The Heritage 241 is an all-inclusive, well-rounded center console, with amenities for upscale family cruising and fishing. Stay tuned as we do a full walkthrough on the Heritage 241 center console. The Heritage 241 comes packing a punch with additional cockpit space, large console and upgraded electronics. The 241 is 23 feet 8 inches with an 8 foot 6 inch beam. It holds 110 gallons of fuel and has a 12 person capacity. The haul has an 18 degree dead rise at the transom and 16 inch draft. The Heritage 241 is built using our preparatory, sport tech advanced fabrication process, utilizing composite materials and no wood. This boat comes packed with a transferable 10 year haul limited warranty and is NMMA certified. The certification ensures that this boat adheres to the highest safety standard guidelines set by the ABYC, bringing you the peace of mind that you're purchasing a high quality and safe boat for you and your family. The bow of this boat is designed with entertainment and versatility in mind. It features wraparound seating with cushions, removable backrest and wraparound boasters. Standard on this model is a removable large fiberglass table with base. The table conveniently stores away inside of the console. For additional sun pad area, you can add the optional cushion to completely transform this area into the ultimate spot on the boat. For storage, two easily accessible large insulated fish boxes which double up as dry storage. Up top, a grab handle for safety and plenty of cup holders and speakers to play your favorite tunes. At the center of the bow, you'll find a lid with some additional in-floor storage. The removable center filler makes walking up a breeze. Up here you can find the oversized anchored locker compartment and pull up cleat. Opening the lid reveals a designed in anchor tray that keeps your anchor in place and stops it from falling in. When anchored, the rope gets neatly routed into the compartment through the notch on the lid. When it's time to fish, the cushions are removable, leaving plenty of deck space for fighting a fish up at the bow. A huge growing trend has been the addition of trolling motors up front. For ease of installation on this model, we offer a trolling motor pre rig with adapter plate. Shifting our attention to the console, you'll see a two person seat with a backrest as well as a 15 gallon insulated cooler under the bottom cushion. When not being used as a cooler, it can double up as dry storage. Inside of the console, you will find a fully finished lockable area with plenty of space for the optional portal potty. Peeling back the cover reveals access to the electrical components of the boat. For an extra added touch, the floor is finished with a pad. The helm of the Heritage 241 has been carefully designed for comfortable ergonomics and to maximize visibility, giving you great confidence behind the wheel. All sportsman boats feature a standard factory installed electronics package we call Sportlink. The Sportlink system includes additional warranties and perks exclusive to sportsman boat owners. For navigation on this model, a 12 inch Garmin 1242XSV GPS sonar combo with a B60 through hall transducer. We've arranged the dash to accommodate a second screen if you opt in for that option. One additional feature is the black acrylic dash. It allows the electronics to be mounted completely flushed and reduces glare when you're out on the water. There's the bottom, high quality 12 volt stainless toggle switches with backlit labels and two USB charging plugs. For steering on this model, a C-Star tilt helm and sportsman steering wheel with a knob will give you the perfect steering position whether standing up or sitting down. Also standard on this model is ElectroTab trim tap system which features LED indicators so you always know what position your tabs are in and are self retracting when the key switch is turned off. For safety and reliability, this boat is equipped with dual batteries. A battery selector switch is located inside of the console and we do have a battery charger option available. For audio, a standard JL Audio sound system. JL Audio is known for their superior sound quality and durable marine products. This model we include a media master, MM50 source unit and 8M3 sport grill speakers four on the top and four throughout the cockpit. For the top of the console, a keeper ring and anti-slip mat will keep your small items from sliding off. At the center you'll find a rich encompass with a light and a windscreen around the front. To complete the helm, branded anti-fatigue helm pad and foot pads. On this model, we include an oversized fiberglass hardtop that protects the helm and provides shade.  For communication we include a Garmin VHF radio with antenna. The antenna is mounted on a ratchet mount so it can be easily lowered. The underside of the hardtop is color matched to the hull sides to complete the boat's color scheme. Comfort and function meet when it comes to this deluxe leaning post. It is designed to accommodate two adults comfortably and feature individually adjustable bolsters. The high backs and sculpting gives you excellent support. All sportsman boat features side leather, marine silicone coated fabrics. These high performance fabrics are designed to be tough and durable and able to withstand even the harshest of conditions. We offer three color options which include desert tan, ash gray and polar white and feature our diamond stitch pattern. The features include rod holders across the back and plenty of cooler storage space underneath. The boat we are on today has two popular options. First is the under leaning post tackle storage. It includes two tackle trays and open storage. And second is the slide out track with the custom sportsman 65 quart Yeti cooler. This option is available without the Yeti in case you already own a cooler. Let's move our attention to the gunnels. Put in rod racks for up to three rods on each side and it does double up as a great place to store a gap or net. Over the top flush mount the Gemlux rod holders. And for added comfort, standard cockpit bolster cushions. These provide a soft cushion to push your knees and legs into when reaching into the water or fighting a fish. Also standard are toe rails. These keep you secure while reaching into the water and grabbing a fish. The rear deck is designed with family and comfort in mind. And it features an edge to edge bench seat. The two rear seats hide the live walls. This pair of eight gallon live walls are insulated and are sure to meet the needs when the time comes. When you are not fishing you can use them as coolers or dry storage. To hop back on the boat, the port side cushions remove and reveal a walk through transom door. One of the unique features of the Heritage 241 is our total access compartment. This entire lid flips open to reveal best in class access to the bilge and other important components. This model comes standard with both raw water wash down and fresh water wash downs. The outlets are located under the gunner caps. One important safety feature built into the Heritage 241 is the self bailing cockpit. Which allows any water on the deck to drain overboard and not into the bilge area. All sportsmen boats have a collector box drainage system that pipes the water directly overboard without mechanical assistance. When it comes to choosing the right engine for your Heritage 241 your options include the Yamaha F250 and F300 in mechanical or digital throttles as well as the VF250 VMAX SHO. On the port side this model includes a swim platform with an integrated three step ladder. When the sun goes down the cockpit comes to life with the included interior lighting package. At the flick of a switch a blue glow covers every inch of the cockpit for safety and aesthetics. For the outside we include two Lumitech blue underwater lights which put out over 800 lumens each. The Heritage 241 has all of the features amenities and comforts your family deserves with the added bonus of an offshore ride. When it's time to fish this boat easily converts to a spacious fishing cockpit. For more information navigate to sportsmenboatsmfg.com or contact your local dealer. Thanks for watching.


The Bemidji Community Food Shelf is capitalizing on the time remaining left in its March food drive. Our Josh Peterson shows us how a classic winter tradition is helping the food shelf meet its goal. It may be spring outside, but at the Beltrami County Fairgrounds over the weekend, it was more like a scene out of a Christmas card. Back for its second year, the Go and Woe Harness Club teamed up with the Bemidji Community Food Shelf to raise donations for its March food drive campaign. Number one, we're doing something good for the community. Number two, we're showing the community that we have a draft horse club and that the draft horses are here. With the forming of this newer tradition, the Woe and Go Harness Club expanded its presence and added another team of horses. The hope is that each year the event will continue to grow. Your expectation is just that you have somebody show up and that you would hope to do better every year. The Bemidji Community Food Shelf feels that this is just one way to engage with the community and raise donations as well. This is, you know, being the second year, I think it's getting to be a little more well known. So I think if it continues on into the future, it'll just grow and grow. With donations being sluggish so far for the month of March, the good news is that the food drive continues into April. Minnesota Food Share March campaign this year extends into the first week in April. So one nice thing about the campaign is all the donations that come in, be it food or money, get a partial match through the campaign. So your dollar goes that much farther. With a steady stream of sleigh ride participants, both groups hope that this newer tradition will continue to grow for years to come. In Bemidji, Josh Peterson, Leakland News. For more information on how you can make a contribution to the Bemidji Community Food Shelf, we have posted a link online at lptv.org slash news. If you enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland PBS.


