Welcome everyone in rainy Bucharest, beautiful city and we are very sorry that we couldn't offer you the weather that it normally gives over here. It's exceptionally cold and wet, but well, you all experienced yourself. It is the good temperature to stay inside and to have a very fruitful meeting, I guess. May I ask those people who identify as an artist to raise their hands? That's quite a good representation. Thank you. Thank you for being here and we hope you will be willing to share your experiences of being an artist with us today because that's the topic of this meeting. Then as you may know, some parts of the globe at this time, the life of an artist is governed by policies of withdrawing governments, meaning subsidy cuts, forcing artists into entrepreneurial modes. In some other parts of the globe, we see that the artists are feeling reinforcement of the governmental grip on their work, so it's two opposite directions that governments take and in these parts of the world, the artists fight to be able to follow their own agenda and not only fit into political agendas of the ones that are paying them. What unites those two worlds is that we are both represented in Europe and I'm sure that we are also both represented in this whole. That's another thing that binds us and that is that the independent artists, those artists that work not commercially and make contemporary arts, are always the worst of. They are the ones that live the most precarious, under the most precarious circumstances. I think it's good that us, all that didn't raise our hands, realized that we can make a living thanks to the fact that they have a talent, that they are working under in many circumstances, precarious circumstances for low incomes and insecure circumstances and I wish that also the administrators and the ministers would realize that they can make a living thanks to the fact that we have the artists that are still sharing their talents with us. Before we will have our first speakers, I would also share with you that you may have noticed that this meeting has been created with some challenges. We were a bit late with being able to communicate the program. We were a bit late with communicating that we could be in this wonderful space, the National Theatre and it was only thanks to a handful of people that were working extremely hard, that were extremely generous to receive us, that we are able to sit here and for you and for me to stand here and first of all I would like to introduce to you to Mr. John Karen Mitru, who is the managing director of this wonderful theatre. He is also the president of Uniter, the union for the performing artists. He is a great director besides that and he is one of the oldest members of ITM. He was the oldest member here of Romania in ITM starting in 1992.  Thank you very much for your kind introduction and welcome for you all. I look around and I see so many young people and I am very happy that theatre world is under the control of such a wonderful crowd. I say so because in 1994 as a member of ITM I've been invited to Brussels next year to Spain to represent my Romanian structure as ITI Romanian Uniter and I remember we were in trouble in this country at the time because of the neo-communist regime coming in power as a result of an anti-communist revolution. It's a bit of a joke about it but it was really dangerous for our life and for the new liberty. So in 1995 I moderated in Sevilla a group of ITM with this main proposition official structure and a new vision of culture, strong movements against the new liberties. It was at the origin of a letter I presented finally to help our liberty in Romania signed by all the members of ITM at the time and published in Romania, published in foreign newspapers and having a really important echo into the structures I mentioned to you. So I still remember ITM is a wonderful body, it's a strong, important European family so as soon as it's possible you have to remember this friendship and this unanimousity help we had. On the other hand we called this new, I mean we called our National Theatre after the reconstruction new theatre for a new audience, for a new public. So you are the newest visitors and public, I hope you are coming to see our shows these days and the reason of telling such a slogan for our activity is that we open large doors for the young generation. We have in this very moment seven different stages. One is the work in progress on the roof for the summer time, seasons for 300 seats. Another new one is the media hall you visited recently this morning and this afternoon and the little stage which is for 130 seats given exclusively to the young generation experiment theatre and exclusively I say for those having no jobs into the theatre. In this very moment in Romania in the drama department of our cultural activity we have about 4,000 jobless actors and 50 theatres all around Romania. They are 4,000 because after the revolution every university centre is open drama school so every year there are about 350 people living in the university and having a diploma as a bachelor in art. There is no room for them into the professional theatres. This independent activity is still very in Romania, I mean still very timid and no money for them, no rules