Okay. Welcome everyone to the newly rebranded TechSoup Connect South Australia chapter, formerly known as NetSquared Adelaide. We have a fancy new name and a fancy new logo. As we've done with our previous events, we just want to quickly talk about what NetSquared is and does and what our focus is before we introduce our speaker for today. So NetSquared is a TechSquared, even I'm having trouble with it, TechSoup Connect is a program of TechSoup Global. TechSoup Connect is a global network of tech for good meetups. So the focus here is on connecting digital innovators with nonprofits that perhaps don't have those skills and that knowledge and TechSoup is a nonprofit that helps other nonprofits get implemented and use tech effectively. So you can see TechSoup Connect Global Network spans the globe. So 128 cities this week in 41 countries, always on the rise. You can see they're pretty well spread throughout the world. Common values here as a nonprofit driven event. We welcome everyone, we put community first. We build stronger nonprofits and technology is one of the tools that we use to do that. We invite participation so everyone has something to learn and to contribute towards everybody else's shared knowledge and we treat each other with kindness and respect. Anyone can plan an event for TechSoup Connect anywhere in the world. So we're always on the lookout for people to join the team, event producers, marketing, welcoming crew, note takers or if you've got any other skills or experience that you can bring to help us with TechSoup Connect, please get in touch and we'd love to talk to you about that. The local TechSoup partner in Australia and New Zealand is ConnectingUp which is based in Adelaide and through ConnectingUp you can access a range of different technology products and solutions. Very American slide, prices you can afford but people like Microsoft donate their software to nonprofits and ConnectingUp is the vehicle that does the nonprofit eligibility for that program. If you need technology help, that's what NexQuest is here for but if you're a bit more of an online person forums.techsoup.org you can ask you questions there and get help from like-minded nonprofits. And our sponsors for the TechSoup Connect South Australian Chapter, I got it right that time. Our Refuel Creative which is where I am today and Create Your Change which is Kat Milner's business. Okay, so I want to introduce today's guest. So today's guest is Nihar. I'm going to try pronouncing your last name. I'm probably going to get it wrong. I apologize in advance. Awasthi? Yeah, perfect. Who is a marketing and mindset coach? She helps life coaches how not to repel their best clients and market like a human so they can get fully booked. She teaches them how to market like a human with soul and strategy. An ex-national marketing manager, she decided to break free from the pressure to wear high heels and shadow the glass ceiling while she was at it. She's on a mission to unmute the voices of business women who want to be trials blazers and be heard. So today Nihar is going to be talking to us about micro storytelling and Instagram. So without further ado, Nihar, take it away. Thank you so much Ryan. Hello everybody. I am so delighted to be here and talk about micro storytelling and Instagram.  Thank you for inviting me and let's get started. So I am going to share my slides first of all. And let's see. Okay. Can you just give me a thumbs up, Ryan, if you can see these slides. Okay. All good. Okay. I'm just going to go full screen then. Again, lovely. Okay. So micro storytelling and Instagram are two of my favorite topics to talk about. But first, I'll give you a very brief introduction of who I am. I'm a human, just like all of you. I like to make a mention of it because sometimes we can think that experts or, you know, person who is presenting there is kind of like, you know, from extraterrestrial territory and it's only you that you're struggling with things in business and life. So it's not the case. I'm also a brown woman. I'm a business owner and I am an ex national brand manager. So I have an extensive experience in and brand management and working on multimillion dollar marketing campaigns for various in various industry but predominantly financial industry is where my experience is. But I am also a marketing coach who is all on a mission to unmute your superpowers and help you fall in love with marketing, which is not that difficult in my opinion. So you can make more money and help more people and live a life on your own terms. You can find me here on Instagram underscore Neha Avasti. You might want to just write down the spelling of my name and you can also find me here where I love to hang out with other life coaches and other women entrepreneurs, which is a Facebook group called Unmuted Marketing. I've got it, but it's marketing with soul and strategy for women entrepreneurs. So let's talk about what is a story. So story is any narrative that helps you to communicate and experience engaging with a story really fires up a part of your brain, which is left temporal cortex and the region which is receptive to language.  It is simply an experience and I really want to drive this point home that sharing an experience with people is really what a story is. You just have to learn a few skills to create the same experience in their in audiences mind as you experienced. And when you're able to do that, that's when you know that you have told a great story. So a story's main purpose is to really translate the experience that you have had. And when you tell that story to someone else, they should be able to have similar experience or have, you know, some sort of emotional experience and connection with that. When you do that, you'll never run out of stories to talk about and we don't realize how many stories we have in our bank in our everyday life experiences. Because stories really help us understand the world. It's something that we do naturally from bed sites to firesides. We have regularly used stories to relay our experiences and connect with all of those people around us. We have done it historically for many, many, you know, for centuries from, you know, from the day in age, like the mode of stories have changed. But we have used these stories to communicate events, examine our values, explore meaning and purpose in our lives from day in age. So in this sense, stories offer a perfect common ground for reflection and for us to connect at a very human level. And this is very necessary for businesses because in today's age, businesses are offering things, but that's not what really sells. What sells is the connection is the experience is the meaning that someone would get the change that someone would get after engaging your services or after using your products. So it's really important that you really make that distinction in your mind that what you're selling directly is not exactly what you're selling. You're selling the meaning and the purpose and the change behind that very thing. And stories help you do that. So I really like, you know, this is just an example of how stories help us really understand our world. So one of the things that you could be saying to yourself, this is from my own personal example that I really would have learned to sketch if my parents encouraged me. I was mugged few years after arriving in a new country and I started to think that it's not after all that safe. I took that course and that's why I failed or succeeded depends on how you interpret it in my career. These are just some of the examples of how we make meaning after we have engaged in a thing, after we have engaged in an activity, after we have engaged in an experience. This is how we interpret it. And these are all like parts, livers of the stories that we create in our own head to give it a meaning and to understand what just happened with us. This is what humans do on a very biological innate level. It's very important to understand because when you understand this, you know what's going on in your audiences and your customers minds as well. So where you can find stories that everywhere in books, movies, you're talking to a friend observing other people because this question comes up a lot like where do I find stories. And more often that question comes up because we start with the premises that we don't have any stories.   