Hello everyone, this is Ritubala and I am here to talk some things about Nmap. So Nmap full form is network mapper and it is mainly a security scanner that is used to discover host and services on a computer network. So to achieve this, what it does? It sends specially crafted packets to the target host and then analyzes the response. So there are different features provided by Nmap. So the first one is host discovery. So to discover any host, what it does, it sends ICMP echo request messages to the host and waits for the reply. If it gets some ICMP echo replies from the host, then it is concluded that the host is alive. So this is the one feature and the next feature is port scanning. So for port scanning, what it does, it sends TCP send packets to the 1000 well-known ports of the target host and according to the response that has been arrived, it divides, classifies the ports into four states. So we will be talking about these states later. Now apart from that, there is another feature operating system detection. So for this, there is an option. So with the help of this option, we can detect what operating system is running on the target host. We can also detect what version of the service is running with the help of version detection option. Apart from them, there are many more options that can be used. So as I said earlier, there are four port states recognized by Nmap. So if Nmap says some port is open, that means an application is actively accepting TCP connections, UDP datagrams or SCTP associations on this port. So this open port can be scanned for vulnerabilities and we will use this information for our penetration testing. So if some port is closed, that means it is accessible, but there is no application that is listening on this port. And if some port is filtered, that means there is some firewall or some security system is there on the target host that is preventing our probes to reach to these ports. And if the port is unfiltered, that means the port is accessible, but Nmap itself is unable to determine whether it is open or closed. Now we will see some small demo. So first, we will be scanning a range of IP addresses. So here I have given a range from 0 to 255, the IP address is <IP_ADDRESS> to 255. So there are 256 IP address that will be scanned here. So we will analyze the response now. So as you can see here, there are response, the first line says starting Nmap 6.0. So it is the version of Nmap that is running and the second line is host is up. So it says the first scan report is for the IP address <IP_ADDRESS> and it says host is up. That means it has performed host discovery first and then it has performed port scanning. So it will be saying that 996 filter ports are there and apart from that these are 4 ports and the states and the services of the ports is also specified here. This is the scan report for second IP address and similarly it has scanned several IP addresses here.  So for 256 IP addresses it has performed host discovery and for 9 which are alive it has performed port scanning. Now we can like here we have provided a range of IP addresses so we can also provide a single IP address and check what are the ports open on this IP address. Also the next option is for operating system detection that we talked earlier. So for this we have to give an option minus O and with the help of this it will tell us what operating system is running on this IP address. So here as we can see that first it has performed host discovery it says host is up and then it has performed port scanning and in the last it says device type that is general purpose there are different device types the IP address can be of router or some printer. So it will be saying that this is a general purpose device and the what version of operating system is running and what is the CPE of that OS and other network details like network distance and all. Okay, thank you.


So, question arises how we decide and how we use HR analytics for the strategic and operational benefit of the organization. Again we go back to the paper by Rasmussen and Ulrich in that paper they give a simple scheme a three step process which can help us to use analytics in more effective way. What they suggest is first identify the context, what is my industry context and what is my general marketing context, who are how is my industry environment, how is my general environment. Looking at that context what is the setting in which we are working that results into our insight about the real challenges in our performance, in the organizational performance. Rising from the context comes understanding about the stakeholders, who are my stakeholders customers, employees, suppliers, regulators, natural environment, educational institutions who all are my stakeholders and based on that strategies are identified, how we are going to deliver unique values to these stakeholders. Once we know these once we know the answer of these three questions then the next set of questions are related to HR analytics. Because they indicate what choices do we need to make or what can we discover and test and what data can we collect and analyze. Because different stakeholders can be managed or for different stakeholders different types of data will be relevant. For employees engagement data can be relevant, for the regulators maybe environment related data might be relevant or text related data might be relevant. So, after identifying the context, stakeholder and strategies we need to identify what will be my uniqueness of the value delivery and in order to deliver that value what are the indicators I should check or I should follow about different stakeholders. And whatever we do with whichever stakeholder it can be traced back to affecting in some way or other to our HR function. So, based on this understanding we need to identify the appropriate HR analytics and I shared with you an exhaustive list of the different HR analytics ratio different type of metrics available out of those we can choose the most appropriate ones based on these three questions based on these three aspects and these four questions. We are ending this course as of now with this 20th lecture. So, it is pertinent to reflect at this juncture what is the future lies in terms of the employees skills required organizational capabilities required and that in turn how it is going to impact the HR function. So, based on some of the research conducted and published we can say that disruptions are coming from three broad sets in the current times. First is COVID, second is related to e-commerce and digital transaction and third is about automation and artificial intelligence. COVID has brought major disruption it accelerated the shift to remote work and virtual meetings even after pandemic people would like to continue with large number of or much higher proportion of the virtual meetings or they will prefer remote working at least few days in a week. So, that is a major trend we are going to see in the future. Second big group of trend is related to e-commerce and other digital transactions e-commerce we all have seen has increased multiple the presence has increased multiple after and during COVID that has made people familiar to and that has made people sometime habitual to e-commerce and digital transactions. So, these trends continue to increase and that these are going to continue redefining how we do things how we purchase things how we consume things. Third major trend is caused due to technological factors related to automation and AI. So, companies are using technology to adapt new realities and planning to implement more technologies in future. So, they are reducing the human interventions many of the processes are getting automated and these factors are again redefining not only work, but they are redefining the organizations they are redefining the way organizations interact with employees and consumers. So, based on these three things three skill sets can be identified which are going to be the key skill sets to be successful in the future of work. These skill sets are related to lifelong learning aspirations. Technologies keep changing global globalization and the international trade is regularly fast redefining the business landscape. In this context we need to be ready to learn new things regularly and proactively. Growth mindset is also a very important skill in this set. Growth mindset is looking at even our failures as opportunity for learning. We need to be comfortable with the change because change is the only thing inevitable. Creativity, critical thinking and social intelligence these are another set of the skills of the future because these are going to redefine the success of individual at workplace and success of organization in the market place. More and more work is going to happen with the help of technology. Naturally the impact of software the presence of software is going to only increase in the coming time. So, people have to have the skills on the software design, big data analytics, their familiarity with these things and their comfort in using these things. These are identified as third set of skills of future. In light of these trends and these skill sets required in the future work force HR function also need to change. HR also need to be more tech savvy. They need to identify ways of facilitating the flexible working virtual teams. They need to understand how business is going to change thanks to technology and thanks to human genuity. Based on these things what can make HR successful is defined by six questions as identified in this post podcast of the Mackenzie Global Institute. First question is how can you reconfigure the work force and work place to increase agility, raise productivity and empower workers while maintaining the culture. Work force has to be more agile, they have to be more productive and still employees have to be more empowered. The direct control, autocratic management are becoming more and more things of past. How to maintain the balance in these two things? That is the first question HR need to answer to remain effective in the organization in future. Second question is are you position to leverage technologies and take advantage of long term trains accelerated by them? Are we just followers or are we just chasing the technology or we are proactively using the technology for the benefit of business, for the benefit of customers and for the benefit of employees. This proactive use of technology and if required proactive development of technology choosing the appropriate technology these are the second set, this is the second set of question answer to this question will define the success of the HR in future. Third question is what are we doing to close the skill gaps? We discuss just now that major learning is required, fast learning is required for the individuals as well as for the organizations. HR has to constantly observe how they can close the skill gaps. Are you clearly and transparently communicating your plans and supporting workers in making transitions? In the major changes happening all around people want to make sense of their place in work and in organization. Also they want to sense their place in the larger knowledge economy in larger industry. In that context HR has to regularly continuously communicate about the organization about the expectation of the employees and that is a very important factor and that is going to define the effectiveness of HR in future. Third is are you supporting their lifelong learning? Is HR able to help employees to enhance their competence regularly and build their competence not only for the job in hand but for the future jobs as well and if they are able to do it continuously and regularly that is the fifth question about HR and its success factor in future. Last what this podcast suggest is are you leveraging ecosystem partners to increase the effectiveness of these efforts? We need not to look at the suppliers or the customers as the competitors of the organization. They need to be partnered with the organization. Organizations do not exist in isolation. They are always there as part of a social system of an economic system of an industrial system. How they can meaningfully and productively build relationship with other stakeholders with other organizations even with their competitors is going to define the success of organization in future and success of HR in future will be defined by its ability to help organization to build this ecosystem to build these productive long lasting association with different stakeholders including the competitors to be successful in the market to deliver value to the customers as well as to the social and natural environment.


