um, one example or more as common to do the like of kind of mini-batches where you maybe grab a hundred examples and you update on that which is- so there's a way to be somewhere in between stochastic gradient and gradient descent. Okay, let me move on. Um. Okay. Summary so far, we have linear predictors, um, which are based on scores. So linear predictors we include both classifiers and regressors, um, we can do loss minimization, and we can, uh, if we implement it correctly, we can do, uh, SGD. Okay. So that was- I'm kind of switching things. I hope you are kind of following along. I'll introduced binary classification and then, I did all the optimization for linear regression. So now, let's go back to classification and see if we could do stochastic gradient descent here. Okay. So for classification, remember, we decided that the zero-one loss is the thing we want. We want to minimize the number of mistakes. You know, who can argue with that? Um, so rem- remember, what is zero-one loss look like? It looks like this. Okay? So what happens if I try to run stochastic gradient descent on this? Um, I mean, I can run the code, but [OVERLAPPING] yeah, it's- it won't work, right? And why won't it work? [inaudible]. Yeah. So two popular answers are it's not differentiable, that's- it's one problem. Um, but I think that the- the bigger problem and kind of deeper problem is that, what is the- what is the gradient? Zero. Zero. It's like zero, basically everywhere except for this point, which are, you know, it doesn't really matter. So, um, so as- as we learned that if you try to update with a gradient of 0, um, then you, you won't move your weights, right? So gradient descent will not work on the zero-one, uh, loss. Um, so that's- that's kind of unfortunate. So how should we fix this problem? Yeah? [inaudible] Yeah, let's, let's make the gradient non-zero. Let's skew things. Um, so there's one loss, which I'm gonna introduce called the hinge loss, which, uh, does exactly that. Um, so let me write the hinge loss down. And the hinge loss, um, is basically, uh, is zero here when the margin is greater than or equal to 1 and rises linearly. So if you've gotten it correct by a margin of 1 so you're kind of pretty safely on the err side of, um, getting it correct, then we won't charge you anything. But as soon as you start, you know, dip into this area, we're gonna charge you a kind of a linear amount and your loss is gonna grow linearly. Um, so there's some reasons why this is a good idea. So it upper bounds the zero-one loss, um, it's, uh, it has a property called- known as convexity, which means that if you actually run the gradient descent, you're actually gonna converge to the global optimum. Um, I'm not gonna get into that. And so that's, you know, that's a hinge loss. Um, so what remains to be done is to compute the gradient of this, you know, hinge loss, okay? So how do you compute this gradient? So in some sense, it's a trick question because the gradient doesn't exist because it's not, um, you know, differentiable everywhere, but we're gonna pre- pretend that little point doesn't exist, okay? So, so what is this hinge loss? The hinge loss is actually two functions, right? There is a zero function here and then there's like this, uh, 1 minus x function. So what am I plotting here? I'm plotting the- the margin and, uh, the loss. Okay? So this is, uh, the zero function, and this is, uh, 1 minus, uh, w dot phi of xy. And the hinge loss is just the maxima of these two functions. So at every point, I'm just taking the top function. So um, that's how I am able to trace out, uh, this- this curve. Okay? All right. So if I want to take the gradient of this function, you know, you, you can try to do the math. Well, let's think through it. You know, what- what should the gradient be? Um, we're, we're here, what should the gradient be? It's zero. And if I'm here, what should the gradient be? It should be the- whatever the gradient of this function is, right? So in general, when you have a gradient of this- of this kind of max, uh, you have to kind of break it up into cases. Um, and depending on where you are, um, you, you have a different case. So loss is equal to- if I'm over here, and what's the condition for being over here? If the margin is greater than 1, right? And then otherwise, I'm going to take the gradient of this with respect to w, which is gonna be minus phi of x y, you know, otherwise. Okay? Um, so again, we can try to interpret the, the gradient of the hinge loss. So remember your stochastic gradient descent, you have a weight vector, and you're gonna pick up an example and you say, Oh, let's compute the gradient move away from it. So if you're getting the example right, then the gradient zero don't move, which is the right thing to do. And otherwise, you're going to move in that direction because you're minus, minus of phi of x y, which kind of imprints this example into your weight vector. So- and you can formally show that it actually increases your, uh, margin after you do this. Okay? Yeah? What's the significance of the margin being 1? What's the significance of the margin being 1? Um, this is a little bit arbitrary, you're just kind of sending a non-zero value. Um, and, and, you know, in support vector machines, you set it to 1, and then you have regularization on the weights and that gives you, uh, some interpretation. So I don't have time to go over that right now, but, uh, feel free to ask me later. There's another loss function. Uh, do you have a question? Yeah. Why is the or why do we choose the margin if it's a loss function that's supposed on the square or another loop? Yeah. So why do you choose the margin? So in classification, we're gonna look at the margin because that tells you how comfortable when you're predicting, uh, co- you know, correctly. In regression, you're gonna look at residuals and square losses. So it depends on what kind of- what problem you're trying to solve. Um, just really quickly, some of you might have heard of logistic regression. Logistic regression is this, uh, yellow loss function, right? So the point of this is saying that this loss minimization framework is, you know, really general and a lot of things that you might have heard of least squares logistic regression are a kind of a special case of this. So if you kind of master how to do loss minimization, you kind of, uh, can do it all. Okay. So summary, um, basically, what's on the board here? If you're doing classification, you take the score which comes from the, uh, w dot phi of x and you drive it into the sign, and then you get either plus 1 or minus 1. Regression, you just use a score. Now to train, you have to assess how well you're doing. In classification, there's a notion of a margin. Res- uh, in regression, it's the residual, and then you can define loss functions. And here is we only talking about five loss functions but there's many others, um, especially for a kind of structure prediction or ranking problems, there's all sorts of different loss functions. But they're kind of based on these simple ideas of, you know, you have a hinge, the upper balance is zero-one if you're doing classification and, [NOISE] um, some sort of square-like error for, you know, regression. And then, once you have your loss function, provided it's not zero-one, you can optimize it using, um, SGD, which turns out to be a lot faster than, you know, gradient descent. Okay. So next time, we're gonna talk about, uh, Phi of x, which we've kind of left as, you know, someone just hands it to you. And then we're also gonna talk about what is the really true objective of machine learning? Is it really to optimize the training loss? Okay, until next time.