for them, most more or less nothing and from nothing you do nothing but talent exists so we decided to give these stages for them to follow their talent and to invite them to perform into our productions later. We have in this very moment 230 young collaborators into the theatre but they are 4,000. That's a moment of thinking for our society but I don't think there is an horizon of them. So then is this stage you are now here which is unique in Europe? Probably someone could tell you earlier that this stage, this room is transformable. In 22 minutes the stalls is lifted coming to land on the stage making a free open space here these two walls move backstage and from behind if you open the two small doors you will see two packages of seats coming and finishing an arena stage. In 22 minutes it was done in 1968 by the Romanian engineers after the Vienna technology we invited at the time to do what was very modern in the theatre technology they refused to do it. Finally it was done by our Romanian engineers. If you like to see a show it's Saturday evening half past seven a play written by Mattei Vichniak a famous Romanian playwright living in Paris called Engagement of a Clown you'll see in the first part like that Italian stage the first part then we are going downstairs to see a real circus show and coming back for the second part you'll be in the arena and to see the second part of the play in the arena and I can't tell you more because you are here for a few days you can see with your own eyes everything I want to tell you now. I'll give an end to my speech telling you that we hope to have at the end of September the last week in September a showcase of our productions and those interested could tell us if they want to come. Thank you very much and be welcome. Thank you Mr. Caramitro. As I said we were organizing this meeting in quite a short time and there was a driving force behind it that is called Corina Suteu unfortunately she is not here yet but she will arrive this evening and you will definitely meet with her. She proposed us to our local co-organizer Vava Stevanescu who is the director of the National Center for Dance having a very interesting history that she will definitely share with you probably at another moment than now because she only now gets five minutes and she can talk an hour about that I can tell you and it's a very interesting history of the dance of the contemporary dance in Romania that she has to share. Give a warm hand to Vava Stevanescu who with her team her whole team really made this possible. Thank you very much for this introduction and I'm Vava Stevanescu and I'm running National Center for Dance in Bucharest which is a very new institution. It's not like National Theatre here. It works only with independence which is interesting and because in contemporary dance in Romania you can be only independent as an artist and we find ourselves in a very new situation as an institution to be happy organizers of the meeting of IETM here but if you would wait for two years we could organize that in the new venue which is the Omnia Hall which will be ready to welcome you in 2019. So we are very happy to announce that. So I'm very happy also to say welcome and go see all performances programmed and there are a lot of performances theatre and dance performances which are not in the program but at the desk you can find information about more of that. We had the situation was that we couldn't put everything in the program for you but especially independent work worth to be seen. So also I hope you will visit our venue which is marked on your programs. I hope you have it. We have three performances programmed and I'm not good with speeches so welcome and have fun in Reini Bucharest. Thank you Vava. Thank you. Maybe I show with you this I mean the fact that we are organizers, co-organizers it was possible because of the National Cultural Fund which put quite a little bit of money for making this possible so now maybe you will introduce. Then I only have to because indeed no meeting without a bit of money and the generosity of the National Fund for Culture Irina Chos please give her a hand. Good afternoon. I'm very happy you are all here and I'm very happy I could lend a hand to the realization of this important meeting because I have to tell you I know about ITM since the early 90s and it's very important that Mr. Karamitri is here because he was the one to plant the seeds of ITM in Romania not only of ITM he planted the seed of UNITAR, he planted the seed of the National Cultural Fund. He is someone who launched many paths in contemporary culture in Romania especially in the performative field. I have to say that what impressed me most about ITM was the title and it was the fact that it was an informal European theatre meeting and I think this is very important to keep in mind although the profile of ITM changed and now it became an international network with professionals from all the performative fields. I think that the informal aspect is what brings most of creativity and what enables connections and collaborations throughout countries and throughout cultures. I'm not going to take much longer of your time but I would like to quote Dragon Klage who said cultures do not dialogue with each