Stories stimulate your audience's minds to put their guards down. And as I said, it helps to fire up that part of the brain that is receptive to communication. And when we're doing marketing, it's just very natural that we're all very smart people and our guards go up automatically. We just try to protect what we have and your customers are doing the same thing. They're just trying to assess what is in there for them and what are you trying to take away from them. So that really puts their guards up and to relax that part of the brain. And for you to be able to get through, for your message to get through to them, it's really important that you engage in stories so that it helps to relax their brain and they learn to put their guards down. And then you have an opportunity to tell them what you want to tell them because if they're not really like if they're locked up in a fort in their brains, nothing is going through to them. And that's where a lot of marketers think that they have to shout, they have to loudly send their message across or they have to be everywhere. They have to promote their message everywhere in every possible way. But really, if you make that message really potent and strong, you don't really have to put that much of marketing effort. And you can get through very small number of people but the right kind of message will land with the right kind of people. It puts their mind to ease and they become receptive to what you have to say. And I love Instagram for that matter because Instagram as a platform is just such a great platform that offers opportunity to tell micro stories in many different ways. It tells, like, you know, you can tell visual stories, you can tell in reels, it has a story as a feature itself, and then you can tell longer stories, you can tell educational stories. And that's the purpose, like, you know, it's not just about telling the stories, but the way you are telling the stories is also very important. So Instagram as a platform offers such a diverse opportunity for you to engage your customers brains in many different levels, in visuals, in, you can tell a story in your visuals, you can tell a story in snippets, you can tell real life behind the scene story in, you know, so many different creative ways. And that really helps to engage your audience in at a much deeper and a much sort of, yeah, at a much deeper level in many different ways. So let's talk about the most common mistakes that people do when it comes to telling stories. You know, the first common mistake is they don't understand that story is only meant to get them to pay attention. So it's not to do all the selling on a sales page, but it's really to grab their attention and to get their brains engaged in what you have to say. So people have specific ideas as to how to use story in their marketing and in their content. And, you know, they often think that story has to do the heavy lifting for the selling and it does in many ways, but the purpose of telling a story is not to really make the sale. The first step of telling a story is to really get an attention. And I have heard in the past that like sales page must be written in a way that is all serious and can't use these stories. In fact, I think everywhere you're selling is the best place to tell stories. So take that notion out of your head. Like, you know, it's a very formulaic old marketing kind of an approach where you think that it has to sound very professional. Otherwise, it won't be credible. In fact, when you use stories to your advantage on sales pages, on Instagram captions in everyday social media posts, it really helps your audience to build a holistic 360 degree understanding of you at a very human level. And that creates a much deeper connection than any other sort of marketing bland, you know, boring message. So as I talked about, like, you know, Instagram has just such a wide opportunity for telling those stories.  You know, real time stories from your life and your business behind the scenes. They're short snippets that would last only for 24 hours and they're 15 seconds each. So you can tell, like, really smart short stories and really bring the audience in your life behind the scenes and share, like, what's going on in behind the scenes of your business. So audience really love to see, like, how businesses are operating and how it all comes to life. And they become a part of your, yeah, they become a part of your business in that sense when you bring them along and you invite them, you know, and you open up the Kimono and really share things that they don't really get to see in a polished marketing campaign sort of a way. So that's, that's why I love using Instagram because it has just such a wide array of options to do marketing and tell stories. Captions, you can use captions on Instagram to really share educational, impactful stories and really educate your audience through captions. And this is a great way, like, if you think that your audience are not ready to buy from you just yet, this is the way that you bring them along and prepare them to get ready to buy eventually in some time. So by answering their questions, by educating them on things in terms of stories, you know, they start to, they start to understand things that they need to understand before they're ready to buy your product or service. Reels is a new fun entertaining way to tell stories on Instagram. It's the new kid on the block, not so new anymore, but like, you know, it's still fairly new. Like a lot of people are not taking advantage of Reels, but it's just so much fun to create those little videos. And, you know, all the technology and the creative tools are provided by Instagram within the platform. So definitely give it a try and try to really stretch your brain as to how you can sort of tell a very small story and in a creative way. So you might just want to tell, like, you might want to create a reel today to tell a story of how your day, how your everyday looks like, a typical day in your office looks like, you know, just as an example. Or you might want to create a reel on telling them, you know, the mistakes or the misconception, misconceptions that they have about your service or your product. The second mistake I see people making, they want to tell everything in one story. And that just is a recipe for overwhelming yourself. So who has done this mistake? I definitely have. There is a temptation that I want to tell everything in one story and everything in one caption from start to finish. And it's just really good to pay attention when you have this temptation because that not doesn't just overwhelm you, but it also overwhelms the reader or your audience engaging in that story. So, like, you know, anytime you write something or anytime you have created, you know, a snippet, a story, a reel, just ask yourself that, am I trying to tell too much in this story? And just really cut it down, really cut it down by 10X, like, you know, mentally, if you start thinking about it, that's when, you know, it, it lands the point that it's trying to make. So there is no need to tell, like, a 20 page story and essay in one caption. Just make sure that you're thinking about telling one point and just driving that one point home. That's, that's the most common mistake I see when people start to tell story even on about pages on Instagram captions or even on Instagram stories, they will just keep going, they will just keep going on and on and on about that story. So don't do that. The third mistake is when they start to write the story, we start to tell the facts, like, I went there and this happened and that happened. And, you know, that is, like, we are narrating as if like one fact after another, this happened in 1987 and then that happened after that. This is such a stilted, boring version of telling a story. So make sure that you're not just narrating facts, but you're really putting emotion and you're really tapping your own emotional state into that story because only then you will be able to communicate that to your audience. It is supposed to remind you of the beauty of humanity. It is supposed to remind your audience, the experience that you have had, the flaws and the characters and what was going on in your mind in that moment. Even if you look at the photo, like, you know, you can tell such a beautiful story about just a man sitting in a cafe. Like imagine, like bring all your senses to that one moment and think that what could have, you know, what could be going on in the head of this man is just trying to pick one dish from the menu. Like that itself could be a really potent story if you really try to bring your emotional state into that moment and then write it from that fact or tell it from that sort of state. Because when you just narrate the facts, the stories fall flat and they don't capture the audience and that is the whole purpose, right? Like you remember at the beginning, I started off the presentation saying the stories are just a narrative that is supposed to translate the experience that you have had into your audience's mind. And the experiences consist of emotions, experiences consist of, you know, your thoughts in that moment, your experience and what you were doing in that moment, right? So that's like focus on those things rather than just narrating fact after fact after fact. The other mistake that a lot of people do is they underestimate the value and the effect of visual stories in marketing. And