WILLIAMS MARRIED ALEXIS OHANIAN. THEY HAVE A TWO-MONTH-OLD BABY GIRL NAMED AFTER HER THAT. THE NEW FILM, WONDER, TELLS THE INSPIRING STORY OF A FIFTH- GRADE BOY WITH FACIAL DIFFERENCES WHO ENTER THE MAINSTREAM ELEMENTARY SCHOOL FOR THE FIRST TIME. JULIA ROBERTS AND OWEN WILSON STAR AS HIS PARENTS WE SAT DOWN WITH THE ACTOR TO TALK ABOUT WONDER AND HOW THE BROADWAY SHOW SLATE JUST CHANGED HIS LIFE. Reporter: I SAW YOU IN HAMILTON. DROP THE MIKE, I HAVE THE CHILLS. THAT EXPERIENCE FOR YOU I HAVE TO ASK AT THE TOP OF THAT WAS LIFE-CHANGING QUICK TOTALLY LIFE-CHANGING AND UNEXPECTED. MY FRIEND HER WROTE A PLAY AND ASKED IF I WOULD BE IN IT AND I SAID SURE. TWO YEARS LATER EVERYTHING IS DIFFERENT. IN HIS LATEST PROJECT, HE PLAYS THE TEACHER IN WONDER, THE HEARTWARMING STORY OF A BOY BORN WITH FACIAL ISSUES THAT PREVENTED HIM TO GOING TO SCHOOL, HIS FAMILY AND THE COMMUNITY STRUGGLED TO FIND HIS ACCEPTANCE. HIS JOURNEY MAKES HIM AN UNLIKELY WHO -- HERO, JULIA ROBERTS PLACE HIS MOM. YOU CAN'T FAKE IT I DON'T THINK. YOU HAVE TO HAVE CHEMISTRY WITH EACH OTHER AND SOMEHOW THE FOUR OF US REALLY DID HAVE IMMEDIATE CHEMISTRY. DAVEED HAD NO SCENES WITH THEM BUT SAID THE YOUNG ACTOR, JACOB TREMBLAY KNOCKED IT OUT OF THE PARK. I USED TO BE A TEACHER AND I'VE HAD SEVERAL WONDERFUL TEACHERS IN MY LIFE. I THINK GETTING TO PLAY A PART THAT HONORED THE TEACHERS WHO ARE VERY DEDICATED SO I WAS EXCITED TO PRETRADE THIS CHARACTER WHO SORT OF A MOSH TO THOSE GREAT TEACHERS. THE KID BLOW YOU AWAY QUICK WHEN YOU ARE WORKING WITH SOMEONE, HE'S BETTER THAN YOU, JACOB IS THE BEST ACTOR. HE'S ALSO SO GIVING AND SO TALENTED. THE MAGIC OF WONDER FOR YOU -- WHAT'S THE MAGIC OF THE FILM? I HAVE BEEN SAYING THIS A LOT. I THINK IT'S ABOUT -- IT PUT YOU BACK INTO THE MINDSET YOU WERE IN WHEN YOU WERE A KID. I THINK BY DOING THAT, IT REMOVES ALL OF THESE WALLS WE LEARNED TO PUT UP AS ADULTS THAT ARE BLOCKING US FROM OUR MISSIONS. -- FROM OUR EMOTIONS. THE FILM PUT YOU BACK IN THE PLACE YOU WERE BEFORE YOU LEARNED HOW TO NOT CRY.

Legends of Tone Frank Zappa In this episode, Justin re-imagines the Zappa classic "Peaches En Regalia" entirely on electric guitar. Recorded in 1969 and released on the album Hot Rats, the track featured flute, saxophone and clarinet. We attempted to mimic the original recording using modern guitar gear. All guitar tracks recorded with a Pignose 7100. Lead guitar: Gibson SG Standard Harmony guitar: Fender Player Jaguar Harmony Guitar 2: Reverend Double Agent OG Bass: Fender Player Jazz Bass This section recorded with a Mad Professor Snow White AutoWah The bass part on the original recording was played by Shuggie Otis, who was only 15 at the time. Frank Zappa used a variety of heavily modified gear, but one mainstay of his rig was his Pignose amp. The solid-state 7100 delivers raw overdrive you can hear on another classic Zappa track, "Black Napkins." This section was played on a saxophone in the original recording. We pushed the amp with a JHS Crayon to give the lead guitar tracks a reedy texture. On the original track, this section was recorded at half speed and then sped up to create an octave up effect. We used a Walrus Audio Luminary and a JHS Crayon to create a similar effect. The lead guitars in this section were boosted with a Dunlop Hendrix Fuzz Face Mini. Learn more about the gear at blog.zZounds.com zZounds

If you love motorsport, this is the show for you. Discover what’s trending in motorsport. If it’s fast, funny, inspiring or entertaining, we’ll bring the videos to you! This is The RaceWorld Show. With the 2014 Formula One season over, several race teams have created awesome historical videos taking us through the many decades of Formula One. Today’s trending video is narrated by the famous drivers of the Williams F1 team. Trending with over 300,000 views already is this video from McLaren – Honda – a New Era! The Trend-o-meter results are in! A video that has gone viral with over ONE and a HALF million views. It’s easy to see why! Take the fastest man made machines and two men with a need for speed. AMAZING! Between 1988 and 1992, McLaren-Honda dominated Formula 1, winning 44 Grands Prix and eight world championships. In 2015, that partnership will be reforged. As we get ready for our new era in F1, we invite you inside the garage to witness first-hand the reunion of McLaren and Honda. That’s all from the RaceWorld TV Show today. You can watch today’s trending videos in full on the channel plus catch up with previous episodes. There are thousands of motorsport videos in 6 languages for you to enjoy! Subscribe today to RACEWORLD TV to discover what’s trending in motorsport!

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BROOKE: TODAY A FORMER KETTERING-FAIRMONT SUBSTITUTE TEACHER WHO PLEADED GUILTY TO HAVING SEX WITH STUDENTS MADE A TEARFUL APOLOGY MARK: MADELINE MARX WAS SENTENCED THIS AFTERNOON... 2NEWS REPORTER KRISTEN ESKOW WAS IN THE COURTROOM.. AND FIRST AT FOUR-- SHE LEARNED MARX WILL AVOID PRISON. KRISTENMARK AND BROOKE - NO JAIL TIME FOR MADELINE MARX. DURING SENTENCING TODAY - THE JUDGE SAID HE BELIEVED MARX SHOWED GENUINE REMORSE FOR HER ACTIONS - AND DIDN'T POSE A THREAT OF COMMITTING ANOTHER CRIME. THEREFORE - HE SAID HE BELIEVES IT WOULDN'T MAKE SENSE TO USE GOVERNMENT RESOURCES BY PUTTING HER BEHIND BARS. KRISTENBEFORE SENTENCING - JUDGE STEVEN DANKOF SAID HE RECEIVED 38 LETTERS IN SUPPORT OF MARX.HE SENTENCED HER TO FIVE YEARS PROBATION FOR EACH OF TWO SEXUAL BATTERY CHARGES. THE JUDGE SPOKE ABOUT THREE VICTIMS INSTEAD OF TWO. THE PROSECUTION CLARIFIED FOR US THAT THEY WERE AWARE OF THREE VICTIMS - BUT ONLY TWO CHARGES WERE APPROVED FOR THIS CASE. MARX MUST ALSO REGISTER AS A TIER III SEX OFFENDER - AND ATTEND SEX OFFENDER AND MENTAL HEALTH COUNSELING.SHE IS ALSO BANNED FROM MAKING CONTACT WITH ANY OF THE VICTIMS - AND FROM ENTERING KETTERING CITY SCHOOLS' FACILITIES. SHE ALSO CANNOT WORK IN A JOB WHERE SHE WOULD HAVE CONTACT WITH ANYONE UNDER AGE 18.MADELINE MARX GAVE A TEARFUL APOLOGY TO THE JUDGE. : "I CAN'T EXPRESS HOW SORRY I AM FOR WHAT I'VE DONE, ESPECIALLY TO THE VICTIMS AND THEIR FAMILIES. I JUST CANNOT EXPRESS THE REMORSE THAT I HAVE.": "SHE COOPERATED FULLY WITH THE AUTHORITIES, NOT WITHSTANDING THE RISK TO HER. SHE HAS FROM THE OUTSET EXPRESSED HER REMORSE. HER SADNESS, I BELIEVE, AS BEST I'M ABLE TO TELL, THAT'S ENTIRELY GENUINE." KRISTENMARX AND HER FAMILY - AS WELL AS HER ATTORNEY - DECLINED TO SPEAK WITH REPORTERS AFTER THE SENTENCING. WE SPOKE WITH THE ASSISTANT PROSECUTING ATTORNEY ON THIS CASE. SHE SAYS SHE'S SATISFIED WITH THE SENTENCE.LIVE IN DOWNTOWN DAYTON - KRISTEN ESKOW, 2 NEWS WORKING FOR YOU.