other they complete clash fight interact and mutually influence each other so cultures are not alike cultures are different and it is important to stay different so I hope this ITM meeting will be for all of you an opportunity for creative engagement and I wish you all a good stay in Bucharest. Thank you. Thank you. There are two more thank yous. One is for George Iwascu from the Municipal Metropolis Theatre which is the theatre that offers our welcome drink that we will have after our keynote downstairs near the registration desk and the other one is Timasuara Capital of Culture 2021 I just saw them arrive and they will offer our farewell brunch on Sunday in the National Centre of Dance. This will also be the moment when Timasuara will present their provisional programme so please come in time. We start 11.30 sharp I told them so if you want to know more about Timasuara please be in time 11.30 national centre for the dance on Sunday. Another moment that we really would love to have you together joining us is at the General Assembly on Saturday afternoon because we need a quorum otherwise we won't have a full board next year. So in order to have a good governance of ITM you are really needed. That's one of the reasons. The other reasons is that I'm very happy that if I could share with you our new strategy for the next four years because we got the new Creative Europe grant so ITM is safe for the next four years and it will be nice. It's always good to hear your comments on the programme also in the General Assembly and afterwards in the talks and listens. Okay and then now we came to the moment that I can introduce to you our keynote speaker well-known poet and author from Romania, Mr. Mircea Caterescu. You see I'm always stumbles at one moment and that's the most important moment. Please give him a warm applause. For the French I'm Mircea. For the English I'm Mircea. For other people I'm different. But for my compatriots I'm Mircea, Mircea Caterescu. Mircea is a male name in our country though it ends with an A and this is why it happens to me all the time to get the letters addressed to Mrs. Caterescu. I'm very much used to it and I'm not complaining anymore. Actually you know it only too well that the artists have actually a double sex. All of them are in a way or another androgynous. Good evening. I'm really really very glad to be here with you. I feel really very honored because I really admire you. I admire you very much. I admire the artists. I admire the people whose body listen to them. I have always wanted to be one of you. I have always wanted, since I can remember, to know how to dance, to be able to sing, to be able to perform, to be somebody, to have a talent, to be somebody in the other people's eyes, to have an audience, to have people that get joy from what I do. And I think I tried mostly everything. When I was very young I tried to play ping-pong, for example. I thought I will make a career out of this and I was pretty good. But I never got to be a professional. Now I can beat most of you. But the people that went to a club for, I don't know, one year have no problems with me. So I couldn't do this. I tried to play the guitar like everyone. I tried to be a star in the summer camps and to gather the girls around me. I couldn't do it as well. I tried to sing, I tried to dance, at least in my family, at family parties. I couldn't do the dismay of my wife and other partners. Because I don't know, my body is against me. It's against what I tried to order it. And because I was such disappointed, so much disappointed with me, I started to write, when I was about 15, I started to write how disappointed I was with me. Because I had no talent. And paradoxically, this proved to be my only talent. Saying that I have no talent, that I cannot dance, that I cannot talk as somebody sings. The only thing about me was the way I walked. And writing fiction, writing prose for me is actually, I don't think of it as a talent. I think of it as the way I walk. It's something so natural for me that it's like the air I breathe. I never think about it. I still keep in my mind the sadness of not being able to make moves with my arms, with my feet, with my fingers, with anything but with my mind. I cannot dance, but my mind can. Writing poetry is dancing.  This is the magic that happened to me. And it's my very small consolation, because consolation of the fact that I cannot do anything else. I'm not good with anything else. So I'm a sort of an artist myself, but a very special kind of artist. I don't know if you thought about it, but you are the performers. You cannot perform without a public around you. You have to have a public, Mr. Karamitru, who has been an actor all his life. I don't know if he can perform in his bathroom alone. I doubt it. I doubt that any of you can perform only for yourself. But a poet always does this. Poetry is an art of silence. Fiction is an art of silence, an art of solitude, an art of isolation, an art of, I don't know, of intuition. You are always alone.  