again, this is also why I love Instagram because when someone lands on an Instagram profile that is built very strategically and that is telling a story, it's a great opportunity, communicates instantly what your brand is about, what your service is about, what your business really is about and what they can really expect in future. And this is such an underestimated tool in marketing to tell visual stories because a lot of people just think that, oh, they'll just take a photo of a flat lay which ends up looking like, you know, million other flat lays on the whole internet and that nothing really stands out. It doesn't tell the audience or the viewer as to who you are, what your brand is and why they should really stop and follow you and really spend their time and energy in engaging with you as opposed to someone else. So even if you look at all the photos that I have presented you in this presentation itself, you get a sense of like, you know, these are the photos that I have taken and they represent me as a person and I'm a personal brand. And my audience wants to know like what kind of person I am and what they can expect by engaging with me because coaching is just such a personal deep and intimate relationship that like, you know, they really need to know what kind of person I am. And if you just look at all the photos, the visuals that I have presented you in the presentation itself, it tells you a little bit about who I am as a person. You can probably take some cues that this is the person who probably loves Italy. It's a person who has an artistic sense, who has moody sense and who looks at a world and things in a particular way, right? So thinking in micro stories, this is what I would ask you to do. If you want to apply this material into your brand and business, the first thing that you need to do is start thinking in micro stories.  There is a place for telling your larger soul story for sure. You do have to find your larger mission story, like why you do what you do at the beginning of the presentation. I told you why I do what I do. And it's very important, like that story is really important because all the micro stories that you will find out will really be slivers out of that big soul story. So ask yourself, what is the story behind your business and behind your brand? What is the common thread in all the stories and experiences you have had so far that have led you to this point of creating the business and then start telling those stories? What is it about your work that you do that compels you and that inspires you? These are some deep questions that a lot of businesses don't often stop and think about because they are uncomfortable. The first answer you might get is, I don't know. Like, I don't know. Like, I have never really thought about what compels. I just wanted to create a business and that's why I do, but that's not what people buy.  There is a deeper reason that they want to engage with your business and you have to do that work to get clear on those stories and that reason first in your own mind. And only then you will be able to communicate that to other people. So the reason behind the mission behind my business, just an example, is I think that if every woman felt unapologetically herself, she could create whatever she desires in the world. So this has nothing to do with marketing, but this has everything to do with marketing. This is something that drives me innately. This is what I feel is the purpose of me and my life and my work on this earth. And I want everything that I do in my marketing, in my business, my offers, in my coaching. I want everything to reflect this mission. And this hasn't, this is one line, but this has come from deep reflection and time that I have spent in just asking myself those questions that I just outlined a little bit earlier. If every woman felt trusting of herself, she will spread her ideas like a wildfire. And all of these are indicator of my value system that I want to add to the world. This is the value I want to add to the world through my business. And it's my responsibility to communicate this in my marketing, because if everybody could feel these feelings, the world will be a better place. This is what I believe. And that's the work that you have to do for your business. If every woman felt whole, she will feel rich and fulfilled life and create magic in the world. So these are some of the statements that really drive me to do what I do. So now I have an idea that this is the big mission that drives me. I have a sole story to base my micro stories on. Now the job is to splinter these big story into mini micro teeny tiny stories. So I as a business owner would ask myself, so what are the times that I have felt these feelings? What are the times that I feel like I have made these this kind of change in someone's life in my client's life? What was I thinking in those times? What was happening in those times? And I would go about taking answers to these questions and creating like little micro stories on all of these. And then using Instagram or any other social media platform of your choice to communicate those stories. I love Instagram because I can tell one story in many different forms on Instagram. I can tell in captions in a written form. I can tell it visually. I can tell it on reels and stories and then like, you know, also educate them through longer video versions called IGTV. So let's see three things that good stories have first they have meaning. Then they have details and they have curiosity. These are the elements recipe of what makes a good story. What makes a good story when we say the story was just like meh, like, you know, it didn't sort of land. It didn't sort of create any emotion. So these are the elements that were perhaps lacking in that story. There's so much to storytelling I can talk about, but this is a great start because I wanted to leave you with something tangible. Like something if you implement these three things and incorporate these three things elements in your storytelling, it will definitely take it to a next to the next level. So you're going to try them right. I'm going to tell you one by one very quickly an example just so that it really lands with you what I mean by meaning. So asking yourself does my story has a meaning. So leave them better leave your audience better than they were before reading your story. That is the purpose of asking this question lead them towards getting emotionally invested in your brand and that leads them to the sale. That is the sort of the benefit of telling this, but your focus should always be asking yourself like does my story has a meaning. For example, if I say my husband went to a market and came back with bananas, he saw Michael there. Okay, I'm telling the story, but it doesn't have that oomph, right? Like you're like, I'm stating some facts. I'm stating some things that happened. And now if I add that, he saw Michael there. Michael is our old childhood friend and he has been living in the same suburb and we didn't even know. Now the story, little story has some oomph, right? Like it has some meaning. Now you know why? What was the purpose of me stating those facts? And now it has some interest. Second details. Details just bring your stories to life in a very effective way. So asking yourself, does it have rich details? Am I including some details about that story? Because our tendency can be to just skim over the surface and we forget about the details.  For example, we went to the bar. Okay, I'm stating some fact like we went to the bar. Fine. But when I say we went to this Parisian looking bar in the typical suburb of West Sydney. So as soon as you read this, you can totally your brain vent into imagining this Parisian looking bar. You had an image suddenly and that image would vary according to your own personal experiences of what you consider a Parisian looking bar. If you've ever been to one or not, what your image is about West Sydney, all of that would come into play.   And that's the purpose of including details. Very, very effective technique. Curiosity. The last one, curiosity. So does it create curiosity to read more because the purpose of telling a story is for them to come back to read more because it's important on a sales page on Instagram post or whatever. If they have a good experience, they will come back again for more. So for example, I stepped inside the door and what I saw was surprising, normal colors, but a surprising sight. Now you're suddenly curious like what I'm talking about.  And what were normal colors? And what was the surprise? You're suddenly into my world. I've suddenly pulled you from across the line and I've brought you over to my side, right? Now you want to know what was it that I saw behind those doors, right? And that's the purpose of curiosity. So always be thinking about these three things to incorporate in your stories. Lastly, I'm going to finish off and say that take it slow.  