Do you miss God's presence in a way at all? I miss the, uh, what's that called? In a sense of being stupid?  Is Christianity a fear-based faith? And how do we respond to corrupt churches and hypocritical leaders? All that and more in today's video as I respond to a clip from the H3 podcast with Ethan Klein and Brittany Borowski. But what got me intrigued was that she calls herself an ex-Christian, so let's see what she has to say. This video is made possible by the Daily Disciple Club on Patreon to support my mission of equipping people to follow Jesus daily, join Patreon today. Was there a, was there a moment where you realized you were ready to leave the faith? Yeah, it was, it was very gradual. I mean, like, I was baptized at the age of 12. Is that late? You're in no, I, it's about right on time. I mean, if you grow up in the church, it's around middle school, they start doing baptisms because it's like you're sentient for the first time. Okay. And I just, that is so young.  The sad thing is that people have legitimately experienced harmful teaching by the church around sexuality. Now this is often referred to as purity culture, but there's an important distinction that needs to be made. What is extra biblical purity culture teaching by the church in the past and what is true biblical commands of scripture around God's design for sexuality? Because Brittany wasn't specific around what she was taught about sexuality and the biblical perspective of it, I want to hone into a little bit of like what might be negative purity culture, things that were not right. One example of that is just an analogy, people passing around a rose at a youth group and by the time it gets back to the pastor, the pastor looks at this rose and he says, who would want this rose? This rose is used up. It's touted. It's torn. It's been passed around. You don't want to be like this. Or maybe they passed around a piece of tape and they got each kid to stick it on their wrists, pull it off, give it to the next one. And by the end, it wasn't sticky. And what was the culmination of the pastor trying to communicate? Don't pass yourself around. You won't be able to bond with people. If you've already been with one person, it's going to become that much more challenging with the next person.   Now, in my view, it's important to recognize that there are real consequences to sin and there are real dramatic consequences to sexual sin. That's not really what I'm debating here, but what I saw within that movement was a lack of redemption, a lack of grace, a lack of Christ transformation in the message that, yeah, you are like that. You are this tattered rose. We all are because none of us have been pure sexually. None of us, even if you've saved yourself for marriage, maybe you've looked at pornography, maybe you've looked with lust. That means that we are all impure before God sexually and we need Jesus. The truth is that Jesus does want us. He wants to bring us restoration and healing in our lives. So that's one aspect of what I would consider unbiblical purity culture. If you want to go more in depth on my perspective of purity culture, there's multiple videos that I'll link down below or link up here that I want you to watch. And it'll give you much more of an explanation. But aside from that, there are real true biblical commands that God has given us that we should be holding to. And maybe Brittany experienced and encountered those things where the Bible said and preachers said, hey, look, like not every one of your sexual desires is good and that you should, you know, give into. And there should be a place of kind of withholding and denying yourself of those things. And that's good. And that's right. This is honestly one of the most common challenges that unbelievers have with Christianity or people that have left the faith or Christianity or whatever. They said they were Christian, but now they're not saying they're a Christian anymore. They have a problem with this idea of denying yourself, of having a desire and not giving into it. Because it's like, if I feel this, then I should just be able to give into it. That must be me stepping into my higher self or my most authentic self. Why do we do this? Why do we deny ourselves? Is it because we want to earn God's favors because we want to earn God's love?  As the Bible puts it, it's just, we're going to earn our way to heaven. No, not at all. In fact, we're all sinners. We all need God's grace. And the only reason that we desire to obey God, because he's been so gracious in the first place, while we were yet sinners, Christ died for us. And out of that love that he shown us, now we have love for him and we desire to obey him and honor him with our sexuality. To wrap this section up, I'm definitely not trying to deny that people have experienced religious trauma. I think a big result of the cause of that was purity culture and these extra biblical things that were forced on people. And this graceless kind of attitude towards people's sin, it gave them this heavy burden that they needed to carry. And it was all about rules and trying to do my best so that God would give me his best back. And so I would have a good life. And it was very kind of transactional. And I think there could be a lot of trauma or what it hurt coming from that, whatever you want to call it. Absolutely. Ultimately, I think many people's issues stems far beyond those things, though. I think it goes towards the Bible itself. They have a problem with what the word of God says about our sexuality. It puts parameters and borders around it that sexuality should be expressed in the context of marriage with one man and one woman. That seems limiting. That seems repressive to them. And then when they experience shame and guilt, when they take part in sexuality outside of marriage, they interpret that as kind of religious trauma or kind of just because they were taught this way. So that's kind of lingering still. But ultimately, I believe that is God trying to get your attention. He's trying to say, turn from these things. He's trying to convict your heart of your sin and calling you to repentance. And the internet's helped, but the internet is also, the pendulum has swung so much the other way of like, you need to be body positive, sex positive, man positive. No, you don't actually. But I just, you know, hypersexualizing yourself as in the solution to having suppressed sexual, you know, desires. She gets it right here, in my opinion. Sexual liberation is a lie. It's founded on the idea of sexual gratification, personal autonomy, and selfishness. With the advent of birth control and abortion, the consequences for promiscuity seem to be minimized significantly, at least in the world's perspective. But the truth is the consequences for promiscuity are just as bad, if not worse than they used to be. A baby's life now can be taken. People are just as empty as ever. And when you get past the initial excitement of breaking free from these societal norms of sexual expression, you settle into the fact that this lifestyle really doesn't provide you the love that you thought it would. It's a tale as old as time. Sin offers up something that in the moment seems right and seems good and it seems to tap into something so deep within us. But that's because it's a distortion of a good and right desire that's within us. I'm sure tons of women and men get plenty of attention on Instagram by showing off their bodies and that feels good for them because they get all this attention, they feel this love, but ultimately it's just a counterfeit love. Like those people will never truly care for you. It's empty. It's a facade. So at what point did you start to doubt that Jesus Christ was your Lord and Savior and your one true love? Probably mid-high school. And then I got to college and I was kind of on my own. And then I went through this like, I need to be saved again. And then I was like, no, I don't. I'm just like, I'm really valid. You got scared a little bit. I got scared. Well, because that's the whole thing. It's Hellfire and Brimstone. Yeah. It's all about fear. It's all fearmongering. That's all that. I mean, having an evangelical faith, that's all of it. We all know some fire and brimstone preachers maybe in our personal life or maybe just online, but there's a spectrum to this. Usually when we think of these folks, we think of kind of this graceless, it's only about judgment. It's only about God's wrath, but they never truly get to the good news of the gospel. At the same time though, there are people that never talk about sin. They never talk about judgment. They never talk about God's wrath. They only talk about God's love and His mercy and His grace and all the good, fun stuff, the heartwarming stuff. But when you disconnect the good news from the bad news and the bad news from the good news, you lose sight on the true gravity of what the gospel is. If you're only hearing about God's wrath and His judgment and hell and all this kind of thing, and it's like, yeah, this is true. This is a reality. But if you're only hearing about that, that's going to put a big weight on your shoulders because you're trying to measure up. You're trying to be that good Christian. You're trying to earn your way to God. And I've seen and I've heard from a lot of people that that was their experience growing up in church. It might have been Britonies as well, that they hear about God's wrath. They hear about His judgment, and they get burnt out. They get burnt out on trying to be good enough. They're scared. They're weary. It's just this big burden on their shoulders. But this is what makes me so sad is that Jesus comes in and He says, come to me all who are weary and heavy laden, and I will give you rest for your souls. That in Jesus, we have found rest because He has taken all the wrath and judgment of God on Himself that we could be free from sin and alive in Him. If you want to talk about true, fear-based religions, then look at every other religion in the world that requires for you to be a good person or do these certain practices in order to earn God's favor or become, you know, one with the earth or achieve Godhood or all these things like what you're striving for. It's all through what you need to do. Don't you think that sends fear through a person? Because ultimately they know. They know they can't measure up. But Christianity is the only faith that says, yes, you can't for all of a sudden fall short of the glory of God. But while you were yet a sinner, Christ died for you that you could be in right relationship with God. When did a big deal with your family? Oh, it still is. I talk about it online and my parents and family do not like it.  Well, they think the L.A. has changed me and that's really not the case. I've never been more myself. It's just that I finally feel free enough to speak about it.  And it's just like, I don't subscribe to that anymore. And it's really tough for them. So I don't know. It's an ongoing thing, but I'm happiest I've ever been.  I play along. Just a vibe. Yeah. Well, because I'm not going to be like, I'm not doing that. You know, it's like, it's not going to be an annoying. Yeah. And do you miss God's presence in a way at all? I miss the, uh, what's that called?   But truly the goal here is not to be outraged.  And that's so mean.  And we're smart. And it's like, okay, let's not go there at all. This brings an important verse to mind. Let me get my Bible. First Corinthians 127 says this, But God chose what is foolish in the world to shame the wise. God chose what is weak in the world to shame the strong. Miracles, talking donkeys, big arcs, big fishes, wild wilderness men. I'm looking at you, John the Baptist.  Those who had considered themselves to have an astute intellect. God wanted to humble the prideful. I think of Jesus emphasis on having a child like faith. Yes, there are things that we don't understand.  I don't know how that happens. I don't know how Jesus came to this earth fully God and fully man. I don't understand how that can work. I don't understand how he multiplied, like all those bread and all those fish. I just don't get it.  I am a lowly child. Now that's not to say there aren't Christians with great intellects or that there aren't great answers to intellectual questions. There absolutely are. But if you aren't willing to humble yourself first, you'll completely miss it. That's exactly why somebody can have an astounding intellect and yet still believe that something came from nothing. Romans 1 says that we know God exists, but we suppress that truth in our unrighteousness. It's not that there isn't enough answers to challenging intellectual questions from unbelievers. It's that people have yet to submit themselves to God, to humble themselves like a child. And for an unbeliever watching this, you're like, why would I want to do that? Well, that's why God needs to change your heart, truly. And that's if you're an unbeliever watching this right now and you're like, okay, I'm kind of understanding what you're saying, but I really just, I don't get it. I would ask you, ask God to humble you, ask God to give you repentance, ask God to convict you of your sin and convict you of your unbelief. Ultimately, it's God that changes our heart. Right. Totally. Because it's like there's an answer to start. Right. It's like you had, I had for the longest time a clear answer when there was a problem, I would pray and now it's just like, well, this is so interesting to me. It seems like there's a moral superiority in uncertainty, but you see where this leads. They reject God and his presence, yet there's no place to take the questions that you have in your life or your struggles or any of it. You're just, well, I guess that's it. I guess, you know, I got to figure it out. Would you consider yourself an atheist or agnostic? No, I just consider myself an ex-Christian. I don't know what I am. I'm just, I know I'm not. I don't subscribe to what the Bible teaches or the culture of Christianity because you can still be like a doubting Christian, but you still exist within that world. I reject all of it. I think all churches are corrupt because they're of man. You know, they're not of God. The f***ing pastor in one of my hometowns was just suspended because he was caught like sexually messaging with a woman who wasn't his wife. Suspended. Suspended. He's going to come back. You know, it's these are supposed to be the moral leaders of our society and small town tech. That's the one thing I can't stand is the hypocrisy of like absurd.  