You feel the loneliness person in the world. When you are doing your job, when you are performing, when you want to see people cheering around you and nobody cheers, you never hear someone cheering when you write a poem. Of course you can read it afterwards in a literary circle or on a stage or in poetry slam. And you get some hint of what this art actually should have been and what this art actually was all the time. Because you know, Bob Dylan got the Nobel Prize last year for poetry, for literature.  He has never been like, for example, Leonard Cohen was a real poet on the paper. But let us not forget that all the old performers were like that. Homer was like that, Homer, sorry, was like that. I don't know, Propertius was like that, Virgil was like that. They were performing their poems. They were not writing them on the paper for people to read. They were singing them. That's why we call lyrical poetry the poems of love, for example. Because they were sang and accompanied by the lira, by some kind of chord instrument in the antiquity times. So in ancient times, poets were also performers. But after that, they isolated themselves like leper people. They felt themselves guilty about that. And they always tried to escape this condition and never, never succeed. And more, I would say more, the greatest of the writers are the people the most lonely of all. Think about Franz Kafka. Kafka, like Virgil, 2000 years before, didn't want to leave anything for the people. He only wrote hundreds of pages just to be destroyed after his death. He only wrote for himself. He never wanted to publish. He never wanted to be acclaimed. He never wanted the wish, the desire of the other, as we say. He did his work as a solitary monk. He was a sort of a martyr of the idea of literature. So literature is, in a way, going in the other direction as compared to all the other arts. It's a sort of a, I don't know, pick-headed art. It's sort of a background, backwards, sorry, art. A very strange kind of expressing yourself. But it still, it still is art. And a poet is also an artist. Because she or he shares with a real artist, with you, with the performers, one thing.  Grace is the most essential thing of the arts. You have grace or you don't have grace. You have this kind of levitation. You can put your mind in levitation and put the other's minds in levitation. You can show them a glimpse of a wonderful and huge world, because we are very small and the world is huge. You can show the people what you have seen in our visions. And this is grace. Nobody can give it to you. Nobody can take it from you. Because grace is what you are as an artist. Grace is poetry and poetry is grace. Music is poetry and poetry is music and so on. So I can speak of art in a way in front of you. Now I'm a bit ashamed about this.  And now I get to the real core of what I have to tell you. It's nothing new. I will only tell you things that you know as well as I do, but things that must be reminded to people from time to time because they are essential. Let us imagine a piano player of genius, one of the greatest, who brings tremendous joy to the people who listen to him. And after the show, his show is over. He gets outside, walks on the street and meets all kinds of people. He meets humiliated people. He meets people humiliated because of their race. He meets humiliated people because of their poverty. He meets humiliated people because of their gender, gender orientation. And so on. There are so many motives for someone to be humiliated by his or her peers. What has this person to do when he meets this kind of things? Should he act? Should he interfere? Or should he or she just pass because he is a great artist? Because he can play the piano better than anyone else. What does it matter if he goes and says or does what has to be done in these circumstances? Of course, every one of us know the answer. We know the answer. We have to act. We have to interfere with the bad people who do these kinds of things. But fewer of us know why. Why has an artist to do this? Isn't enough for an artist to create beauty? We are here on this earth to create beauty. This is our job. This is what we have to do and we can do. And other people cannot or can in a very small amount. Isn't this enough? We are winged people. We are privileged people. We are stars. Why should we go and tell the people it's not fair and it's not right what they do? The old Greeks knew the answer. They had a fundamental notion that they called callocagaton. Maybe you heard about it. You surely heard about this notion. Which fundamentally means it means lots of things. But fundamentally it means that three notions which we all know, truth, good and beauty are actually the same. The Greeks knew that it cannot be imagined a world that is true without being good and without being beautiful. You cannot imagine a world that is good without being true and beautiful. You cannot imagine a world that is beautiful without being the other two qualities, without having the other two qualities. So an artist, a producer of the beauty cannot be only an artist. He can be and he should be, she should be some other kinds of a person. The same person having three ways of acting in three different situations.  How can you be on the side of the truth? It's easy, being an intellectual. So the intellectual is sometimes opposed to the artist. The artist thinks with his heart, the intellectual thinks with his mind. But it's the one and the same thing actually.  