Don't try to make like, you know, when you start with storytelling, it can be overwhelming because it might be a new skill that you haven't developed yet. And it is a skill. It takes time. It takes practice. So take it slow and take it steady. And then also just have fun with it because, you know, telling micro stories is all about your expression and your discovery. So more you think about your life and what is happening because it requires a certain amount of awareness and really reflect on what is happening in your business, in your life, in your client's life. And then expressing it to create more marketing, to create more meaning and to really like have this win-win fun cycle from where I see it. And it is a form of art from where I see it and it takes time to develop any skill, any art form, right? So be easy. Be graceful towards yourself. And here is what I will leave you with. If you want to download a free cheat sheet and easy-peasy storytelling format to grip your readers, entertain and also educate them, then you can do so by following me on Instagram. And just send me a DM just with a simple word story on Instagram. And I will send you that cheat sheet right away. Okay. Thank you so much. I hope this was helpful. And I hope you learned a lot from this presentation. And I hope you use my storytelling on Instagram. I would really love to see that. Make sure you tag me if you learn, if you're applying the techniques that you learn from this presentation. And I will stop sharing my screen. And yeah, that's it. Thank you so much. That was great. My pleasure. I don't have any questions for the attendees, but the one question I've got for you is how do you monitor the success of the stories and the interactions that come through from those? Yeah, sure. So my philosophy around monitoring the success is, you know, first there is a phase when we begin to tell stories, our stories will fall flat. It's a practice. It's a skill. So we have to allow for a phase where we will get no engagement, no likes, nobody will like, you know, sort of talk back with those stories.  So I will start with saying that. And then, you know, the measure in my opinion, like, I get messages all the time in my DMs in my on my Facebook. I loved what you wrote. Sometimes people don't comment it in a public way, for whatever reason, like, you know, they could be shy, they could be whatever they don't even like a lot of times, but they would send me DMs and it's so interesting to notice that behavior. So the way I monitor the success is like, you know, as long as I feel like I believe that it is him having an impact in someone's life. And that's that's really good enough and that's the belief that I lead with like that's the confidence that I'll lead with first of all in my own mind.  And that would fall flat like we get no likes no comments and I was like oh my gosh like what just happened there because you just never know like you know what people are going to receive on the other side. It's so out of your control. So, you know, a very broad answer to that would be like, I believe that I lead with that belief first of all that whatever I am putting out in the world is going to make an impact is going to make a change in someone's life whoever is going to read it, whether that person sends me a message likes or comments is kind of irrelevant for me because I think what oftentimes I find when we are to hung up on the likes and comments as business owners. We get so attached with those metrics that we, we start to attach our worth with those metrics and then we like you know don't put out as much work in the world because you know what if for whatever reason we interpret them as we might get, we might think that it wasn't good enough or however we interpret and give it a meaning so that would be my long answer to your short question Ryan. All right, we don't have any other questions so I'll close today session and again I'd like to thank you Niha for being so generous with your time today. I hope that's been valuable for everybody. And I look forward to seeing you in a month's time for Rabina's session on social strategy. Thank you everyone. Sounds good. Thank you everybody. Bye.


Hello, thank you for watching this talk on polynomial IOPs for linear algebra. This is joint work between Alan Schapinitz and myself, Yun Congzhang. This work deals with succinct non-interactive argument of knowledge, or snogs. In this setting, there are two parties, the prover and the verifier. The prover is trying to convince the verifier that given the instance x, the prover knows a witness w such that the x and w satisfy a certain relation that is typically described by a computation C. This job can be accomplished by a snog. A snog consists of three algorithms, namely the setup, which often involves pre-processing the computation C. The prover inputs both the instance and the witness, produces a proof string denoted by pi, and sends it to the verifier, who decides whether to accept this proof. A snog has the following properties. By succinctness, it requires that the proof size is logarithmic to the circuit size. Sometimes, this logarithmic restriction also applies to the running time of the verifier. By non-interactivity, the prover generates the proof string without receiving any information from the verifier, so one proof string can be snored and repeatedly used to convince more than one verifier. Finally, by argument of knowledge, the prover shows that the witness w not only exists but is known to the prover. Recently, many snogs have been constructed. Both constructions can be fed into the following pipeline. This pipeline starts from the computation, the C in the previous slide, which is mostly described by a program or a circuit. The first step, called the iris-metalization, transforms this computation into a form that is more friendly to mathematicians. RCS and HPR are popular candidates for this step. The next step, which is really the most complex step, is to design an information theoretic protocol for the iris-metal representation. This protocol is designed in the context of an idealized model, for example, PCP, linear PCP, IOP, and so on. As pointed out by Bouncy et cetera, all these idealized models can be viewed as a special case of the polynomial IOP model. A polynomial IOP is an interactive protocol where all the messages sent from the prover to the verifier are polynomials of a finite field. These polynomials can be healed. The verifier cannot read the entire polynomials, because the verifier is much weaker than the prover. Therefore, in the polynomial IOP model, the verifier only receives an evaluation oracle for this polynomial. The verifier can pick arbitrary points, say y and z, and query this oracle to obtain f, y and f, z, respectively. Obviously, polynomial oracles do not exist in the real world, so we need to replace them by a cryptographic tool called polynomial commitments. This brings us back to the last step of the construction pipeline, where we finally get a snark by compiling the information theoretic protocol using cryptographic tools, like the KZG or dark polynomial commitments, and the Fiat-Charmier heuristic, which is frequently used to transform interactive protocols into non-interactive schemes. In this work, we focus on the second step, information theoretic compilation. This step transforms an arithmetic representation into a polynomial IOP. The arithmetic representation is typically described by matrices, vectors, and operations in linear algebra. The polynomial IOP, however, provides a difference interface. The objects are polynomials, and the operations are invaderations. Therefore, the key questions in designing polynomial IOPs are representing the matrices and vectors by polynomials, and simulating the operations in linear algebra by those of polynomials. Most existing works take the resultant code basis representation, where a vector is identified by the polynomial evaluations over a domain, which is a subset in the finite field this snark is based on. The problem with this representation is that the domain must have a nice algebraic structure, so the choices of finite fields are limited. A more straightforward approach is to use the monomial basis, which directly embeds the vector entries into the polynomial coefficients. This approach does not put any limits on the choice of finite fields. However, few works take this approach as a method for simulating the linear algebra operations in this representation largely unexplored. The only exception, Sonic, is outperformed by the popular works like Planck or Marlin that are based on the resultant code basis. To uncover the potential of the monomial basis representation, we construct a polynomial IOP, which we name Claymore, after type of Scottish sword. Our work reveals a rich set of linear algebra operations that can be implemented in