AMNA NAWAZ: As Paul Solman reported recently, economists Esther Duflo and Abhijit Banerjee won this year's Nobel Prize for their hard-nosed work on poverty, conducting experiments in developing nations, like Banerjee's native India. They wanted to see what actually works and what doesn't to improve the lives of the poor. But the married couple has also cast their critical eyes on the developed world and economic orthodoxy in their new book, "Good Economics for Hard Times." Paul zeros in on the ideas of their book for our series Making Sense. ESTHER DUFLO, Nobel Prize Winner for Economics: We felt that there was a lot that economics could teach us about the important issues that people are fighting about today. PAUL SOLMAN: Important issues, say Esther Duflo and Abhijit Banerjee, like immigration, which, they say, so many economists simply get wrong. ABHIJIT BANERJEE, Nobel Prize Winner for Economics: They say, oh, well, you know, it's supply and demand. If supply goes up, price will go down. PAUL SOLMAN: That, if there are more people willing to work cheaply, then wages will go down. ABHIJIT BANERJEE: Exactly. There is no evidence for it. In fact, there are many, many such episodes that have been studied, and for low-income workers, there is no evidence that the influx of large numbers of outsiders does anything to their wages. PAUL SOLMAN: Instead, he says, the influx of workers stimulates the economy. ABHIJIT BANERJEE: They're going to buy stuff. And they often buy stuff that other low-income workers sell. PAUL SOLMAN: We actually saw this in immigrant-friendly Utica, New York several years ago. Bosnian refugee Sakib Duracak, who came in the 1990s. SAKIB DURACAK, Bosnian Refugee: At the time when we came in Utica, it's a relatively very dead and poor city. PAUL SOLMAN: But immigrants like Duracak revived the city by working and spending. ELLEN KRALY, Colgate University: To have an economy, you have to have workers, and you have to have consumers. PAUL SOLMAN: Professor Ellen Kraly teaches demography at nearby Colgate University. ELLEN KRALY: The influx of refugees to Utica allowed us to retain some smaller industries that were looking for highly motivated labor. PAUL SOLMAN: Moreover, say the newly-minted Nobels, the work the immigrants do doesn't compete with native workers, who, for the most part, won't take the same jobs. I was skeptical. But look at union construction workers. They used to make a lot more money, adjusted for inflation, than they do now, due to, it seems, the influx of immigrants. ABHIJIT BANERJEE: I think that -- that's a very good example of something that hasn't been commented on, which is, high-skilled laborers do lose when there's an influx of other comparable people. And in some sense, the political conversation has it backwards. The high-skilled immigrants have actually an impact on the wages of comparable people. The low-skilled immigrants are the ones who don't. PAUL SOLMAN: Another chapter of the new book is called "Pains From Trade," playing off a supposed economic truism, gains from trade. ESTHER DUFLO: Economists repeat until they are blue in the face that trade is good for you and that trade is good for the country. But it's based on one very strong assumption. PAUL SOLMAN: The assumption? That people who lose jobs to foreign competition will simply up and move to get a new one. ABHIJIT BANERJEE: Except that, in the last 40 years, there's been enormous decline in mobility. Seven percent of the people used to move from county to county. PAUL SOLMAN: In the U.S. ABHIJIT BANERJEE: In the U.S. 40 years ago. Now it's 4 percent. That's almost a halving of mobility. People have stopped moving. ESTHER DUFLO: It's the emotional investment in the community, your identity as someone who has been working in a factory for many, many years. Maybe you have become a manager of your line or something like that. PAUL SOLMAN: Plus, in factories I have visited over the years, workers develop specific skills that are non-transferable. At a Milliken textile mill in Jonesville, South Carolina: RAYMOND HOOD, Textile Worker: You go through about a 12-week training program, and then you need probably nine to 10 months of practical experience on the machine before you get really competent and actually know what you're doing with the machine to be able to make it perform correctly. PAUL SOLMAN: Same story at a corn broom factory in Alabama, which we visited back in the early '90s on the eve of NAFTA, when debate over trade with Mexico was raging. Technically, this was unskilled labor, but it took me eight minutes to do what the average worker does in one. And I'm basically hitting myself on the index finger at this point. No, that was the thumb getting hit, getting hit. Back then, it took a year or so to master this skill, useless anywhere else. But when we returned 10 years later, the job was so mechanized, said the CEO... ED PEARSON, CEO, Crystal Lake Manufacturing: If you can screw in a lightbulb, you can make a broom. PAUL SOLMAN: Real expertise rendered obsolete. Yes, we have trade adjustment assistance to supposedly teach new skills, but when you bother to crunch the numbers, they show that what laid-off workers lose in wages alone is far greater than what's spent to reimburse and retrain them. A third and last example of where popular economics has led us astray, say the economists, is taxes. Here's the architect of Republican tax cuts, Arthur Laffer, making the classic argument a few years ago. ART LAFFER, Former White House Economic Adviser: If you raise tax rates, you collect more money per dollar of income. But then you have the economic effect, which, if you raise tax rates, you reduce the incentives for people to do the activity, and you will get lower income. PAUL SOLMAN: Arthur Laffer told me that he moved from California to Tennessee, for example, because there was a lower tax rate. ABHIJIT BANERJEE: It would be really sad if he didn't move. A nice thing about economics is, we deal with large data sets. There's no clear evidence that, if you raise taxes, the rich stop working. PAUL SOLMAN: Nor is there any credible evidence, say the laureates, that benefits keep the poor from working. Is there not -- the welfare queen or welfare king stereotype, it's just not true? ESTHER DUFLO: There's no evidence for it. Neither in the U.S., nor in poor countries do we see that, when people are given more generous help packages, they become lazy. PAUL SOLMAN: Evidence, much of it upending the conventional wisdom in economics, which is what, applied to poverty alleviation, earned Esther Duflo and Abhijit Banerjee their Nobel Prize. This is Paul Solman in Boston.