And ideas for being real should be also beautiful and should be also good. An intellectual is a person who thinks with compassion, with empathy about the others. About all the other people, about all his peers, all his compatriots, all the people in the world. He can and he must in a way think of their good. But thinking of their good transforms the intellectual in a citizen, as we all are. A citizen is the representation of the good in this trinity, in these three ways of being the same.  Because an artist represents the heart, the feelings, an intellectual represents the reason and the mind. A citizen represents the action. So it's hard to imagine for me an artist who is very good in what he does. He's a very good singer, a very good writer, a very good dancer, a very good poet. But who chooses a wrong direction. It's very hard to me to think of someone who is a very good piano player but he's also a Nazi, a Naziist. Or someone who is a very good thinker but he falls himself under the fascination of a very bad ideology. Becoming a terrorist, for example. It's not possible in a way. I know that there are some examples. I know that Celine, for example, in the French literature used to have very bad feelings about the Jews, for example. He was an anti-Semitismist. But these are exceptions. Usually, and I'm an optimist, I believe in the human mind in a way. I don't think that it is possible to be like that. This expression of the old Greeks, callocagaton, is the way that we should look at things. We should be very good artists but we should think about what happens around us. Unfortunately, very bad things happen of late. And of course, we should take some action to make the world a little better. Because we are really very small. This is what I should have said first because it's a thing that we have to remind all the time. Yesterday, a meteorite, as you know, just passed over our heads at a very short distance from the Earth. If it hit the Earth, there would have been some unpleasant consequences, one of them being that my conference would have been cancelled, for example. And also some other little consequences like the race of the human race.  We have a small planet surrounded by a blue atmosphere. In the known universe, there are 2.3 trillion galaxies. Each of them with, I don't know, billions of stars. Where is the place for salvation? Where is the place for somebody looking right towards our world? Well, salvation is in our hands. It's at our fingers. We can do it. Nobody will do it instead of us. But actually, as you know only too well, we are good at the reverse. During our history, we proved to be very good at destroying ourselves, not at creating wonderful conditions for everyone. So given the conditions that we have to live today, we have to take some action. I only remind you what are those conditions that we're living in. I think we are doing bad. The world is very badly ruled at this moment from many points of view, not only from the political point of view. Of course, from this point of view, we have Syria, we have North Korea, we have Venezuela, we have what happens in Europe. Europe has never been in this terrible condition from the Second World War. I'm afraid to say so. We look everywhere and we see only damage. We see dictators. We see abominations as the Bible says. We see on one side Donald Trump. We see on the other side Putin. We see Erdogan. We only see bad things. Where are the great leaders that we used to have? We don't trust in anyone now. Where are the parties that we used to trust in? They are in a huge crisis. Every side of the political world that we are looking towards seems to be in a crisis, seems to be in a big change and not in a good change. It seems like democracy that only 15 years ago everybody believed in and Francis Fukuyama in his book said that, well actually the Western democracy won everywhere because every state, at least as an ideal, talked about democracy, about the democratic principles and values. Now it's the other way around. Most of the states in Europe and outside Europe seem to try to get rid of democracy, seem to try to get rid of the Western values, seem to try to get rid of everything that our culture is centered on. The nationalisms of all kinds are re-vigorated in Eastern Europe. Many of the countries show some nationalist and very populist tendencies. Romania has left one of the very few practically democratic countries in the whole region. It's very scaring for us. Many countries show a tendency towards what we call democratures. Half democracy, half dictatorships, sorry. So it's a very scary situation from the political point of view. We cannot just stay and wait to be destroyed, to be destroyed by these kind of people. We have to act, we have the power to act as you all know. We have at least to get into the street and shout our wishes, shout our principles, shout about stand-up for something, shout about our values. And I think this is a very good thing to do, even for the artist. The artist should get into the streets with their compatriots and shout against what they think is evil in the politics. I did this the whole winter. I was in the street with many artists, many Romanian artists in all the fields, shouting and occupying a place in the squares