the monomial basis with competitive efficiency. Claymore is built for the arithmetic representation of circuits called the Hadamard's Product Relation, shorthand HPR. This is a variant of the circuit representation proposed by the work of Butto in 2016. This relation is indexed by matrix M, which is determined by the circuit. The instance of HPR is a sparse vector X, corresponding to the public inputs and outputs of the circuit. The witness W consists of three vectors that respectively correspond to the wires of the left inputs, right inputs, and outputs of the multiplication gates. The instance in the witness pair satisfies this HPR if the multiplication of the left inputs and the right inputs exactly produce the values of the output wires, and the wire values satisfy the linear relations specified by the matrix M. The first step to construct the polynomial IOP is to represent the objects in HPR by polynomials. According to that, we chose the monomial basis representation. So for the vector A, the entries of the vector are taken as the polynomial coefficients. We denote the polynomial by f subscript a. For the matrix, we simply concatenate all the rule vectors before treating them as the coefficients. Next, we will introduce how to implement the polynomial IOP for all the necessary operations, each in the sub-protocol. We introduce these sub-protocols from bottom to top, and finally compose them into the Klingmore protocol. We start from mod-reduce, which is not a linear algebra operation, but is required in the matrix vector product protocol. The mod-reduce protocol assumes that the modifier already has two polynomial articles, fx and rx, and convinces the modifier that rx is the remainder of fx divided by the public polynomial b. The protocol is straightforward. The provot divides fx by px, and sends the quotient polynomial qx to the modifier, and the modifier checks the polynomial identity, deduced from the definition of polynomial division, as a uniformly random point there. The equality at this random point implies the equality of the entire polynomials, due to the stress-safe lemma. Now the mod-reduce protocol is finished. Next is the linear product protocol. This protocol convinces the modifier that the linear product between two vectors a and b is the public value c, when the modifier has articles for polynomials fax and fbx. To achieve this, the provot reverses the coefficient of fax. The reversion is achieved by substituting x by x inverse, then multiplying x to the power of d, the maximum degree of fx. Then multiply this reversed fx with fbx to get hx, whose coefficient for x to d is exactly the linear product between a and b. So the job of the provot becomes showing that the d's coefficient of hx equals c. To accomplish this, the provot tries to find such an h by x and express hx in this form. It's easy to check that a polynomial of this form is guaranteed to have a coefficient c for the d's power. With properly chosen gamma, it's also easy to find such an h by x. So the provot sends the oracle of h by x to the modifier. Then the modifier checks the validity of h by x by definition, at a uniformly randomly sampled point today. This completes the inner product protocol. Based on the inner product protocol, we are now ready to implement the hardmat product. The modifier has access to three polynomial oracles, faf, fb and fc, and the provot tries to convince the modifier that a times b is c, where the multiplication is the hardmat product, which is the first name for an introvert product between vectors. The idea is still to use Schrodinger's simple lemma. By this lemma, the vector identity a times b equals c can be implied from the equality between fab alpha and fc alpha for uniformly random alpha. So the modifier samples alpha and checks this identity. The right-hand side is simply evaluating a cx at alpha, while the left-hand side is the inner product between the coefficient vectors of faf alpha x and fb x. Since the modifier has the oracle for fax, the modifier can simulate the oracle for faf alpha x by multiplying alpha to whatever is queried to this oracle. Therefore, the modifier can check the equality by running the inner product protocol with their provot. Now we are left with the last linear operation, under the most complex one, the matrix vector product. We introduce two protocols for this job. First, consider the case of the matrix b as dense. We call this version the dense MVP protocol. Assume that the size of b is m times n. Recall that the coefficient of fbx is the concatenation of all the row vectors. Now for uniformly random alpha, consider reducing fbx modulo x2n minus alpha. This effectively replaces all the x2n with alpha. Now look at the remainder polynomial rx. The coefficient vector of rx is exactly the linear combination of the rows of b by one alpha alpha squared all the way to alpha to minus one. This is exactly multiplying the alpha vector to the left of the matrix b. With this in mind, the identity c equals ba can be verified as follows. We multiply the alpha vector to both sides. By short-step dilemma, this new identity implies the original identity. The left-hand side is simply fc alpha. The right-hand side is the inner product between rx and the vector a. Now we formalize this observation into the following postcode. Assume the verifier has polynomial r equals fc, fb and fa. To prove that c equals ba, the verifier samples a random alpha as discussed before. The prover descends the remainder polynomial rx to the verifier. The verifier first ensures that the inner product of r and a is fc alpha by the inner product postcode which we just introduced. Then the verifier checks that rx is correct by the mod reduced postcode. In this postcode, the running time of the prover is at least linear to the total number of entries in the matrix. This is the case even if most of the entries are zero. This can be inefficient since in practice the matrix is often large and sparse. Therefore, for sparse matrix, the number of zero entries is much smaller than the total number of entries with just an alternative protocol where the running time of the prover depends only on the number of zero entries. To explain the sparse MVP protocol we look at the identity c equals ba again. We multiply the alpha vector to both sides as we did before. The left-hand side is still fc alpha and the right-hand side is the inner product between r and a. Different from its dense MVP after the prover sends rx to the verifier, instead of using the mod reduced postcode as in dense MVP, we let the verifier validate the rx with another approach. Now the original problem has been reduced to checking this new identity. We apply Schwarzweil lemma again by multiplying another random vector which records a beta vector to both sides of the equation where beta is sampled independently from alpha. Obviously, the left-hand side is r beta. What about the right-hand side? This is where the sparsity of the matrix comes into play. Assume there are k-nazero entries in the matrix with row indices a1, a2, up to ak, column indices b1, b2, up to pk, and entry value c1, c2, up to ck. Then the right-hand side can be written as a sum of kik items. Write this sum in the form of vectors we denote the vector of all the ck by v. The other two multiplicands are similarly collected into vectors of sizes k denoted by x and y respectively. Then the sum is the inner product between v and the head-mounted product of x and y. The modifier can then check this identity by a head-mounted protocol followed by an inner product protocol. The problem is how can the modifier obtain the polynomial oracles fvx, fx, x, and fyx? For fvx, notice the vector v depends only on the matrix b, which is learned before the protocol started. Therefore, the modifier may pre-process this vector and generate this oracle offline. However, the vectors x and y depend on the random values f and beta, which cannot be predicted in advance. So the modifier can only obtain these oracles on the fly from the prover. For the prover to convince the modifier that these polynomials are correctly computed, the part is when the sub-protocol calls sparse-monomial vector. We omit the details of this sub-protocol from this doc and refer interest to the audience to the paper. Now we summarize above in the sparse-MVP protocol. Instead of fvx, which contains the entire matrix, the modifier now has an oracle of fv that contains only the non-zero entries. The degree of fv is much smaller than fv when the matrix is sparse. The start of the sparse-MVP protocol is the same as dense-MVP. The difference between the protocols lies in the validation of rx. In the dense-MVP protocol, the polynomial oracle for rx is checked by the simple yet slow mod-reduced protocol. In sparse-MVP, mod-reduced is replaced with a more complex procedure, but the running time of the prover is reduced exploiting the sparsity of the matrix. Now, all