Mark Twain once said, “Humanity has unquestionably one really effective weapon—laughter. Power, money, persuasion, supplication, persecution—these can lift at a colossal humbug—push it a little—weaken it a little, century by century, but only laughter can blow it to rags and atoms at a blast. Against the assault of laughter nothing can stand.” Twain was right, except he forgot to mention laughter’s ability to profoundly affect our health. Laughter is the best medicine for many scientifically proven reasons: 1. Laughter is one of the best stress relievers. A good bout of laughter can keep the muscles in your entire body relaxed for up to 45 minutes. Now imagine cracking a few good jokes all day long. You’ll never have a crick in your neck or an aching back again. 2. Dr. Gulshan Sethi, a doctor of cardio-surgery at Tucson Medical Center says that laughter is like internal jogging. It tones all the internal organs and strengthens the abdominals without ever doing a single sit-up. 3. Laughter induces better social relations. The contagious nature of a smile or a good laugh help us to connect with others leading to friendships and even romantic closeness. In fact, couples who laugh together are more likely to stay married longer. People who have enduring relationships have also proven to outlive those who have few friends and are unmarried. 4. Laughter boosts our body’s immune response. Studies have found that laughing at a funny movie or finding humor in a stressful situation helps to increase the production of natural killer cells – white blood cells that attack cancer, colds, and foreign bacteria. 5. Laughter combats depression. When we laugh our bodies dump a bunch of good neuropeptides into our blood stream including oxytocin and dopamine. 6. Laughter reduces physical pain. Perceived pain levels in participants of many different studies are lowered when they laugh. Life may cause us pain here and there, but laughter helps us to deal with it better. 7. Finally, laughter is a measurable trait found to be higher in those who are more resilient. If you want to find a successful person who can take the punches of life just as easily as the accolades, you’ll find someone who laughs a lot. Laughter builds character and lessens rigidity. Mark Twain was a smart man. That’s why he also said “Those that respect the law and love sausage should watch neither being made.” Made you laugh!

( music playing ) We're hanging out with Markiplier. We're gonna play "Overcooked." It's gonna be even harder than you think, because this game requires a lot of coordination and we're gonna make it more difficult by being speech jammed. Being speech jammed means that it makes it really hard to talk. I'm horrible at cooking. I don't think you need cooking skills to-- I-- oh... ( laughter ) I'm gonna be the guy with glasses. I'm the big goofy guy. I'm the woman...en. - "Womanen"? - Rhett: Okay, here's the-- I'm gonna set some onions up here for you guys to get. Gimme them chopped-- Gimme some chopped onions. Why do we need to give you chopped onions? ( Link speaking gibberish ) Okay, as soon as the soup cooks, I'll put it on the plates. - This is only as stressful - Soup's on! as we need it to be. If we approach it with love and happiness, we'll be fine. - ( Rhett laughs ) - Are you washing plates? Yes. I am trying to be a productive member of this team. Oh, don't wash that! - Why? - It's soup in it! If that was your soup, then that's disgusting. Link, you're doing nothing! Ha, time's up! You jerks! What have-- we did good. - See? - Let's play again. - No! - Why are we on the street? - Why do you have a tomato? - Get out of my way! - It's just one onion-- - 'Scuse me! Get out of the crosswalk! You put it on the plate. How could you have forgotten already? Oh, this restaurant's gonna fail. - Oh, we got a fire! - Oh, I got a-- I've got a fire extinguisher! - Dangerous to the city. - I put it out! (laughing ) You idiots! - How are we doing? - Cooking the onions. Time's up! Again, maybe-- we did good. When you guys shout, my brain explodes! Link: Cooking on a pirate ship. Mark: Why on boat? All right, there's three mushrooms, so throw them in there and let it-- ( stammers ) - What mushrooms?' - Oh, wait, no. I goofed. Ohh... - Can we take-- - I really goofed. - I did it. Look what I did. - Oh, no goof. - Ahh! - Oh yeah, you did it! - This is not good! - Oh, no, what-- - Oh! - The whole ship's-- - Chop it like it's hot. - I be outside. You guys in there. - I'll just run. - Yes, yes, yes. - Balls! - We got balls! Hand me the pot, right there. Put there, - that pot, that pot... - Hand pot to me. Link, hand pot to me. Put the mushroom in the-- Link: Oh, yeah! Good idea. Mark: The chopped mushroom! Link: Aw, yeah! - It's so simple! - The plate! - ( exclaiming ) - The ship is burning! You suck so bad! Oh, we gonna die. I got it, guys. Oh! Another freaking fire. ( groans ) - Is that good? - We got no star. Well, Mark, thanks for being here, man. We accomplished so much together. I disagree. Stick around to watch us test our knowledge of obscure indie video games. You love to say it, and now your coffee will, too, with this "boiled for safety" mug, available at mythical.store. ( music playing ) "Hoe-la. Bee-en ven-eye-dos, ameejos." - ( laughter ) - I play video games about as much as Link speaks Spanish. And even though I'm not a big gamer, I still know all the popular ones, you know, like "Mario Brothers," "Zelda," and that weird boxy game where you go mining and do the crafty stuff. - "Minecraft." - No, it's a different one. Oh. But there are tons of indie games out there that even the most gamey of gamers have probably never heard of, and today I'm gonna test Link's knowledge on indie video games. It's time for... Is my family here? Uh, no, but I'm gonna tell 'em how well you do. - Or not do. - Yeah. - And they're gonna be ashamed? - Yeah. And there's a special prize. If you get three out of five of these right, you can-- you can take it home and share it with your family. - I can? - Yeah. They all get a piece of it. Exactly. Question one. It's like a rotisserie chicken. It is close-- well, you'll see. In the brand-new indie game set to release this year, "Super Meat Boy Forever," you play, as the character Meat Boy, who is married to Bandage Girl, and the two of you have a child named Nugget. Nugget has been kidnapped, and your objective is to get him back from the person responsible, the evil Dr. Fetus. - Ew! - Real or fake, Link? - Is this a real game? - It's very intricate. - Or not? - I don't think he would work this hard to make something up. Too many details. Really, man? I'm always working hard. Meat and bandages don't go together. - Mm-hmm. - But in the world of random, I think that this is a legit game. You're right, Link! "Super Meat Boy Forever" is real. There he is. We don't know-- we don't know exactly how it's gonna be, because it's yet to be released, but that's "Super Meat Boy Forever." What's wrong-- what's wrong with his eye? I don't know. He got beat up a little bit. - What's wrong with his tooth? - Maybe by Dr. Fetus, - or whatever his name is. - What's wrong with his thumb? I really just hope this doesn't step on my game that I'm