for democracy, for democracy, for liberty, for everything was wrong in my country. Against, of course, everything was wrong in my country. And it was minus 10 degrees and I had three layers of coats on me and two hats, one above the other. It was really terrible but I knew I had to do it. And at a certain moment we were 600,000 people in the streets, in all the cities and all the villages of Romania. It was the famous resist movement, resist movement, which spread after that, spread all around Europe and maybe in the States too. So each of us can do something. Even if you feel an empty place in a square or on the street, it's important, it's really very important. But unfortunately the challenges that we're all facing do not end with politics. We are in the middle of a technological revolution. I think this is even more important and more dangerous than the bad state of the world politics. We are on the brink now. Many of us feel that if we are making only one wrong step in front of us, we just fall. We fall in the precipice. It's on one side the huge revolution that the internet brought and the social networks brought. We now are in the middle of it. We cannot see it clearly. Can you imagine how much change is this? That each one, for the first time in our history, each one can connect with each one. Everyone can connect with everyone on the whole planet. Seven billion people connected. But this is only the ideal situation because actually what we see on these networks and what we see that happens there, we see much hatred. We see a lot of hatred. We see a lot of haters. We see a lot of trolls. We see people spreading false and dangerous ideas. We see people spreading false and fake news. We see that what we thought of as a sort of fraternity among older people changes the other way around, becoming a general hatred among people. Actually, we don't share on the internet, on the Facebook, on the Twitter and so on, we don't share the good things in ourselves. We are aggressed all the time by the people who take advantage of this wonderful media to spread hatred. Of course, I won't talk about the other dangers of our scientific, technical and social revolution. And there's another threat which is as great and connected to the others, the ideological threats. All kinds of ideological monstrosities that we feel around ourselves as cancer... ...metastasis, religious ideologies, social ideologies, political ideologies, ideologies of all kinds, many of them extremists. So what the artist can do when he finds violence, when he finds or she finds intimidation, when he finds, I don't know, despise for people because they are black, because they are homosexuals, because they are, I don't know, poor, because they don't belong to the place where they are forced to be when they are immigrants. What can we do about it? We can do. We can do because we are stars, because we are the stars of the societies, because the people know us, because we are opinion makers. Even if we dance, even if we don't talk, even if we are singers, we can sing our beliefs. And I truly believe in this. We can dance our beliefs. We can speak in poetry our beliefs. We can paint our beliefs. We can sculpture our beliefs. We can make movies about what we really think about the state of this world because we don't have another world. This is the only one that we have. It can be destroyed at any time by a meteorite, by a madman who has the nuclear panel in front of him, or by any other thing, by pollution, by destroying the animal and the vegetal world and so on. So I think that even if we lose a lot by doing this, even if we get a lot of enemies by doing this, even if we are banned for our ideas, I think that we still must stand up for them because it's, in a way, in our definition as artists. It is in our definition. We bring the people beauty, which is also truth. We bring the people truth, which is also good. So we must not forget that we are privileged people and we have to share our privileges with the unprivileged ones just to make a better world in a way and in a world and in a very simple one. I got to these ideas rather late. I did not think like that always and I think all of us have to fight the barbarian in himself or in herself. We don't have to tell ourselves that we are good, that we are worthy because we are not. Because all of us, and it's no secret, all of us are actually racist. All of us are actually homophobic. All of us are actually, I don't know, all these kinds of cliches and discriminations in herself or in himself. It's our bad inherited. Our species is violent. The primates are violent. The chimps are violent. The gorillas are violent. So we have to know that we have violence in ourselves and we have the evil in ourselves. But at the same time that we can fight it, we can keep it underground and we can try to show the other side of ourselves, the lighter side to the other people. These are some thoughts that I wanted to share with you. You only know them very well, but as I said, sometimes they have to be reminded. Thank you very much for listening and I hope we'll become close friends, most of us. Thank you, Mirza Katrescu. Before we, well, now it's time for our drink and for all the meetings and greetings that we didn't manage to do up till now. I forgot to say thank you to Uniter, which, as Vava told me, was a really big help in realizing this meeting. So Uniter, the union for the artists, also supported very much our being here. Okay, time for a drink. Hope to see you downstairs. And don't forget that the performances used to start early here.