the sub-protocols are ready. The Claymore protocol is a straightforward combination of the matrix vector products and the Hadamard protocols. Here we only present the dense version of Claymore, as the sparse version is very similar. The prover is trying to convince the vifier its knowledge of three vectors, WL, WR, and WO that satisfy the linear relations specified by the matrix M and public vector X, and that WL times WR is WO. In the protocol, we use a small trick. Instead of sending three vectors in three polynomials individually, we let the prover concatenate WL and WR into a new vector WI, thus eliminating one online polynomial oracle. To obtain the Hadamard product between WL and WR, the vifier write shifts WI and multiply with the itself. The vector shifts are carried out by multiplying powers of X to the polynomials. Finally, the linear relation is validated by the MVP protocol. Now, we have finished the description of Claymore. Next, I'll briefly discuss how to make it their knowledge. In the polynomial IOP, all the information the vifier receives from the prover is obtained from querying the polynomial oracles. In Claymore, there are only three polynomials that contain information that are not already publicly known, namely FWI, FWO, and H bar X. For the protocol to be their knowledge, we want the vifier to be able to simulate the query replies from these polynomials without knowledge of their content. Observing the entire protocol, we find that each of these three polynomials is queried at two different evaluation points. So, if we append two uniformly random coefficients to each polynomial, the query results would also be uniformly random. We first insert all the columns to the matrix M corresponding to the positions of the random coefficients. Then, during the protocol, the prover inserts random elements in the witness vectors before sending the polynomial oracles to the vifier. The random elements are sampled in a way that WL times WR is still WO. When we multiply M with the witness vector, the random elements will be multiplied to the all zero columns, so the randomization does not affect the satisfaction of HPR. For H bar X, this polynomial is computed and randomized by their prover during the inner product protocol. We will not dive into the details here. Finally, we analyze the performance of Claymore compared to the state of the arts. The metrics we consider include the number of polynomials involved in the protocol, either sent by the prover online or pre-processed offline, the number of evaluation queries, the number of distinct evaluation points, and the maximum polynomial degree. All these metrics affect the performance of the compiled snark. Here are the results. The F here is the maximum findings of addition gates. Typically, it could be two or three. In the protocol design, we focused on optimizing the number of polynomial oracles. We have partially succeeded in this respect. This Claymore has the advantage in the number of polynomials compared to the rest and the sacrifice of maximum degree. While sparse Claymore reduces the maximum degree of this Claymore at the cost of more polynomials and evaluation queries. In conclusion, this work shows the possibility of constructing polynomial IOPs for linear algebra operations in a monomial basis, including inner product, head-mount product, and matrix vector product. Composing them together, we get Claymore, a polynomial IOP that can be compiled into a snark for verifying circuits' computations. Compared to snarks in the resultant code basis, our snark has competitive efficiency and no longer requires the finite field to have a nicely structured subset of proper size. Thank you for watching this talk. For more details, please read our paper which is available on ePrint.


This video will show you how to use PowerPoint. First, you need to open PowerPoint. Go to the Start menu, click on All Programs, and then Microsoft Office, and then select PowerPoint. When you first open PowerPoint, this is what you will see. The slide in the middle is the slide that you are working on. On your left, you will see all of the slides that you create. And up here at the top is the toolbar. For this first slide, you want to add the title of your PowerPoint presentation. For this demonstration, I'm just going to write title. It's always a good idea to put your name on your presentation. I'm going to type name into the subtitle. Now, I need to create another slide. I'm going to go up to the toolbar and click on New Slide. This slide looks a little bit different than the other one. That's because this slide has more information than just the title of your presentation. So you start by titling the slide. Oftentimes, it's a good idea to put the topic of the slide as the title. In the box below, you click and you type information about your topic. Keep the text short and simple. You can press Enter to start a new line, which will begin with a bullet point. When you're ready to start a new slide, go back to the toolbar and click on New Slide. And then do the same thing over again. You add a title to the slide and you put more information in the box below. To make your PowerPoint more interesting, you'll want to add a theme. Go up to the toolbar and click on Design. Now you have a long list of options for your theme. You can click on any of them to see what they'll look like for your presentation. Once you find one that you like, you can continue to work on your PowerPoint. Another way to make your PowerPoint interesting is to add images. To add a picture to a slide, you can either click on the icons in the middle of the slide or go up to Insert. And if you want to add a picture that you have saved on your computer, you can click on Picture and then find a picture from your computer. Click on the image that you like and hit Insert. You can also add an image by going to Insert and then Clip Art. Clip Art includes images from PowerPoint. They aren't images that are on your computer. So I'm going to search for images of a duck. Once you've found an image that you like, you click on the image, drag it to your slide, and let go of the mouse. If you want to make the picture smaller or larger, click on the corner and you can either drag it to make it larger or drag it down to make it smaller. To move an image to a different location on the slide, put your mouse over the image, click, and drag the image to another spot. Then let go of the mouse. Once you are ready to present your PowerPoint, click on the title slide. Then go back up to the toolbar and click on Slide Show. Click on From Beginning. Now you're presenting your PowerPoint. To move forward, hit the arrow key on your keyboard and you keep hitting the arrow key or the space bar until you've reached the end of your presentation. To go back to PowerPoint, hit the Escape key. To save your PowerPoint, you can either click on this little blue icon of a disk at the top or you can click on File and Save. You'll need to give the title for your PowerPoint so that you know what to look for and then figure out where to save your PowerPoint. You could save it on your desktop so that you see it as soon as you open your computer or you could save it in your documents. Once you've decided where to save your PowerPoint, click Save. Now if you close PowerPoint, you should be able to find your PowerPoint and continue working on it by going to your Finder and then clicking on the location where you saved your documents. I saved mine under Documents. And then you should see your PowerPoint listed. The end.


Hi everyone, Joe for jaspercasewrakes.com doing a random number block for NT Baseball, Picker Team 19, featuring 11 teams right here. I think most of you know how this works by now. Big thanks to this group for making it happen, we're also giving away three spots. So there'll be two different dice rolls here, one for this part and then the other one to randomize giveaway numbers. So new dice, new list, top three after eight, two and a six eight times, one, two, three, four, five, six, seven and eight. Matthew, Jay and Louise, congrats to you. After eight times, extra spots going your way. Alright, now let's gather up all the names, there are the numbers right there and let's assign you a number. Let's roll it, randomize it one and three, four times each. One, two, three and four. Got Ed down to Louise and one and a three, four times for the numbers, one, two, three and four. You got one down to seven. Alright Ed with one and three, Jay with five, Louise with two, Patrick with six, Jay with eight, Matthew with zero. So zero gets you any and all redemptions for those teams right there, including one of one redemptions. That's the rules. Ed, you'll still get live one of ones. Matthew with nine, Stephen K with four, Louise with seven. Let's order those numerically and we'll see you in the next video for The Break Itself, Jasmine'scasewrakes.com, bye-bye.