coming out with, "Super Meat Boy Occasionally." - ( sparse laughter ) - Oh. ( laughter ) The next game taps into one of the greatest universal human fears of all time: "Don't ( bleep ) Your Pants." - What? - Released online in 2009, it is a survival horror game that takes place in a single room and features a balding man standing beside a closed door in pajamas. The objective is to use text commands to prevent the man from defecating in his pants. Real or fake? ( laughter ) Why's he gotta be balding? That's just what the game developers decided. Is it? And he's presented with what? Scary things coming out of a door? He has-- ( laughs ) You're just trying to-- You're trying to help him not ( bleep ) his pants. - ( laughter ) - I mean that's all I-- that's all I can say. I mean, you know? I haven't played it. It's kinda like the board game "Don't Break The Ice." - But it's in your pants. - Yes. So this is also real. You're right, Link! It is real! You're a natural, man! - There he is. - Link: There he is! There's the man. - Balding. - Rhett: Yep, balding, and holding it in. Link: "You farted lightly. Relief!" Yeah, exactly, yeah. See, there's all kinds of things that you can do. Now, in related news, Nintendo recently announced the upcoming release of "Mario Shart." ( laughter ) - "Mario Shart." - Yeah. - "Mario Shart." - ( laughter ) - You're still on a cart, but-- - Yeah, yeah, yeah, yeah. - You need to do some cleaning. - Yeah. - Do you hate people? - Yes. - Then this game is for you. - Thank you. "Get Outta Here With That Rotten Foot" is a 2015 indie game all about avoiding people. You are Arnold, a husband, father, and office worker who happens to have a gross, rotting foot. You must complete everyday tasks, like making breakfast, doing paperwork, and taking out the trash but you have to avoid all human contact. The closer you get to humans, the most points you lose because no one wants to smell your gross, rotting foot. So let me get this straight: he's got a rotting foot? Yeah, yeah, yeah. Arnold. - "Get Outta Here With That"-- - Both: "Rotten Foot." - Is the name of the game. - Yeah, yeah, yeah, yeah. Very catchy. But not a game. - You're not real. - You don't think it's real? - No, I don't. - You don't think it's real? I wish it was but it's not. You're right, Link! That's three! You've already won! Now you're going for-- - Get outta here with that-- - You're going for the sweep! With that rotten fake game. Yeah, yeah, yeah. It's not a game, - but it is a Netflix documentary. - ( laughter ) Yeah, it's in the "Documentaries about rotting feet" section. - Big, big section. - You gotta scroll. You gotta scroll quite a ways. I've always recommended those. If you love soup and also hate soup... - Yes. - this is your game. "Something Something Soup Something"... - ( laughter ) - is an indie game released online last year. It's set in the year 2078 when humans have perfected teleportation technology and are using it for the exploitation of aliens to make them cheap goods. The machine teleports bowls of food made by aliens and you have one important choice to make: is this soup, or is this not soup? And Link, you have one choice to make, is this real, or is this not real? Sounds like a game we'd play on here. ( laughs ) Yeah. "Something Something Soup Something Something" - is a great title. - Yep. ( laughter ) ( sighs ) It's-- it's real. I can feel the realness. You're right, Link! Four for four! Yeah. I know how these indie gamers think. - They're all desperate... - You think that's soup? - for players, not soup. - Rhett: Yeah. I don't know. I don't know the rules. There's batteries in it, and a foamy liquid with an orange wedge and batteries. In 2078, I'll be 100. If we're still making this show, that's when we'll debut "Soup"-- - What is it? - ( laughter ) "Something Something Soup Something," is it soup or not? Okay, so if the show's still around, we'll do that, and copyright won't even matter, 'cause it'll be so-- nobody will remember it. - It'll be so far in the future. - Yeah. - Link, you're four for four. - I know this. If you get this one right, I'm gonna give you the prize, and I'm gonna give you a pat on the back. And your family will be shamed. This next one's for the boys. "Homeboy Roy and Roy's Boyz 2: - It's Straight Up Bro Time!" - "Homeboy Roy and Roy's Boyz"... Both: "2! It's Straight Up Bro Time!" Was released in the App Store in 2014. You're Roy, a breakdancing social reject at Central Union High School. Your goal is to recruit members into your squad and compete in dance-offs against rival groups. If you can beat the reigning champions, the Thigh High Thugs, a trio made up of literal thigh-high socks, you'll achieve popularity and the adoration of high school sweetheart Danielle. ( chuckles ) Real or fake? - Danielle. - Danielle. You blew it when you threw Danielle in there. - Really? - Yep. Definitely fake. - Definitely? - Definitely. Link, you got the queen! I got the queen, y'all. - You got the queen sweep. - Bring me the queen! We call this the queen sweep. When Link sweeps it, it's the queen sweep. What's up with that? You say something wrong then you turn it into a-- You can't-- you can't live with me winning... - No, congratulations, - in a clean sweep, man. Super Meat Boy. - Okay. - ( laughter ) You can take that home to your family! It's fresh. - Okay. - ( laughter ) Everybody gets a piece, just like you said. I finally get every single question right in a game, and I get a steak. Well, we didn't think you were gonna win. I was just-- that was my lunch. - ( laughs ) - It was just over there, but now I had to-- I had to think fast. Mine now. Family, I'm coming home. - Aren't you proud? - He's got a steak. Thanks for liking, commenting, and subscribing. You know what time it is. - What's up? I'm Drew. - I'm John. - I'm Greg. - And we're in the Philippines at Cagayan de Oro with this awesome wooden chicken. All: And it's time to spin the Wheel of Mythicality. - We love wooden chickens around here! - Yeah, we do. Click the bottom link to watch this episode from the beginning. And click the top link to watch us play The 5 Second Rule game in "Good Mythical More." And to find out where the Wheel of Mythicality is going to land. Link: Let us slide into your DMs by signing up for the Mythical Monthly Newsletter at mythicalmonthly.com. - ( rooster crows ) - ( lion roars ) Hey. Welcome to "Good Mythical More." I knew you would click on through to us. - You never let me down. - Don't Google That. Whatever you do, don't google "19th century Halloween kids." - I gotta google that. - Oh, yeah. "19th century Halloween kids"? You've done it. Look at you. You've already done it. Well, I'll be blessed. What is it? What do you get? Oh. Oh. Oh! - What in the world? - Oh, my. - Don't google that. - Don't go-- oh, gosh! What? What were the children thinking? Actually, kinda Google that. - Kinda. - All right, 5 Second Rule is a game that we haven't played, but it's for ages 10 and up. - All right, we qualify. - Yes! I love it how they-- you got this nice box full of just this and this. We got this, and then we got this fancy schmancy timer. - ( timer squeaks ) - What, wait, did you say something? - That was