Now we can all recognize that simply because there are bad Christians and there are bad churches that doesn't invalidate the belief system entirely, you actually need to go to the book that they say they believe and see what it says. Hypocrites aren't an indicator that a belief system is false.  What I also find interesting is that they're making a moral judgment against these pastors and churches as they should. But from an atheistic or godless worldview, where are you getting this morality from? Like I'm okay, you know, weigh them against their own standards. They fall short. Absolutely. But from your worldview, why is what they're doing wrong? Why is deception wrong? Why is hypocrisy wrong in your worldview? Because in an atheistic or godless worldview, we're all just kind of stardust walking our way through space. We're just kind of chemical reactions. There's no truth or falsehood. There's no right or wrong. Maybe it's societally constructed, but that's not objective. That's just whatever your opinion is in the moment. It really doesn't hold any weight. Now in my worldview, according to Christianity and the Bible, we have something really clear to say to these folks that they are wolves in sheep's clothing and that they need to repent. The full flaw with Christianity is like whatever the most f***ing thing you can do whatever you want. But as long as you believe in Christ, he'll forgive you.  I've heard Ethan say this many times and it pains me because it demonstrates that he is a keen misunderstanding about the Christian faith. The apostle Paul addressed this question when he talked about, hey, can we keep sitting that grace may more abound? Meaning can I continue in my sinful lifestyle and my sinful life because Jesus will just save me. But Paul goes on to say by no means how are we who are dead to sin still live in it? When God saves us, he changes our heart. We no longer desire to walk in these evil, sinful ways of the old man, but rather we desire to honor God. And yes, we don't do it perfectly. Yes, we still sin, but it's this lifestyle transformation that happens. Yes, even folks that have done something unimaginably wicked in their past can still be saved by Jesus. That is forgiveness. But Jesus commands us to repent from that, to turn from that, to pick up our cross, to follow Christ. It doesn't say, oh, you know, hey, that's okay, all murderers and axe murderers just come on over and you can continue doing what you're doing. But you know, just trust in me and you can go to heaven. That's not the deal at all. When God saves us, he makes us into a new creation. The old is gone, the new has come. So maybe in Ethan's worldview, there is no room for forgiveness that once you've done something bad, you're just bad for life.  There's no forgiveness for you. Look, I recognize that God's grace can be incomprehensible at times. How could God save somebody so wicked, so vile, like that doesn't seem to make sense. But I would encourage you to look at your own heart. You should be just as astounded at God's grace for you and His mercy for you in light of your own sin. He didn't have to save us. We weren't owed forgiveness, but He loved us and He died for us. There is forgiveness and reconciliation available in Christ. And that's my prayer for everyone at that podcast table, honestly. And that's my prayer for you too. If you enjoyed this video, subscribe because I'm putting out new content all the time. Thanks again to all my patrons on Patreon that enable me to continue to make this content. Thanks so much for watching, guys, again, and I'll see you guys next time.


And Reaver State Governor Simona Lai Fubara says his administration and all contending challenges have been surrendered to God with the confidence that he will continue to intervene in a manner that will shock the world. Governor Fubara gave the remarks shortly after swearing in the Chief of Staff, Government House and five special advisers at the executive chambers of Government House in Port Harcourt. The governor asked them to see their appointment as a call to duty rise to the occasion of adding value to governance and demonstrate that they are truly credible men of the state. Don't use this position to antagonize anybody. Even in your localities, I want to appeal to you, I will continue to say it. What God cannot do does not exist. That you succeed in battle is not because of your power. It's a grace of God. And when God says it will not happen again, whoever you are, he ceases from that moment. I'm not appointing you today because I want you to go to your area and start fighting. No. We have surrendered our situation to God. Do what you know that is right. Support the government in the way that will promote the image of our government. While the also urgent and nearly sworn in to support the government in a way that will promote its image, Governor Fubara warned that there will be consequences should the commissioners were sworn in last week's attempt to work against his administration to destroy it. The newly sworn in chief of staff and some special advisers thanked the governor for giving them the opportunity to serve the state and pledge aim to support the administration with their wealth of experience in development of the state. To come and make my own contribution to the development of River State, even when I do not know the office I will be assigned to, but whatever office that I will be assigned to, I have the capacity, the wealth of experience to improve on whatever thing that is on ground. I believe in the charge of the governor. Governance is not about antagonizing people. Governance is about bringing a new invention and what you will be remembered for. So for me, I will join this excellence in the governor of River State to make an impact so that me too in my own little way will be remembered. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


I want to be to encourage and improve girls' education, capacity building and learning skills in communities over 30 girls have benefited from education as a vaccine program which was implemented to create an enabling policy environment to increase school enrollment and retention for all less privileged vulnerable children, especially the girl child in Kaduna State. The project was supported by Malala Fund in collaboration with the Education as a Vaccine to work and partner with children, adolescents, young people and out-of-school children. Speaking in Kaduna, the program manager, Kaduna Field Office, Messi Abalaku, lamented the increase in numbers of out-of-school children in communities stressing the need to boost their learning skills and capacity building in society. So we got these girls from disadvantaged communities like the rural communities in Kaduna, which is Nusraawa, Kudenden, Karatudu and Rideau communities. These girls are from very poor background where their parents don't even have enough funds to send them to school. That's how we're able to collect these girls. They're 13 number, we call them girl advocates. Wow, the success of this project, the success is at numerous. This project has been in implementation for the past three years. Some of the successes are beyond imagination. When we started with these girls, a lot of them didn't have confidence in themselves. Some of them didn't even know how to speak good English. Some of them were too timid, they were shy, they couldn't even appear in public. We've brought a lot of changes in Kaduna State because the issue is partner education, the impact of education. The issue of education in Nigeria, or education in LWA, is a collective responsibility. Therefore, everybody has to have a heart-wrenching index. In Kaduna State, education is free for all, it's confusely. But if you don't have this much problem, what I'm telling you, education in Kaduna State, because Kaduna is a city, therefore, I think going to educate a woman, which is a nation. I want to thank them for their kind and upon our lives, and I also want them to help the other girls that are out of school, how they help me, and I also want them to help them to go to school. I benefited from going back to school, and I also appreciate education as a vaccine for being there for me. Hello, hope you enjoyed the news, please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


This essay can be up to 30% of the admissions decision. So with mic in hand, how will you tell your story? Strategy is a must. Stick around and give me some key tips. Thank you for joining me on my channel for the best college essay advice. Subscribe and hit the bell. I'll wait. The coalition application has set forth some excellent essay topics, but be weary of the pitfalls. By the end of this video, you'll have three key mistakes to avoid, which can be the difference between accepted and, well, I won't say the other word. Hi, I'm Dr. Josie with Write Your Acceptance with hundreds of students already in college or graduates by now. I know how to make them remember you and for you. Now it's your turn. Mistake one, think about what exactly does meaningful contribution mean? So this is with the prompt and I'm gonna read it to you. It's gonna be right here. Describe a time when you made a meaningful contribution to others in which the greater good was your focus. Discuss the challenges and rewards of making your contribution. So this can be an investigation of a really kind of foundational or fundamental moment of service that you did something for the greater good. Great. The pitfall to avoid, however, is please, please don't make it about a community service or service projects abroad. So many times I see essays about how student X went down to a country in South America and they sweat, toiled, worked for nine days, let's say, on building XYZ. And then they took a day off and they hung out with the town or village people and children and they realized that without their cell phone for a week and a half, without Instagram and snapping, that people lived happier lives with less. No, it could be a profound revelation for you but let me tell you that one, it's overplayed and two, it really doesn't play well. It can come off as pretentious and superficial. Now, with all the caveat, with all examples, there are people that break this example and really have a committed effort where community service is something that they are kind of a huge part of their life and they do this multiple times. It's not just the random one time. If you do have this random one time experience, I would avoid it as the meaningful contributions essay. Mistake two, challenging a controversial belief. So this is a prompt. Has there been a time when you've had a long cherished or accepted belief challenged? How did you respond? How did the challenge affect your beliefs? So this prompt can lead students down a political rabbit hole. Make sure that you remember your audience. You don't wanna alienate your readership.  You wanna make sure that this is politically neutral, whatever the topic is, but that you are reflecting on the depth and nuance of your commitment to certain beliefs. So that you are flexible and open to other people's beliefs without attacking their humanity, right? We can get a little polarizing depending on our politics. And so you wanna make sure it's politically neutral, but that you're focusing on how you learned and gained perspective, a new perspective on something that you've challenged or a belief that you kind of held true. Are you stuck on a topic and you don't know if you should pursue it or not? Comment below, I'd love to help and give you my feedback. Mistake three, so hard being young and free, enter ironic eye roll, okay? So here's the prompt. What is the hardest part of being a teenager now? What's the best part? What advice would you give a younger sibling or friend assuming they would listen to you? I love this essay. And honestly, I don't think students write about this topic enough. I think you can do it really smart and really well and engaging. However, a lot of times what I see is kind of a little alienating. So I see a reflection on how social media is so prominent in their life or how whenever they want to kind of separate themselves from XYZ, they're present. They just put in their earbuds and they're done. They plug in, plug out, and they're in their zone. So remember that you are writing, one, not to fellow teenagers, right? So know your audience, but two, that they are generationally different, maybe have a different relationship with technology and social media. So the key thing to make this kind of essay pop and really kind of engage with your readership is if you show that the lessons kind of are true to teenage life, but that they also carry forth to other demographics. So maybe you learn something from an older person or a younger person, and maybe the one lesson can be adaptable to different demographics, to someone that's older, someone that's younger, and to you as well. So you find something that is kind of cross-generational and just not stick to this kind of my immediate everyday experience as a teenager. So now that you know what to stay away from, like the plague, do you know how to organize your essay? I have a free college essay guide download in the description below. Make sure you grab that. And if you found this helpful, please comment. Thank you, thank you. Into the comments below, like us, give us a subscribe, and make sure you kind of circulate us. Give us some love to your fellow college-bound friends so you can share the knowledge. Thank you for watching. Happy writing.