So in this episode, I wanted to address a topic that has really been a common concern for patients that I've found when you're talking to them about the anesthesia you're going to give them and you know maybe this is the first time they're having surgery and the first time they're having anesthesia. A lot of people are really concerned about waking up and awareness under anesthesia. So I was able to get a couple of episodes from different popular shows that show in a dramatic way how this could happen to someone and I wanted to go through it with you guys and kind of react and then explain like what was going on and what could be the possible things that as an anesthesiologist you know in that setting you could be looking for or make it or clear to you that this is happening to your patient and what you would do in that situation. So let's take a look. So we're going to watch an episode from Grey's Anatomy that came out a while back that depicted a really scary scenario showing a patient having surgery on her abdomen or her belly and she woke up during the middle of the surgery. That's you know one of the most horrifying situations that could ever happen and people are really nervous about that happening to them before surgery. So let's take a look at what happened in this episode. I'm gonna be able to catch the end of Shepard's big speech. Okay so they're in the OR, the patient's heart rate is picking up Tachycardia. It went up to 150 and they don't know what's going on. Nothing is going on in the surgical field. Everything is fine there. No reason other for her to have a high heart rate. So the patient moved a little bit which is usually not supposed to happen when patients are having surgery. They're supposed to be as still as possible and you ensure that as anesthesiologists by giving them certain drugs that are called paralytics and those things make people not respond to any surgical stimulus. Like there's anything going on in the abdomen specifically it's really important for patients to be really relaxed or paralyzed. So when that patient moved a little bit it was very alarming to them because they're already on alert about something bad going on. So that's when they looked up at the anesthesiologist like sir your job is to keep the patient from moving what's going on. So let's see what else they did after that. She's awake. The patient's awake. This is unreal. Like she's looking left and right. Like how did he not notice that? So I mean I watched that for the first time and I saw like the patient moving looking and like shivering like come on like that's like those those things that happened suddenly I feel like like dude are you paying attention? Like what are you doing? I know he was reading a manual or journal or magazine but like come on the surgeon the resident Gray shouldn't be telling you as an anesthesiologist that the patient's awake you should know this you should have already noticed that. Not judging this very fine actor very I enjoy his work all you know I know this is this is drama this is for tv but like come on like these things they're just made to be like very like interesting for for your viewership but I feel like someone would have already noticed this coming to be if they were paying attention to the patient in any way shape or form. Like yeah.   Get her back to sleep right now. And the patient's awake and she's blaming him. Everything is going to be okay. Just try to agree. And then the surgeon uh Dr. Gray the resident is speaking to the patient telling her everything is going to be okay. Like that's what you're supposed to do as an anesthesiologist. You're supposed to be watching the patient making sure that you're catching any little movement any teeny bits of sign that someone is not deep under anesthesia. So you need to be like very vigilant that's actually like the key term for anesthesia. Personnel is vigilant since this is a moniker for like being an anesthesiologist. Vigilance right? So paying attention. Ms. Wilson we're here to update you on the surgery. We completed your tumor resection.  So wait now the first thing they did they sent Meredith and resident to talk to the patient to check on her right? They didn't wait for Meredith to come out and tell them like okay the patient is pissed because the patient woke up during surgery and she remembers everything. They went in there starting to talk to her like didn't even ask the patient like the first thing you do you go into a room when you're checking on patients postoperatively is ask them how are you feeling? No one asks this patient how she's feeling like even if she didn't remember the situation what if she was having pain right now? Like this this is very I'm upset because I'm watching this and I'm just like what kind of doctors are these? Really? How about the part when I woke up on the table? How well did that part go? Where I could smell my own burning flesh? When I was lying there unable to speak well I could actually feel you butchering my insides. I couldn't move I was awake and couldn't move and you had no idea. Okay so there's that the patient literally recalls being awake under anesthesia and recalls clearly things that were happening which honestly speaking I don't think would ever be a reality as far as like her vivid recollection of everything. Usually when patients have surgery most often the next day someone from the anesthesia team either the person who did the anesthetic or a colleague of theirs will go into what we call a post-anesthesia evaluation and this is a time that we would have have found out about the patient's recollection how much she remembered from this situation. This is a really really really rare event so it's really actually a small number in comparison to this general group. I'm going to check the anesthetics themselves. You draw CBC, Kim 18 and let's do some genotyping studies. Oh here's what we do we did you not hear her that girl is traumatized so the only thing we are doing is getting sued. That's what she's worried about. Where do you even get off speaking to me like that? You have no idea what she's like don't touch me. Well here's what I know I know that you're new here I know that you probably still have a chip on your shoulder because your parking space in Mercy West was better and I know that you're an anesthesiologist which means you make buckets of money logging reasonable hours sitting on your behind and flipping through architectural digest while somebody on the other side of the curtain does the real work. So he's going to be ordering some tests a CBC is a test of your blood count actually I don't see how that would help I usually test your amount of blood that you have red blood cells that you have and the amount of white blood cells that you have and the amount of platelets you have so really I don't see how that would help because that usually has no bearing on the effect of anesthesia on a patient maybe only in the extreme cases if someone has a very low blood count they may respond more profoundly to anesthesia you know the blood pressure would drop a lot more than someone who had a higher blood count but then he's going to be checking some genetic studies to you know see if there's a genetic difference which actually has some validity because there are people who are known to be rapid metabolizers of anesthesia and those patients have a different enzyme in their bodies that help them to clear like toxins out of their blood and the same enzymes kind of work on clearing off the anesthesia know the perspective that is being given here is really that of like the anesthesiologist is like just sitting out here getting money and not really doing their job well and causing patients harm and and in this situation this particular doctor did cause the patient harm by not recognizing the signs of this patient getting light or coming out of the anesthesia quicker than is intended and get sued for excuse me you have no idea mercy west but here at sea out of grace we expect to be able to trust the gas man trust him to do his job so that we can do ours we expect the gas man to stay awake at the switch no matter how long and boring a procedure might be we expect the gas man to stay focused enough to keep the patient unconscious what can you say that's truth i mean i totally understood her point of view there because that is our one job as anesthesiologists our one job is to keep the patient safe to be vigilant about any changes in the patient's status and to fix them you know so i feel like this particular scene is truth you know she's angry any surgeon would be angry there have been times where surgeons have become angry at me when a patient has woken up during a procedure and no the patient did not wake up during the procedure maybe their muscles became less relaxed because their bodies metabolized the muscle accent that i gave them quickly you know that's something that we're monitoring