this. - ( timer squeaks ) - Is that electronic, or-- - ( squeaking continues ) - ( mimics timer ) - Could be a Jay-Z song. - A Jay-Z song. - ( laughs ) You know, he likes that kind of sound. - Yeah, he did. - Okay, so you're saying that - that is five seconds. - Yeah. So what we're gonna do is-- this is discard, so that's the front. You're gonna go first, so you turn this over and I'll read the first one to you. I will give you an assignment, and it'll be like-- Why don't you do-- why don't the guy who's guessing, - he just guesses, and you... - I read out the assignment. ...read it and land it, so you have time to control. - Here we go. - Okay. - Name three things-- - Oh, no, hold on. What? You wanna wait until after I read it? You gotta say it and then set the timer down. Okay, okay. It's gonna take you five seconds to get through the question. You're right. Name three things you would give to Goodwill. Old shoes, underwear, and an old desk. - ( laughs ) - You can't give underwear to Goodwill. - Yeah, you can. I have. - No, you can't. - I have. - I've seen the inside of your underwear. They reject it, but I give it to them. - You cannot give that to them, - That counts! so you don't get a point. It does not count. I could give it to them. They may reject it. You can't return stuff to a store that you've-- underwear that you've worn or bathing suits. - Am I right? - Name three things you shouldn't do at a funeral. Uh, laugh, fart, and giggle. ( laughter ) And smell. - Giggle and laugh's the same thing, man. - Smell the body. You can't do a different kind of laugh. Laugh, fart, and smell the body. Okay, I didn't get a point either. Okay, this is still fun, though. - It'll stop being fun. - So you're not giving me a point for the underwear one? - Okay. - Can you-- can you give underwear to the Goodwill? - Yes or no? - Woman: You can give it, but they might not take it. They said, "What would you give?" and I said I would. I got lots of old underwear. But they won't accept it, and that was the-- so no, you don't get a point. - You can't give it to Goodwill. - What if I told them I had really washed it? You can't successfully give it to Goodwill. - "I really washed it." - Really washed it, never sharted in it. Woman: Oh, they will take clean underwear, according to their website. - Bam. - All right, I'll give you the point, - but I had to know. - Okay. - Do I get a point? - No. ( laughter ) 'Cause laugh and giggle's the same thing. Name three animals that can swim. Fish, dolphin, and platypus. - Platypus? - ( laughter ) Okay. You're right. You get another point. All right, here we go, here we go. C'mon, let's up the pace. Name three salad dressings. Uh, thousand island, ranch, and blue cheese. - Name four. - ( stammers ) "Eye-talian." ( laughs ) "Eye-talian." If we do more, do we get more points? No, let's keep this simple. - Let's keep it simple. - But that was great, you kept going. Name three gifts given during the 12 days of Christmas. - A goose... - ( laughter ) ducks... and pear trees. You didn't get it. You didn't get it. - You didn't get it. - What are they? What are some of them? Partridge in a pear tree, So that was technically a partridge and a pear tree. Golden ducks, I don't know. - That was a tough one. - It's not the right time of year for that. Yeah, it's out of sight, out of mind. All right, so how many points does he have? Name three professional soccer teams. - ( laughter ) - Uh, the US. ( laughter ) - How sad is that? - "The US." ( laughs ) Not only did I not know soccer, but my only answer was "the US." - Yeah, yeah, yeah, yeah. - I'm sorry. I'm sorry, the entire world who loves football, aka here, soccer. I'm an Oilers fan, not a soccer man. - Okay, uh-- - Uh, um, I-- Hold on, I gotta think of one. Arsenal. Isn't like-- Manchester United, that's one. Manchester United. - Brazil. - ( laughter ) Just name countries. Uh... - Your go or-- - My go. This is hard to do, guys. "Uh, what do we do now?" Name three ways to procrastinate at home. Pick your boogers, scratch your butt, and watch television. All right, let's keep going, you got extra time. Name three honeymoon destinations. - Antigua... - ( laughter ) - Jamaica, and Peru. - ( laughter ) Name three large US cities. Chicago, New York, and Los Angeles. Name three famous bald people. Um, Jason Alexander. ( blows out air ) ( laughs ) ( blows out air ) is not an acceptable answer. Kojack! The guy who played Kojack. All right. That's what we gotta do. - Keep going. - Keep going 'till you can't go anymore - Yep, yep, yep. - Got it, all right. - Howie Mandel. - Name three comedians. Howie Mandel, Seinfeld, and, uh, that guy who hosts the "Family Feud." ( laughter ) - You didn't even say Steve Harvey, man. - Steve freakin' Harvey. Give me another one. Come on, let me get a roll going. Name three things that may need ironing. A shirt, uh, pants, and a tie if it's crinkled. ( laughter ) Name three things you had to learn on your own. Uh, how to shave, how to-- how to, uh, how to ski, - and um... - ( laughter ) I learned everything with help. "How to shave and how to ski." You learned to ski like two weeks ago. ( laughs ) It was like so-- I was in a class, too, but I didn't listen. - It's so fresh. - I ski-- Did you learn how to shave two weeks ago? - Name three American-- - Oh, you can't do that! Name three "American Idol" champions. Christie Underwood? ( laughs ) What's her name? Candy Underwood? ( laughter ) - What's her first name? - It's Candy Underwear. - Carrie Underwood. - Carrie Underwood. And what was the girl who was like-- - her name was like Rihanna. - Kelly Clarkson. and then Justin, man. - The first one, right? - Name three types of sports balls. Lacrosse, basketball, baseball. Name three California universities. UC Davis, UC Irvine, UC Riverside. - All three of the best ones. - Name three rock bands. Metallica, Whitesnake, - and Black Sabbath. - ( both laugh ) Name three polite phrases. "Excuse me." "Sorry." - "Would you like more fries?" - ( laughter ) Name three blues bands or musicians. Uh, Ray Charles, - The Blues... Brothers... - ( laughter ) - and... - BB King. Give me one. I'm on a roll now, I can feel it. Going out on top, kids. Name three ways to wish someone "Merry Christmas." - Uh, "Happy Hanukkah"... - ( laughter ) "Happy Christmas", and "What's in your stocking?" Name three parades. Uh, Rose Bowl Parade, Christmas Day parade, and New Year's parade. ( laughter ) I don't think these count, but name three amusement park rides. A roller coaster, a tilt-a-whirl, and, um, the concession stand. ( laughter ) Oh, I'm gonna keep going. Name three brands of purses. Uh, "Dolce Cabbana," uh, Aldo... - and Nike. - ( laughter ) - I'm sure Nike makes a sports purse. - Nike makes a purse! - Name three rivers. - Uh, Cape Fear River, Massachusetts River, ( laughs ) and Colorado River. - There's not a Massachusetts River. - I'm sure there's-- Okay, uh... Link? I win. Good work. Name three vegetables. Cauliflower, broccoli, and cabbage. Name three farm animals. - Cartoon characters. - Horse, pig, and dog. John Travolta movies. "Staying Alive," ( groans ) "Face/Off," "Angel Man," and "Michael," and "Pulp Fiction." "Angel Man." Watch that one. I recommend it.