This is Witchspace news for Friday the 27th of August 2021, I'm CMDR Buur. In Elite Dangerous News this week, Heiford's cash unlocks in Colonia, Frontier hints at some of the new features coming to Odyssey in update 7 next month. To make sure you don't miss any of our videos hit like and subscribe and remember to click the little bell icon and select all notifications and to help directly support this channel you can also join our Patreon via the link in the video description. As we reported earlier in the week the long silent Heiford's cash in the Colonia system unlocked with the Thargsday server reboot and oh my what a Thargsday it turned out to be. Whilst the cash may have unlocked in Colonia, Heiford was running from Dark Forces based closer to the bubble and the unlocking of the message from Heiford pointed to a breadcrumb trail of part messages that starts close to Barnard's loop. I don't want to spoil anything about what you'll find but if like us you're into this kind of lore and story based event then it is well worth following. What you'll discover could have very significant repercussions for the future of the events around the bubble and far beyond. You don't need to pick up the trail in Colonia, you can skip one step and start at the Barnard's loop stage. I've put the system name in the video description, there was a degree of confusion right at the start of the event on Thursday as putting the system name into the galaxy map pointed to the wrong permit locked system but a workaround was very quickly discovered and Frontier patched the issue out later that day so if you're following it now you should be good to go. It's worth stating again what the Heiford's event points to is very significant, indeed we think we might have seen accidental hints at a future update that are part of this thread a couple of years ago. I really hope Frontier are following this through to where we think it's going, time will tell I guess. Either way, it's a fantastic event, the kind of thing that Elite Dangerous does very well and if you're into this kind of thing I encourage you to follow it up. Frontier gave some small details on part of what to expect from update 7 to Elite Dangerous Odyssey on the Super Cruise news livestream this week. As well as confirming that the monthly development update will be dropping next week the team also spoke about features we can expect to see in update 7 to Odyssey which is arriving next month. Firstly the team spoke about new defence turrets that are being installed to surface conflict zones that will help the faction that currently owns the settlement defend itself from the invading factions vehicles. The hope is that these new much tougher defensive assets will prevent the massacre of troops leaving a drop ship by ships ramming them as they fall and also help prevent a lone SRV from dominating when troops are on the ground. Bruce did mention that it would be possible to disable the turrets on the ground we're guessing this will be via the use of a maverick suit and its handy dandy cutting tool. Rocket Launcher wielding enforcer troops will also be making an appearance in the revamped CZs after their recent successful and attention grabbing debut at military ground installations and in a surprisingly casual almost off the cuff remark the team also stated that NPC ships will also be fighting in the skies above the conflict zones. Bringing NPC ships into the fray should finally mean we have the foundations at least of a true sphere of combat experience in the ground conflict zones a feature that was promised all the way back before the alpha started. There are still some very significant framerate issues that persist around settlements and conflict zones particularly when you're in a ship so we'll have to see what effect any further optimisation work that may arrive with update 7 has on that but if it works it should make the conflict zone experience much more dynamic. There will be more details on these features in the development update from Frontier next week and there is also a new trailer on its way with the dev update featuring voiceover from community management lead Arthur told me that we'll talk about and demonstrate the changes. One further change that was mentioned was the limit on the number of bookmarks and stored modules will be raised from their current limits of around 120 to a new cap of 200. Currently server constraints prevent the limit from going any higher but the significant added extra will regardless be most welcome. The team then went on to talk about what they describe as a lick of paint that will be arriving to station interiors. Currently one station interior can look very much like another the plan seems to be to differentiate between different stations functionality with lighting and colouring meaning you should be able to tell what sort of station you're in just from looking around you. The particular example the team showed was from a