every 15 to 30 minutes during a procedure always and you know some people are more quick to metabolize but anyhow you know just that like back and forth between them i really enjoyed watching that because it's like so real because that's kind of how it is sometimes in the or settings you know i think this exchange was a very good one i liked watching it um leslie hi uh this will only take a moment we just need to examine and take your care i don't want you to touch me well leslie i mean don't let her touch so this you know your patient was traumatized she told you clearly that she remembered everything and she felt everything and no one not one of them said i'm sorry not one not one of them explained to her what possibly could have happened you know nothing no explanation of any sort you need to you need to face the music you need to address this problem and that is something that you're taught in medical school hurts on a deep level for me because that's not how i practice and i would never want to you know be in that position you know whereas something happened to me and you know my doctors didn't show any remorse i remember i remember you screaming and sergeant you were panicking she's getting techie heartic man it came with their hand inside my body so clearly um you know this patient is not doing well and she remembers the whole scene with the surgeon you know screaming and being you know panicked about the situation showing again her vital signs are elevating you know she's easily stressed she responds very rapidly to the stress by you know hyperventilating or breathing fast becoming tachycardic again the same phrase used before her heart rate is elevated and then now she's bleeding from her incision her body responds to stress in a very dramatic way so that was also happening to her even under the depths of general anesthesia you know this is kind of like reiterated here and i like that they did that she doesn't want dr bailey touching her i understand and um in that situation dr bailey you know kind of steps back from the patient because you're never to touch a patient without their consent that's actually considered as assault in medicine um you know you can physically assault a patient if you're doing something to them without their consent and that patient is considered a competent individual the gas man would like an apology what leslie wilson's cytochrome p450 results so just to kind of like explain what does that mean cytochrome p450 basically cytochromes are enzymes in the liver right so the liver is responsible very much responsible for its eliminating toxins or things that may be harmful to the body anything that's ingested when you eat goes through the liver and the liver kind of checks it out and is like okay this is good it's not good so it also helps with digestion but it mostly rids the body of like toxins or things that are harmful one of the enzyme families is the cytochrome p450 and those enzymes and enzymes are things that kind of like chew up again the toxins break things down one of those enzymes also breaks down drugs that we give in anesthesia so this patient has something going on with that the type she has means she metabolizes anesthetic drugs too fast there's no way we could have known that before surgery so this is why she woke up it is she's gonna need a second surgery her incision site won't stop bleeding she might have internal bleeding okay it's not gonna be easy but now i know how to keep her under she won't let me touch her uh-oh so i wouldn't let you touch me either um Dr. Bailey because you came in here and you never addressed the issue it's great that they found out the reason why she woke up so quickly i'm thinking you know with his knowledge of her being a rapid metabolizer he can actually monitor her anesthetic depth a little bit more closely with um we have additional monitors that we can put on patients to kind of help us understand a pattern or the levels of anesthesia that we're giving them the pattern of their depth it's called a bis monitor it's a bispectral index but basically they check to see like if someone has irregular patterns in their brain waves while they're awake and also while they're sleeping we can also use it figure out kind of a general idea of how deep a patient is under anesthesia i'm good with patients this is true she is they always trust me at i'm never she wasn't good with this patient she won't let me touch her okay okay just check their nostomosis so the first part of that scene the patient is wearing a sticker that goes across her forehead and ends on her temple and that is the bis monitor the bispectral index moses and keep going everything's still good bp stable bis levels 45 like i said just like the last time you asked two minutes ago so she keeps checking in with anesthesiologists to make sure that everything is okay um i think i don't ever get offended by that you know when that happens in the or and i'm you know taking care of the patient if the surgeon is constantly asking me how are things looking up there you know how's it looking up there i think that is great you know as a surgeon you should always be conscious of everything that's going on your patient is a person not just the body part that you're working on and i like and i actually really appreciate when i'm asked this question anastomosis looks clean bowels intact could get a new mesh oh and uh so you know i don't read architectural digested i was a journal of clinical anesthesia in case you're wondering i wasn't ready for ready for the mesh please i'm educating myself i actually don't like the sitting down part of my jobs not great for the back you know and uh i like to keep in shape so i can lift my big buckets of money so in that moment she was addressing you know all those accusations she made earlier he's retorting back to her that look i'm actually reading to get education on anesthesia while i'm in the or which is a great use of time if your patient is completely stable however um you know she'll always be primarily focusing on watching your patient watching the monitor responding to any changes now i kind of like the analogy of delivering anesthesia to driving a car right we know usually when we get in a car the things that we do there's a bit of muscle memory you know brake stop accelerate you know slow down before you turn kind of thing and your car usually responds appropriately and you know that your car is going to be relied upon same thing kind of goes on in the or like you have your anesthesia machine your ventilator you check everything as i showed you guys in a previous video and you can check that video out like how to watch out for things that could go wrong and how to check your equipment before you deliver anesthesia so you expect things to go a certain way however you need to pay attention to like your check engine light or like you know smoke coming out of a muffler if you're driving a gas car like things that are like out of the ordinary that are going on so again when you're giving anesthesia yes you have your muscle memory you're used to the monitor sounding a certain way the tone beeping a certain way with the pulse oximeter and that's telling you about your patient's oxygen level and their heart rate you're used to hearing that used to hearing a certain tone when those things go wrong you need to pay attention to it just like you would go to get your car checked out duck i yell when she woke up it was one of the scariest moments in my life so i yelled and then i yelled some more that's what i do that's what she does what is that apology close this thing you're gonna get basically that's also like like be real so i think you know in the moment right before that video segment cut in you know he made aware that you know as a chief you know the chief of surgery it's really important for you to come through and talk to your patient and discuss with them you know when things go wrong and apologize when you apologize to patients in the setting of things going wrong if that's the first thing that you do there's a lower likelihood that the patient will bring a lawsuit against you and not that we're all practicing to try to protect ourselves from lawsuits but you know it is part of the job it's a part of being a doctor in america potential for getting sued and malpractice you always just want to think about how that patient would feel in the moment and again the empathy part of being a physician like and i think that that's something that should be first and foremost like the medicine secondary like how your patient feels and what they're going through in that moment is like the most important thing that you need to consider when you're treating anyone for any reason so with that i just want to say thank you guys so much for watching and i hope you guys like and subscribe to my channel and i will see you again on the next upcoming episode of 3 anesthesia and me see ya