Umu: Do you specialize in anything? I hear you do a lot of wrinkle removal... Ian: I wonder if I can talk about that. *Rossini's Semiramide plays* Ian: My name is Ian Johnston. I'm a visual effects artist. Uhh, and I've worked on a number of music videos, movies and TV shows. Some of the more notable ones are- I worked on the third and fourth Hunger Games films. The Netflix movie "The Kissing Booth", the second season of Westworld. A handful of music videos by Rihanna, Katy Perry, Taylor Swift, Demi Lovato, P!nk U: Holy sh*t! *both laugh* U: Just to name a few! I: Yeah...There's a bunch. U: CL's Lifted I: Oh yeah. We did CL's Lifted. That was a fun video. We did the video for Despacito. And a bunch of others that I'm not remembering from the top of my head. U: Right, Thank you so much for just pulling those out of the top of your head. Can you please explain what visual effects are to people who might get cinematography, physical and special effects mixed up? I: Yeah, uhm, so visual effects are basically anything that's done in the computer. A lot of times people describe it as CG or CGI. Which means computer generated imagery. That's a part of what we do CGI works in a 3-dimensional space and a lot of visual effects are done 2 dimensional. Just on the actual image and not building a 3D model and then rendering it out. Although that is a big part of the visual effects work. Practical effects and special effects are work that happens in front of the camera, actually on set. If you think about the old Indiana Jones films or the Lord of the Rings films, they have a lot of practical effects. And visual effects is a different sort of, uhh, type of work. Although both are very, very important to filmmaking. U: Do you specialize in anything? I hear you do a lot of wrinkle removal... I: I wonder if I can talk about that... *both laugh* My specialty is a compositor. What that means is, I take multiple source images, whether it's the take that got shot on set, still images of sky plates and background plates and whatnot... and sort of combine them or composit them all together, to form the final image. A lot of the work I've done on projects has been clean up work. I: I'm gonna leave it at that. U: Okay! *both laugh* That's totally fine. And what's your favourite thing to do with visual effects? I heard a little bit about fire, maybe? I: Fire is always fun. I got into visual effects, because it allows you to tell stories that are a little bit more fantastic than traditional, sort of dramatic stuff. However a lot of the visual effects that I end up doing, are what we call invisible effects. Stuff that, if we do our jobs right, you never know are visual effects. U: That's amazing. Okay, so we'll just jump right into the first video that you'll be reacting to. So some information about the artist, this is actually a solo artist. This music video was produced in 2016, under YG entertainment. And then I did some research, and I heard that this was edited and directed by Christian Yu, who works for a company called Dream Perfect Regime or DPR for short. I: Okay. U: Go ahead. I: So that first opening wave form thing, would've been..I guess you could call it a simulation. But it would've been a generated image that they then transitioned to the rest of the- the actual footage that they shot. Sometimes it can be a thing that is very ???hard directable??? and very controlable. And sometimes, that sort've look would've been pre-set or a manipulation of certain values that generates it, based on what inputs you give it. But I don't know specifically for that one. Glitch effect. They're cutting out the artist from the video. Generating a pattern over him, that is that sort of grid. I'm not sure if it's a 2D or a 3D effect. But, my guess would've been 2D. And then they're distorting it based on the music. And using an effect to sort of glitch his image, underneath that as well. Although that could've also been partially done practically. Where they're sort of projecting an image with a video projector onto him and having that play while they're recording, is another way they could've done part of that. When it flickers in the background, they're isolating that part of it, using a process called Rotoscoping. They'll cut that out and then add another video on top of it and mix it with a couple other sources and then do their glitch process to it, to sort of make it flicker. I'm not quite sure what they're doing for that water effect, but the simplest way to do it would be to shoot it and then reverse it. So that instead of dropping water, it comes up into his hand. Lots of times tricks like that are used to simplify things. Rather than doing like a full on water simulation. My guess is, for this particular shot, it would've been a reversal. Just because it would've been a lot easier to achieve. But it doesn't have to be that way. Often times if you see a TV screen or a monitor, it'll be an alteration Uhh, one of those invisble effects that I was talking about. It's hard to capture an image on a monitor, exactly the way it looks in real life. And so, often times it'll be a monitor replacement. With something like this, it could go either way. It kind of looks like they might be just shooting the monitor, but there's no real way of knowing. More of the rotoing out the eras that they want to glitch, and then adding video on top and glitch effecting them. Uhh, we did a very similair thing for the CL Lifted video. On some of the shots we were adding glitch effects as transitions and to sort of emphasize things. A lot of this would've been done practically. The sort of glow on his eyes here would've been done after the ???? fact??????? They would've probably made a shape for the eyes and then done some glow treatments. Kind of like how the lightsabers in Star Wars are done. This would've been a background element. They've probably shot the whole thing on white and then through a process called "keying", which is what you do for a green screen, would've allowed them to cut him out from the background and place the graphic element in the back. ???????????That's what a glitch coming off of it.????? I don't know if they would've written software specifically for this video, but they would've developed a process so they can feed in an image and it'll distort it. A similair way depending on what the image is and then get to a repeatable result each time. This, I'm thinking, they would've shot on set. And used a projector for the background. Because I think that that would give an easier result, with the reflection on the ceiling and the floor. And how you can see the change in the image's perspective on the wall here. And then this is roto-ing out the tattoo and replacing it with another image that has the glitch effect. More of this generated pattern that they're using throughout the video. There are some plug-ins that could do this. But it might be something that they're building specifically for this video. Hard to say. U: Yeah, they'd have the footage in their program and then they put the stuff on top? I: Yeah, essentially depending on the luminance values, where the areas are brightest, or darkest. Some other perimeters like where edges get found in the image. And even like, colour values could determinedly sort of ???hides??? of these wave forms. U: Woooow This whole shot feels like it's tilted away from the camera. There's ways to control that and change sort of what direction it goes. Yeah, I definitely think that this is projector setup. Just because with how much different things they're showing on it, It'd be a lot easier to set that up on set and record it. Rather than having to sort of create a new look everytime, digitally. U: Right, so is he actually while it's going on? I: Yeah, U: Okay. I: And they would set up their projector so that it doesn't really fall on him. It would be like pointed behind him and off to the side. It's a commonly used technique, I've seen a few videos that do something like this. This would've been two different takes. One of them where they're projecting and one of them, where it looks like he's on a white background. And they're isolating him, to composit them together, one on top of the other. I: Glitch effect for the logo again. U: Right, so to quickly review that video, were there any specific transitions that you thought were tropey? Or was there a specific effect that you liked the best? I: I think that the sorta glitch, halo I guess, where it kind of waves off and you have the sort of wire frame coming off of the image, was a cool effect. Some of the effects felt like they were there to make an interesting image, rather than like, a story purpose. Which is fine, but not so much my taste. But yeah, it was a neat video! U: Okay! So yeah this is yet another solo artist, her name is Hyuna. And this music video came out in 2017 and it's produced by CUBE entertainment I got a bunch of names, like gaffer and assistent director and focus puller. But I'm not sure what those jobs are. I: A lot of those are part of the production team. They'll be people working on set. The gaffer is generally in charge of the electrical team, how the lights get set up. And he's sort of the second in command to the director of photography. U: Okay. Jimmy jib? I: That's probably a jib operator. U: What's a jib? I: Uhm, so a jib is a piece of camera equipment. You can think of it like a crane. It has a camera weight at one end and the camera at the other and you can- U: Ohhhhh U: Yeah. I: Yeah and you can get sort of sweeping shots over a big area. U: Okay. And then someone was credited for "art". I'm guessing, is that the visual effects? I: That, I'm guessing, is the art direction. And so, like, what you're seeing of the set, kind of. How the set looks and the props in the background and whatnot. U: Okay, so the director is Heewon Shin and I'm just gonna say the art director is Jiwon Young. And yeah, then there is a bunch of other names buuut I'll probably butcher the