11 as the festival and it's been incredible to really feel the energy of all the artists here and it's been great to just have all the audiences sort of be here with us. And so I would like to introduce to you this project that we've been doing with culture bot five, six years ago. I really came out of a need or a desire to have more context for the work that we're doing just to start a few conversations. So it's not just the one way between the art to the audience just to have a little bit of context and have artists of the festival and of New York just to start having a conversation with the work with the audience with the moment now. And so without further ado, I'm going to introduce to you my good friend Andy Horwitz who's been the founder of culture bot and just landed a new exciting gig which I'm so excited and proud of him for. He's the new director of programs at the Skirball Cultural Center in Los Angeles. LA is very, very lucky. The West Coast is very lucky to have an enemy. I'm going to the West Coast too. And just want to say that culture bot is one of the rare unicorns of theatrical and critical writing in the field. So we're very happy to be partners with them this year. Hi, hi everyone. So do you ever get a program on this group? No. Yeah, I kind of was looking around so I didn't see a lot of them. So... So he's going to firstly hand it out to me. I'm going to get this going on this side. Just because that'll help explain, this is Marianne, Shannon, Lars, Andrew. I'm going to get to that a young lady again. Just super quickly. So I started culture bot in 2003. We launched it in December 2003. At PS1.2 it was possible because we applied for an NPN grant that Mark Russell encouraged us to apply for. Yeah, and he made it possible that he was willing to take a risk. You know, I'd only been there for a year and out of all this, you know, the pursuing past world. Since I moved into the West Coast in August of 2014, I realized it was something to bring in new people for culture bot to continue for a new generation in a different way. So first, I want to introduce over here, we have... We have William O'Dessie and Dan O'Neill who are the dance and theater editors. And Ben and Sarah. So this is the new sort of leadership of the culture bot team. I encourage you to come over and meet them and introduce yourselves and get involved. And then Eva Pleskin is also part of that team and she has been absolutely amazing in organizing this conversation that we're about to have. So I'm going to turn it over to her.  But I'm going to take her away. So today we're convening around the ideas of dramaturgy and media. And I do this in the minutes maybe, but just so everyone knows, Lars and Andrew have a show and want to talk. So we're going to start with some questions that I'm going to directly look into the practice and then we'll move on and directly relate more to the bot. So something that came up just a minute ago was this idea of using technology to do the impossible or having an impossible problem to solve. And especially in the way we do that in the computer. And I wonder if Lars and Andrew, you guys started, or you started with a show, but who's going to have to add to the radar with this idea of solving an impossible problem in terms of relating one person to the other? Sorry, can I just say you're all used to using microphones, but you're not? Yes, thank you. So can you talk about solving an impossible problem? It was a starting point for music media in your field of practice. Yes, I've prepared an answer. By the way, there's a book that we're talking about. And you saw it for the first time. It's the founder of the Builders Association, and Shannon is the co-author of the book with them. And Lars is holding it. And Lars is holding it. And Andrew is supporting Lars usually. So, and just to be clear, so everybody understands. I can hold it if you want, or we can put it on.   Maybe there's something inside that I could say. Yeah, impossible problems. Well, it's really hard. I guess the hardest thing about the theater is that you go to different places and there's different people and you can't do what you do in cinema, which is cut.  And so you have to find ways to cut and to transform and change. And technology is one, human bodies do that too. And so the actors actually in the institute remember to do that quite a bit very quickly. That's one kind of technology. So other than that, I find, other than the fact that it's just important in this particular piece to try to like vivify all the different technologies that are related to... It's a story that's called the Institute of Memory. It's an excavation of my father's past. It's a one o'clock real invited. But part of my interest in working in the project is that I didn't know very much about him. He was quite opaque as a person. And once I started doing research into him I realized there was all these analog technologies that sort of bounced off him and that he invaded in various ways. And he just barely transitioned into the sort of digital realm. And I was just thinking about analog technologies versus digital technologies and how that's changing how privacy works and remembering works. And bringing those two things into the... And so I needed to bring sort of that theme or that transference into the project somehow. Expressively. So that's what the world was doing with making that transition. How to actually bring the tactility. My dad used to hand write letters to me. He used to type letters to me.   So they were like these really strange like self-reacted pieces. They looked like intelligence transmissions. Because he was rephrasing things and crossing things out. And he always, pretty much always started a letter that was typed and then would continue. And so it's like you get this legacy of thought rather than just like shooting off an email and get like a week of thought onto the same piece of paper and thinking about that as an artifact. How is performance the same thing? Because I started writing and you start working on something and there's some early ideas that come up in a rehearsal room. And some of those ideas which are really early make it all the way to the audience. And most of them die. And some of the ideas, you know, come up, we're still adjusting our show actually. We like made some changes yesterday are much newer. And so how do these like really new ideas like this very new legacy of an idea come in relationship to these old ideas and the audience doesn't know which, what was born when. And so we're trying to mediate, I don't know if that entirely answers the question but it just brings up an analog digital structure. It brings up another question you're dealing with like, you know, an element of technology you're keeping, you want to adjust it. Like how do you manage that in terms of like the technicalities that you're working with. Like if you're trying to implement technology but you're looking at ideas of it in a different way. The ideas of it. What do you mean by the ideas? Like if you're making a conceptual or like content shift in the work but you have the technology that's moving in a different way. I want to sort of maybe expand or amplify on that question. You mentioned archive and sort of and the process of writing the book was going through the archives and there's this question about and of course you've been making this work since 92. So did I hear almost an applause there? So the evolution of technology has actually been in the context in your body of work and also this negotiation of archive and process as performance. So I'm wondering, listening, you know, tell us a little bit about your perspective of your work. Well, I was just thinking about a very pragmatic example of that which is that when I started going through material through the book I was horrified to find in the back of our storage unit like laser discs and three-quarter inch tape and cassettes. Does anybody remember the cassettes? The video cassettes and what are those things called? Tape, sounds or stuff like that. So that was just like so incredible because I do remember making a show and it just being like an endless process of saying like, okay, can you cut that or make this image and it would take, they'd be like come back tomorrow. And now obviously you can render anything and cut anything in a matter of seconds and so that kind of malability can happen in rehearsal but it's, you know, it's been a long road, a long, sad road. And the triumphant one too. On the impossible problem thing it just, it does seem like one of the impossible problems is about how to make, how to really feel and think in a complicated way about the analog-digital relationship. Online, offline work, an interesting couple and it does seem that theater has this historically analog format offering itself as a laboratory for making strange digital and it's remaking itself in a different way or exposing its component parts or its operations in a different way that it seems to me both the show I saw last night and so many of the shows that I've been archiving or analyzing to make that book it seems to be that that is one thing that kind of runs as a through line, through line through a lot of this work. I wonder, Andrea, have you ever thought about that making strange or sort of revealing the operations because a lot of your work is this kind of, it's this real integration of like, from your, like, you know, American type of HTML kind of language or using digital languages in an instant process? I wonder how do you approach revealing scenes and revealing when you are letting the audience in on how the process is working or making that more invisible for a fact? Yeah, I mean, I think it's useful to talk about technology as a category but for me, thinking about making work it's become a hindrance in thinking about technology as a thing that I'm, like, using because, like, you know, we house fire and we have words and, you know, we have lights and the tap so I try not to approach it as anything else and it even goes into, like, well, I'm going to make a dance or I'm going to make a theater or I'm going to make a poetry it's like, it's not helpful anymore to have those to talk about it in those ways. For me personally, I, like, obviously wouldn't be there if we didn't have those structures to talk about it. And I guess it's just a constant negotiation like, well, this stuff is around I think most of, like, new technology that is on stage is only new to the theater because the theater doesn't have a lot of money and it can't get before from a technological innovation. So, like, for me, just, like, making stuff in my apartment before, like, hacking the typewriter or something is just, like, and back to the thing of doing the impossible. It's like, well, I don't have the money to do it, so how do we get it done? And that first step of, like, I have an idea of something I don't know how to do it. It's usually, like, there's a byproduct to it or, like, there's an interesting bit that you didn't think was going to happen and then it's just that kind of snowball from there. That maybe didn't answer a question, but... I don't know how to do it. I'm sorry. Well, no, because I see about both everyone's kind of talking about the analog digital thing and this sort of weirdness of now using word technology to sort of fetishize the specific new idea of the step. And, you know, there's this book by Bert O. Spink that's called Great Reckonings in Small Rooms on the Phenomenology of Theater and it's really, I don't know, really cool. And, you know, when he talks about the introduction of