pronounciation Alright! Go ahead. I: So I'm guessing that this would've been in front of a green screen. And then a couple of different space images. That are then sort of spread out, as the virtual camera that they're using pulls further back. They're kind of blended together and combined. And then the stars in the foreground *points* right here, would've been an element that was created for this shot. And so the square behind her would've been either blue screen or green screen. Green screen is more common with digital shooting equipment, but depending on what's in the frame, both can be used. And since his pants are a little bit blue and there's blue elements in the far back, my guess is it would've been green screen. Digital cameras have more information dedicated to the colour green usually. And so, you can get a cleaner result with it. But functionally, they end up being the same. This would've been a transition film burn effect to emulate sort of the 35mm, 16mm film burning through the actual celluloid. So this would've been another glitch effect or sometimes it's called pixel sorting. And depending on the value of the pixel, it stretches. And then they're also overlaying another shot, to transition to the next one. Most of this would've been done practically. The couple of frames where another shot is being overlayed, might have been a digital thing. And the thing that makes me believe that it is, is that it isn't reflected in the bottom. It's continuing. U: Ohhh! Wow. I: And I think that this would've been combining two takes and then the computer sort of overlaying them. It looks pretty solid. It feels like it's projected back there. This...... Could've been done a couple of different ways My guess is they're shooting her on a blank background, whether it's green or white or blue. And then having a second video shot, that is spinning. And having the sort of, pixel sorting applied to it. And then combining them- the background video could've been shot with either a wide-angle lense, to create that sort of distortion. Or there could be some manipulation to it, after the ??? fact???? that is sort of wrapping it around. And it could be a combination of both. The earth, I believe, would've been added in digitally. And they would've tracked the scene and built an earth element that is then spinning. Some of the nebulas in the background, I think would be an overlay that they're doing in the edit. Could also be a projection, but my gut feeling is that it's not. Doesn't look like it's sort of fitting the contours of the background. It feels like it's combined, later on. Yeah ??????????power gnome (I'm sure he doesn't actually say it but istg it really does sound like it. Yanny and Laurel who?????? These would've been...It looks like there's taking the same take of the middle artist and taking her out through rotoscopeing. And then pushing it on that footage and spreading her out throughout the image. This would've been keying it on green or blue screen and replacing the background. Sometimes you can tell with the way the edges are, with the way the hair is, less fine detail, than if it was shot there in front. Depending on how much time and budget was available for that particular shot. They would've tracked her irises. And overlayed a second video. And then cut it out so it was the circle shape and limited to her iris. These neon sign elements, I'm guessing, would've either been a graphical sort of logo that they created or another plate that got shot and then combined. And then it looks like they're sort of putting the whole thing through sort of a VHS, sort of degredation kind of filter. And so, this would've been shot on green screen again. And with a generated or created background. They might be doing something where it's taking a bunch of different images and compositing them to be a single sort of, enviroment. Or they might be doing a full like landscape computer generated thing. Cool. U: Yeah, there you go! So a lot of those times there's a lot of different, it looked liked filters... I: Yeahhh... U: How many do you think were actual lights vs. after? I: A lot of the multi-coloured set-ups, I think would've been various lights that they had on set. Anytime you see they image kind of like tearing apart and re-building itself, that would've been a filter. A lot of the space stuff would've been an effect that they're doing. There were a lot of transitions, that could've either been done in the editing process, or it could've been broken out as specific visual effect shots. Where, if it was done during the editing process, there's sort of a library that you can go through and use. And then if it was done as an effect shot, you get a little bit more control and focus on what you want it to do. And so anytime you have the image sort of breaking apart and re-building to another image, that would've been a filter or an effect. U: Okay, cool.

What’s up guys, my name is Selim Chehimi and today we’re going to talk about Transhumanism. Transhumanism is a movement that aims to revolutionize what it means to be human. So, what it means exactly? Well, it means upgrading your body and mind with technological advancement to live better and longer. Humanity has managed to extend life expectancy greatly. 2000 years ago, you could expect to live between 18 and 21 years, by the 1900′s we had increased that to 30 years and by 1980′s we had reached a world average life expectancy of 62 years. However, this figure varies hugely across the globe. Nowadays, one hundred thousand (100.000) people dies every day from diseases caused by aging. However, However, no one really treats aging as a global priority and even worse it is seen as Justified unlike any other killer of this magnitude like malaria. I really think that we can do something about it. And I will show you how it’s possible to do so. But first, What’s really aging? Well, aging is a really simple concept… it’s just the lifelong accumulation of damage to the body. In fact, the body can tolerate some damage, but too much of it causes diseases and disability. In my opinion, defeating aging is tremendously important. We need to break this horrible relationship between how old you are and how likely you are to die in the next year. I really want you to consider that most infectious diseases have been easily prevented (vaccines, antibiotics…). So why not age related diseases? As Longevity Technology becomes available and safe, people will realize the benefits and principle objections will quickly disappears. Just ask the person who is about to die if she would like another year of high-quality living and Most of us will say yes to extra time. This is the first step of Super Longevity: getting a relatively modest amount of life extension. Let's say 30 years. All those people who will benefit from those therapies will in fact be able to survive long enough to receive improved treatments that will give them 30 or 50 more years to live. And who knows, if we repeat this process over and over, maybe humans will be immortal. Now, we will see how can we actually live longer. Science doesn’t know exactly why we age, but it has made progress in beginning to understand the process. Scientist in a variety of fields have found that a large number of gene sequences play a role in the process of aging. So the first way to increase life expectancy is gene therapy. It’s an experimental technique that is used to prevent or treat certain diseases. Here’s an overview of the possibilities: Replace a mutated gene with a healthy copy of that gene Deactivate bad gene that is malfunctioning Introduce a new gene to fight a disease In other word, that’s trying to rewrite genetics to increase our life expectancy. For the moment, it’s obviously a risky technique, But it will have a great impact in the future. The second way to increase life expectancy is Cybernetics. The idea of it is really simple: “Anything that fails in our body can be fixed or replaced. And, if nothing can be fixed, it can be 10 times better”. Anything can be replaced, legs that never get tired or eyes that can see in the dark! For me, Cybernetics is really promising. For example, Stan Larkin lived 18 months with a prosthetic heart that he carried around in a backpack Another example would be Hugh Herr, a champion mountain climber that lost his legs at 17 years old. So, he built his own legs to be able to climb again. He became passionate by bionics and took his studies seriously. It’s interesting because his biological body gets worse and worse, but the artificial part of his body gets better and better. At 80 years old, his balance will be better than an 18-year-old! Perhaps the most dramatic way transhumanists believe that technology will transform the human condition is the idea that someone's mind could be converted into digital data and 'uploaded' into an immensely powerful computer. This would allow you to live in a world of unbounded virtual experiences and effectively achieve Immortality. Yet transhumanists seem to ignore the fact that this kind of mind-uploading has some insurmountable obstacles. To start with, here is the practical issue: our brains each have trillions of connections between 86 billion or so neurons. To replicate the mind digitally we would have to map each of these connections, something that is far beyond our abilities. Also, computational capacity is the second challenge, and it is another big one. Current computers aren’t powerful enough to hold human's digital brain. Transhumanism is more than just creating “cyborgs”. it would be an entirely new species that people have yet to imagine: a being that's developed beyond the current human state to enjoy a higher level of reasoning, culture and physical capabilities. Thanks so much for watching guys, I hope that you’ve liked this video. Don’t forget to like it and also to subscribe. Follow me on social media and have a look at all my Articles about AI and Technology on my blog selimchehimi.com.