the chair, as this radical technological innovation, because the idea that one would have a chair, a real object and real life on stage was radically disrupted. So, so it's, so part of the, so part of what's fascinating is that this is a long, long, long conversation. And maybe this is a chance to talk about the term that you are using meteorology in a sense to sort of try and forge some new languages or at least be more flexible in the words we use for this. So, unpack that a little, of course. Well, I mean, I think that it is a, there's a long, kind of, wandering epilogue in the book that's called Meteorogy. And just a problem about Anne Spink, I think that really it comes from if you start with an idea, you have to decide what the idea calls for. And basically, everything springs from that. So, formally, if you're talking about, you know, this, a layer of reality and escape that is, you know, the Wizard of Oz, then you end up making like a layer of augmented reality that people can use in their phones in relation to the liveness on stage. But it's not as if we started out saying, like, what tech can we use to express this? It really is about just taking the tools that are at hand. And I think that's really what it is. And the one side of that is when you're using technology in theater, it has to be grounded in dramaturgy. There has to be reason for it to be there. Otherwise, it does just feel like technology. Yeah. One of the, one of the, you know, Lars, yours is a personal story, but it's a, it's a seeking to find the answer to this. This phrase that has been coming up a lot for me is inquiry-based. You're not necessarily setting up to tell us stories specifically, that may be part of it, but this thing starts with a question. Is that a, and somehow that feels related to this, this very small-seat, Catholic use of new tools. Can you, can, do you feel that that's a, how does that resonate? How about an association? Okay. Is that cool? Yeah, yeah. I also, Bruno States, said that he should never have children on stage. Really? He didn't quite say that. He didn't quite say that. At the time. At the time. I'm just going to, um, uh, an animal steer. Yes. I was going to bring up Jacob Room, which is this novel by Virginia Woolf in which the main character doesn't, you never hear that the main character's internal voice, and you just get a, um, a network of people who bounce off that person, and so the contours of that character is determined by all of these external perspectives, and I feel like that's what's happening in this show, and that's what happens with me with technology a lot, is actually the technology is defying the contour of the voice. And it's like, what, so it's like, ultimately the Institute of Memory is a ghost story, and it is an inquiry into telling some, you know, um, bringing, it's like Hamlet's ghost, like what if Hamlet's ghost, um, the fundamental thought for me is like, what if at the beginning Hamlet, Hamlet's father didn't speak? He just showed up and was haunting Hamlet, but he walked away. And what would Hamlet be like and what would Hamlet do? With his, like, suspicions and his inquiry. So what kind of research would he do? If the father didn't say, like, get this guy. Um, and, so I think about that person as a kind of void, uh, and in a way, just trying to use all these different technical implements, like paper mache to create a puppet, you know, it's like pricing against that person, handwritten the letter, laser scans in my dad's apartment, medical scans in his body, literally inside of him. Um, so, and yet, and yet none of them were actually put here into, like, a portrait. They're all, they all feel like they just define a void. That makes any sense. And just to, you know, just thinking about that next to the point of, you know, using different media to do that, I think it's, um, it was so interesting how the use of all of the different artifacts and media formats that, uh, coexisted with the writing practice as well. So the, um, the sections where you said, I'll play the, I'll play the father, you play the mother. I'll play the father. Okay, you know, that, that there was a kind of announcement of what your, what character everyone was playing. That, that was a play writer technique, you could say, a writerly technique that seemed to coexist so wonderfully is for me with, with the apparatus. That, that was one apparatus next to others that were helping you follow this association or follow this question. That was the dramaturgy of hearsay. Hearsay. Because it was, because I don't, I didn't experience any of that, so it's just like, my mom said this, my dad said this, and sometimes it was the same, sometimes it was different. So it was, like, fundamental to defend the, the fact that I just know it's the most skeletal Mellon possible. It's, it's similar, right, having a history of technology or a history of how you might experience technology that definitely relates a lot to what you know in the book in terms of, you know, I find it so fascinating that Mary and you guys were using some kind of proto-sins or Minecraft computer programming like 1994. And so you're sort of like, can you speak to about how you're sort of staging your own experience of technology as, as a, and as part of that really group process? Does that make any sense? Does that make any sense? Well, like, if you go sort of chapter by chapter, it seems like there's a different, you know, then new technology being worked out that is now looking old. Exactly. I mean, I think that it's so hard to, like, just I think go back and just keep using the word technology, because I think it's so much about storytelling and really, ultimately, that was the underpinning. But, yeah, each thing, like, lived through a different, different kind of apparatus. Like, in Continuous City, we did this thing where our father was traveling around the world and talking to his young daughter on his phone, and everyone said, well, that's years away. Nobody said we're going to be able to use video on their phone.  So I think that kind of, like, again, it's just looking for what you need and then finding that tool. And then, of course, other people in the culture are looking for that tool as well. But I want to pick up on storytelling, because I think it's, you know, writing, writing techniques, traditional playwriting, storytelling, a lot of the work that people in this game can make in many ways, like, difficult challenges that. Or it uses those things in ways that question them. And it questions traditional notions of fixed identity, like that a character has to be the same person all the time. And I don't know, did anybody see Andrew Schneider's, You Are Now Here, You Are Now Here, I've never heard of that.  So, I mean, I guess the question is, is there, is, you know, how concerned are you really with, like, straight on narrative stories, or is there an expanded notion of what storytelling is to you? I'm just going to talk about me, exactly. Yeah, I'm a really bad storyteller, and I don't really have stories I want to tell, but I have experiences that I want to share with people, and I'm really fascinated in moments, and cutting up whatever was before and whatever was after. Just like, how did you get here right now? I use, the way that I make work is just, like, this experience, and then I go, and then I just, there's a central thing, and then it expands with these tendrils out in every, uh, question. So, sitting here is it you? It's a new technology. And I don't, I don't think. I like, I use lights and sound. And I don't think, I don't, you know, it's a networking interactivity. Yeah, but that's just like, I can't afford to hire, like, any of these. That's not true. That's not true. That's not true. That's not true. That's not true. No, no, it's not true. It's, it's because it's very, it's because it needs to be hyper-precise. Exactly. And a precision that, that can't be achieved through people actually hitting that. Exactly. So yes, it is, it is a problem solving technique, using, but that's all behind the same poverty and precision. It's actually really interesting thing is, like, because a lot of our, you know, innovation, um, capitalism, but um, but um, a lot of artistic stuff happens because you don't have tools and you've got to have it.  So in a way, you know, it's, I think it's something about your story aspect, about your storytelling question. Yes, please. We ended up using, throughout the book, there's, it's divided, it goes across a lot of different performances and every chapter focuses on different elements of a different show. But we use this word storyboard to talk about, to somehow talk about what I think you're talking about. Um, and I, and I think that there is something about um, moving from the, say, dramaturgy framework to a mediaturgy framework that, uh, places narrative in a different space, sort of as material to be mined and redistributed, um, in ways that make certain kinds of playwrights uncomfortable. And one of the really interesting, uh, fun, uh, sort of themes throughout the builder's work was, you know, trying to, the attempt to find writers who were okay with this idea, okay with the idea that they would provide you know, um, which is a much different process than some writers want to be part of. Yeah. I wonder how that extends to, like other collaborative elements because uh, something that comes up a lot in the builder's work is, um, joining of vocabularies and practices with things you wouldn't necessarily consider a theatrical kind of artist, like architecture or even early on like computer programming or, um, using the, the, there's a point that you make that it's like intermedia is a revelation of the similarities they're in rather than the distances between them. And I know you, Lars, work a lot with very many different kinds of artists. Um, so I wonder about how you approach those collaborations and how you find common languages and if there's certain, you know, Yeah, it's fundamentally is just vocabulary sharing. Um, and early on, early on in the development of process, I did, I made a project called Holocene, which is a big aquarium and I had to, like, work with experimental plumbers and, like, and hydraulic engineers especially when you're a performer. Um, and, and I had to, it's very healthy in America. Um, no, but I had to, uh, yeah, it's like, a whole different country, right? Like they go across the border and try to figure out how to communicate your idea. Not only are they not different kinds of artists, actually most of them, many of them are not artists at all. They are just people who have a particular specialty who are creative. And so usually I start by talking to the community and say, I really want to make a lot of water up and down. Who can I talk to? And people will just start passing me off to other people and eventually the same name will come up several times. Like there's like this one crazy person and just like make water sheet really high in the air and then pour up.  And then, because they have a reputation, and then that's the first thing that gets excited because if you are like a really advanced computer programmer or you are a really advanced hydraulic engineer, we're not paying at that scale. So you've got to do it because you want to bend culture. You want to bend your thing. You want to, you know that what your specialty is could be turned on and flipped and become innovative in a different way because whatever the prescriptions, the landscape that you work in, like I worked with a guy who was like part, he was in charge of like Washington, DC's municipal water system for a lot, for like two years. And he was really bored by that. And so, you know, it's like you kind of find out, that's how you start the conversation.  So then he had to say like, and he didn't know what I, I didn't know what he was talking about. He didn't know what I was talking about. So we just talked about the most general terms in exchange vocabulary. And that's how every collaboration goes still. Even with other theater artists. I mean, we're talking about a typewriter. We make experimental theater, but I don't know what he's thinking about. And that's just a great question. Andy, please. I saw ice to memory and I just want to say that the performances were amazing. It was kind of amazing to guys, I'd say. And in a way that the story could hold it out of the technology. To me what's really exciting is when the technology becomes almost invisible. It's part of it. And then in a really profound way. But the story telling has to come first. And I just thought we could be able to talk about it later. That's all I agree with. That's a lot of us. That's not true. That's not true. That's not true. No, you can see it from the outside. I mean, it's really nice working with like, early on it was just, I was just an typewriter. Like, I was kind of like, work for hire almost. Like a mercenary, like a mercenary. And then we found out that we kind of like, really worked well together in the room and had some ideas and, I don't know, yeah. So, put that in. I have a lot of great stories from Marianne about working with the process artists, too. I don't know how much you want to thank them. Their architects understood what was going on. There was theater and, you know. Yeah, I'd love to hear it. I mean, you know, one of the, as a lesson to young people, I just want to sort of offer that, like, finding other people who are passionate about things that you don't know anything about and building creative teams out of people who are passionate about whatever the thing they are is an amazing, the successful, generally, strategy for making cool work and having exciting experiences. And I think, you know, in the book, you talk a lot about, like, putting together, you know, from the very outset, very multiple stakeholders across different disciplines, specialties and languages. So, yeah, so I just, so I actually would love to hear about sort of, like, the evolution of that practice. I think, you know, expanding on what the fruit of law is just talking about and in the framework of the Builder's Association. What do you guys do? Thank you. Oh, yeah. Okay, and he's got to go, right? Is this a show that is very new? No. No, it's across the internet. Yeah, we're going to start telling me something. I don't know. I don't know. There's the martinsson across the building. Oh, it's not going to be until, it's not gonna be until... It's not going to be until one. You'll have time. Yeah, you'll have time. We're doing a hard stop here. They just gotta go get in to classroom and warm up. Do as vocal. I'm glad to see you. Thank you, thank you. I'm just going to just call it a day. So, yeah. So, asking these people to rotate up, I'm just going to ask some people in the audience who are in this company to come up because we've been great here with them and say, So ladies and gentlemen, without further ado, Bo, you go to Bo Angelo. I'm going to show you. I do think that, I mean, part of it was, the prologue in the book is called, Gazzlet is a Theater, and that's a question that we were asked a lot at the beginning, was, which, and it's kind of interesting that we're basically having almost the same conversation 25 minutes later or whatever, but that notion that you would get a lot of people in the room who have no interest in or access to the theater and then create something that we were interested in was really central to the early process. And in terms of just like accidental technology, there was one really interesting moment where we ended up at IBM, when they still had a place in Westchester, visiting some guy who was showing us some software and then I happened to look over the shoulder of the person sitting next to him and he was working on this thing that was incredible. It was this kind of like ghosting mechanism that turned out they were using security cameras. But the minute that I saw that, it was like, who are you? And you come down and of course he had no idea what experimental theater was or who, you know, why, but it was really, that's the moment when you, you see something that you can engage with and then that's how you get to the next level. Well, it's good actually that Shannon promoted you on it. Oh, just that expertise is sexy. You know, it's really easy to get a competence crush on somebody who really knows what they're doing, even though you don't understand what they're doing. That's, I mean, I mean, just even some concrete examples of what Maryanne was talking about before you, that to have Ben Rubin, a sound artist who makes listening posts be your whatever he is, you know, in terms of a sound designer, or to have an architect do your set, or to have Kiki Smith making what she calls Sculpture for Theater, you know, that these were sort of cross art moments where it's kind of like your phone form is, I guess, it's like getting defamiliarized by somebody else's and made into a different thing, you know, and that just happens over and over. I think more than I realized before I started to work on this material, how much that is, that's cross art collaboration. And I think sometimes thinking about it as a cross art collaboration brings up a different sensibility than a cross media. There's something about the word intermedia that is now kind of, I don't know, it's almost homogenizing now. But if we also remember like sculpture and architecture and cinema, and the contours of those forms, and then think about the mash-up, I don't know, it makes it clear to me. Since you're here, I want to pick up on some of the large set and, because you said, well, these other people that aren't artists. And I think it's really interesting, you know, Shannon, Shannon is a very important and well-recognized scholar. And she's a robot, and it talks a lot about these, you know, the expanded art, like what expanded art practices are, and it feels like one of the things that I'm hearing across is that part of the changing nature of the artists in the theatrical thing, but in general, it's about the person, and what he just describes, like actually finding the interesting thing and the other interesting things, and putting them together to tell the most interesting thing, no matter what platform or discipline you're working in. As opposed to like, I have this important story to tell about this. And, you know, this talks, you know, so I'm just wondering if you want to talk a little bit about, I'm like, if you don't mind, or if you want, well, I was going to say like, but we've got large for a few minutes, so if you want to talk about that, Shannon, if you want to talk about that. Well, well, I don't really know what to say. I'm not sure. I feel like, I feel like there's no rule to that, actually. Sometimes it starts with like an empty piece of technology that makes me feel a certain way. Sometimes it's, you know, sometimes it's like my dad, or to go to conversations about my dad.  And then I realize, okay, well, I have to like pay attention to this now, and it becomes a remarkable work. So, and the way that I actually pursue and grow those teams doesn't even have a pattern. The only pattern is that live performance is at the center of a constellation of, hard works that all will respond to whatever the idea might be. So, I'm always compelled to make something live with an audience, but I'm also compelled to make installations and video pieces and other kinds of media. And like, I think that set in the typewriter is your memory. I would like to make that evolve into a piece in an installation context that viewers can just use and also take away like, use a score, like typing a letter is actually a score. As a piece that relates to this, but it's sort of born from it and exists in a different medium. And the one thing I just want to say like, Kim, I should compliment you and the actors, I think they're really good too. And I, but there's this thing about story time that keeps coming up. And like, the only way that I can like make sense to me ultimately is thinking of technology as text rather than texture. And when I see technology complementing performance as texture, it makes me a little queasy. And when it functions as text, just like the language, just like that. When there's just no distinction as Andrew was saying. Whatever that ineffable blending is, which is totally insatiable and yes, blends forms in cinema, architecture, and sculpture in ways that I'm not even capable of articulating.  The reason I wrote this piece is that I just don't know how to communicate. What these impulses are to a writer. I'm more successful at communicating with lighting designers, video designers, but I don't know how to communicate in the works. The words part, I don't know how to actually, that's like the hardest for me. And that's theoretically what the story is, right? But actually the arc of the typewriter and the sculpture is one of the stories. The arc of like a music sample in that piece. There's five music samples that play. The arc of that is like one of the stories. And the actor and the human bodies and the voices are one of the stories. Those are all just moving in parallel. That's interesting to think about how you do, I wanted to ask you, you would be interested in using the same sort of assembly as our word today and putting it in a different type of space, like in a gallery space or installation space, or it's something that's open all day that people would come in and out of. Absolutely, yeah. So that would require a different apparatus for presenting it in different kind of curatorial collaboration, different staff. Absolutely. Yeah, I just, I'm sorry. Please. Okay, wrap them up, wrap them up. I'm not wrapping up, I'm just gonna say that. I did want to say just briefly about text because I think that that's a huge component of everything we've spoken about and sort of the resistance to playwrights and playwriting because certainly when, you know, I still think there's a conventional structure where everyone is there to serve the writer, that the writing, the text is what we begin with. But, you know, in a completely visual society, it's like, show it, don't say it. And I think that the text is like the last resort in terms of actually trying to get a structure together. But one of the chapters, and Rich, I think early on we were talking about one of the chapters being about all the writers that we worked with and fired. Yeah. Because it's really a long road. And there's a variety of contrasts. And, you know, they ended up being like, the writer understands that their work is gonna be completely torn apart and that they're willing to let us use any part of it, but not all of it, any whatever order. And I think that that was like sort of a, you know, a desperate leap towards what really is now, second nature now, which is that the text is one element of, you know, an equal element in the score. To two, I think we need to lose that again. Everybody, why don't you ask one more question? Like, on the one hand I hear that a lot, I hear you that a lot of traditional playwriting is resistant to that, but certainly, like, you know, going back to Jean-Claude Van Etali and probably before that, you're in your room with the making who are serving us as text-based artists in response in real time to the process of what's happening. Absolutely. And, you know, whether it's El Frida Yellenek or Charles Mead, or, you know, there are people who are rigorous text-based artists and I think the practice of writing with text and working with text actually lends itself through a very rigorous compositional model. So I'm just gonna push back a little, like I think that I'm curious to dig back into the book and look at that a little bit more, but I do wonder, like, what would it be like to enter into practice with someone who has a really rigorous, you know, like go work with El Frida Yellenek? Right. Yeah. What would that be like? It's terrifying. If you don't know, she's an Austrian feminist radical feminist playwright who writes these incredibly dense texts with like no character names, no stage directs, she just puts it out there and says, do something about it. And the results are wildly variable. There's always a writer involved and often people who are not in playwrights. I guess that's my point. Like, with El Ledeen, the person who ended up writing was the senior editor of Wired Nights. And the continuous city ended up being a filmmaker who wrote the script. But I think that that is central to the idea is that they wanna be in the room, that they wanna be one of the people in the room, so that the material is all, there's no hierarchy in terms of what's coming first. So. Well, there's a hierarchy because you're the decider. Yeah, I'm the decider. I'm the decider. I'm the decider. I'm the decider. I'm the decider. I'm the trooper. I'm the trooper. Interesting. I'm the decider. I'm the decider. I'm the decider. No, when the text, like, well, that's the technology wave. Yeah, I mean, it is a, one must be open. And, you know, let it go, right?  It's, it's gotta, you know, it's not, it can't be precious.  That is the power of the playwright. So this system goes against that because it is, it's, you know, the rising proletariat, proletariat, collectivist model. We are all making it together. So. What's the air experience specifically in Zilders or just your philosophy of large in the air? Oh, I guess it is, I mean, I've had many, many, many collaborative experiences in my career. I'll use that word. So, yeah, I guess I do gravitate toward that. And I enjoy it tremendously.  So, yeah, to distill down, it's complicated, but yeah. I think it seems, it seems really important in terms of your really primary question that this company has devolved a practice that's collaborative and that doesn't mean, it doesn't mean it's the only way to do it.  And so, I mean, I don't, she's not here, but a really, really informal student of mine who's also a playwright, Julia Draco, back here in New York now, is about to come out with a book that relates to this question of what is the role, what is the playwright in the era of post-traumatic theater? And really mining the fact that some types of playwrights are making post-traumatic, that's a reductive paraphrase, but some who are really, who are setting out to make this dispersed text, you know? But not waiting to be dispersed by others, you know? And, you know, that's a different way to go. Yeah, I think it's really insane, I think maybe we could talk about it more in the next year. No, because there are, there's a lot of, you know, I mean, I think you could look at, yeah, and so. First thing, I mean, having like trashed text, I do, I just wanna point out that our last three shows were Susan Sondack's journals, Steinbeck's Graves of Wrath, and The Wizard of Oz, all of which are, you know, pre-constructed, very text-based, heavy text materials, so I invoke everything I just said. Well, you know, I just wanna, because we all often have young theater practitioners and things, I wanna just sort of pick up on the idea of collaboration. And one of the things that, you know, is the sort of difference between collaboration and consensus. And sort of this idea of like traditional hierarchies, like, bring in the light inside, because they know how to be lights. And you may not, you may listen to their thought about where to put somebody or what to say, but. So I'm just curious, like, over the course of the company, how have you, how have you, what is the nature of your collaborative practice, and how does that sort of evolve over the years? I'm gonna ask a collaborator to come, Phil is empty chair, David Pence, can you come up here? So this is another round of applause for you, for which one member of the company. So, um, wow, I have been so excited, I really am not gonna answer that question. One of you collaborators, please get on. I'm sorry, I'm sorry, I'm sorry. So, consensus and collaboration. Oh, we don't have consensus, I mean, that, no, no. No, that don't, I mean, occasionally, but really it's a sketching practice, as Miriam says. So many iterations, right? Everyone is in the room from the beginning, please forgive me if I'm repeating anything that's already been said. Everyone's in the room from the beginning, that means everyone, that means all the designers as well. All the technicians, the actors, the writer, the decider.  So, get going, people, get going, and then there's yelling and screaming, and then, you know, something, we bring something to the stage, a sketch, and adjust from there. I mean, agreed, David? I would agree. Go ahead. I would say that it's E, I find, as a performance, it's easier to be fixed. I tend to have ideas of my own. Occasionally, I'll have ideas. But I was thinking of you talking, Moe, like I am, with one exception, I have only worked with the Builders Association as a performer and a member of the writer. The one sort of half exception is that, in our very first piece, there was an elaborate, improvised narrative that played out over the course of Master Builder that I was half of. So I was sort of making that text and also performing it. But usually, I'm just performing the text. But you have this interesting, you know, in the long rehearsal process, you are both performer and writer at the same time, which must be. It's complicated, but we have James Gibbs, who's the drum turd of the company, and not here right now, but a co-writer on many of the pieces. And so, he's out there, and you have to have consensus with yourself. Really though. Like, do you find yourself kind of warring in identity? Completely, completely, completely. And I mean, when I'm standing here, I defer to Marianne and the people out there to guide what is happening here, because I can't really tell inside the machine. I have no idea what's going on. Because I'm playing to a little camera like this, and I'm talking to someone that's not in front of me, and it's not like, we're in a room, and they're sitting on furniture, and we're talking to each other, so I can't, yeah, I can't do this.  And so, yes, yes, of course. So we have a, because of shows, we have a hard stop at once. I want to take these last seven or eight minutes because we have some questions, Q&A. Yeah. I was interested in, like, what are the stakes of drama, church, and maybe I should talk to you on about the playwright, and I was interested to hear more about what the idea of church is, and then sort of what, why is it important to have drama, church, like what is it that drama, church, sort of provide in this? It's operating systems, because in a sense, each show becomes a system, that's the category in the book that I hope, Shannon might talk about in a little bit. But in a sense, when you sketch the show, you create an operating system for that show. And often the dramaturge is there just to keep reminding people of what the system is. I mean, it's not, you know, it's nagging as much as anything else. But I also think that when you think about OS as an manuscript, it's like another thing about, another way this resembles an operating system is that you make the show and you put it out, and it's like, it has so many bugs in it. And the first time it goes out, people are like, what was that? And that doesn't work, and this is crashing it. But eventually, you know, as you roll it out, you work out the bugs, and ultimately it becomes a kind of a system that supports the show, and it's built into the show, and becomes part of the company, and what do you want? And at the same time, I think that this, that in terms of builders and other practices like it, this, there are others, this is still using the traditional skills of a dramaturg as well, in that all of these pieces, almost all of them required incredible amounts of historical research that, you know, that say James Gibbs might be a dramaturg, but lots of people are working on a lot of primary material, excavating different data systems, reading like, you know, 20 books on subjects on the subject at hand, arranging for interviews with call center operators. I mean, that there is a real research practice behind every show that I would still think of as a dramaturgical practice, in whatever sense, you know, someone might traditionally think about it as well. Questions, more questions, please. Well, I'm gonna pick up on that dramaturg if you can move it and ask it. And to the operators, so kind of coming up, because it's a very different actual model of what I'm thinking is that it's an iterative dramaturg, and I thought that, you know, and that I mean, you, when, some people may not remember when Microsoft first launched like Windows 95, and it had bugs, and people were furious, because in the mid-90s, the notion of launching an unfinished product was radical. The idea that something wouldn't be perfect and done when you bring it to market was radical, and people freaked out. Now we're very acculturated to being part of the development process of products, whether, you know, and getting upgrades and stuff like that. So, I don't know, I just feel like it's, like you're proposing a different model of dramaturg, where it's both the historical research, but it's also the sense of like an involving like, code checker. Right, exactly, that's right, yeah, yeah. I guess that was a question. In terms of production history, in terms of like doing a piece over and over again, and how it goes out to different places, and how it is informed, or is informed or is informed by the operating system again. Yeah, I mean, I think that there's still a moment whether or not the audience will have tolerance to see an iteration, so, this is just an iteration. Did you bother to take it? No, how much is your paper? Versus how much, you know, how much we need to be clear that this is the iteration you want to show at that particular moment. But it is also that building a show has required collaboration with a lot of different supportive companies at different points that usually require, thankfully, a presentation or workshop, some sort that allows you to try some iterations and then get to both of them. But, you know, it's whether, I think whether or not the profession really, and audiences really have the tolerance for this process is not entirely clear. Well, we'll have to, and everyone can talk to Kim about that afterwards, because they have the whole hard, here, artist residency program where they offer support over two years, and they do a lot of showing of process, and so, we are at, pretty much, oh, one of the people here. I'll just add, as the last thing is, that I just got the book from Amazon that comes on the street, and it is so stunning, the work of art. It's so grateful to have it. There's 116 images. It's incredible. So, by the book, thank you, Marianne, Shannon, Moe, David, and Sarah.