high tech station which appeared to have had some small geometry changes and was now presented with an overall blue hue to the paint work and lighting. So just to recap next week development update which is normally in the form of a forum post detailing what's next we think there's probably a video accompanying that as well and then next month with a precise date yet to be determined update 7 to odyssey. So do you think you'll be taking a ship or an SRV into a conflict zone next month and are you looking forward to seeing dogfights in the skies above you or have you been following the trail left by hyford near Barnards loop let us know in the comments below. That's it for now thanks very much for watching we'll be back later this week with more videos until then 07 commanders follow the greens on the way out and do keep clear of the toast rack we very much look forward to seeing you next time


From Hollywood it's time now for Johnny dollar. Oh, yes How are you mr. Wilson? Yes, that's entirely correct. It's all fixed mr. Dollar Grandmother is expecting you. She'll be alone for the next few hours. So come on out to the ranch You're certain of that statement I suppose. Yes, of course Uncle Walter went into Vegas and Aunt Hilda's gone. Yes. I'm quite aware of that You mean she's there with you. That's right.  That's quite a remark for a person your age mr. Wilson. Oh I'm quite mature for 16 Has she made her pitch yet? I think we'd better postpone this discussion until the next time we meet Mr. Wilson. Yes, sir. Goodbye Tonight and every weekday night Bob Bailey in the transcribed adventures of the man with the action-packed Expense account America's fabulous freelance insurance investigator yours truly Johnny dollar from special investigator Johnny dollar location Las Vegas, Nevada to the home office AmeriCon Northern Trust Company Hartford, Connecticut Assignment the matter of reasonable doubt Expense account continued item nine a half a buck tipped to the hotel bell captain to call a taxi for Hilda Grimley And a wave goodbye to her as she drove away. I Do not include the six brandy. She guzzled those are on me Of course, she had knocked on my door uninvited so that made it her party But still it was my room so that made her my guess so Forget it. The whole thing left me too confused to itemize it She'd obviously come on a fishing expedition the fish information bait the usual but nicely designed results none on either side What it started out as a trust case had turned into a snipe hunt I Was in over my head floundering and I needed some good boy and answers I was hoping Mrs. Grimley herself could supply a few of them I'm very glad to meet you mr. Dollar sit down. She wasn't young and she wasn't beautiful anymore, but she had been once She still had some of that assurance and authority that beauty always gives a woman She seemed a little uncertain little herried maybe But underneath it just as tough as an old field boot. I think you'd better leave us alone now Susan Okay, grand If she starts using her brass nuts give a whistle mr. Dollar. I'll rush in and save you. Thanks. I'll remember oh She's a brash little flippity jibbit and you love the dickens out of it. Don't you love Yes, I do love the dickens out of her mr. Dollar. Is that what you came out here to find out? No, I knew that already otherwise you wouldn't have wanted to transfer all your holdings to her How did you know about that? Just who the devil are you anyway seems to me Susan was pretty vague on that score. She had to be she doesn't know Then why did she think I ought to see you? Oh, she decided I looked honest Claims she's gonna knack for that sort of thing matter of fact she has and also She loved her father and mother What do you mean by that? Mrs. Greenlee, I'm here because your friend Jonas Parks of the Flint Rock Bank sent for me What I'm a special investigator for the Amacron Northern Trust Company of Hartford, Connecticut Well Jonas didn't say anything to me. He hasn't had a chance He intended to when he was here this afternoon, but you were too ill to see him ill I didn't even know he was here your nephew and his wife did he talked to them Tell me mr.  Oh He did did he? Are you well if you thought so you wouldn't have said it so bluntly, right? I don't think so. Well, what made Jonas think it you asked him to set up an insurance trust for the benefit of your granddaughter Susan Apparently the intent was to convey your entire estate to her over a period of two to three years What's so crazy about that nothing at all so far as that part of it was concerned But it didn't stop there After he got the proceedings started you turned skittish on him started to flutter Jonas is a fool. He is not a fool and you know it. He's been your friend for 20 years He's completely trustworthy conscientious, and he has your best interest at heart How much is he paying you to say things like that? Nobody is paying me but the amicron trust company and furthermore you know it all you're doing is trying to dodge the issue Young man. I'm not accustomed to being talked to this way. Then you're gonna look at it as a refreshingly novel experience You sound like Susan and an experience. You don't entirely dislike presumptuous. Well, maybe Are you married mr. Dollar? No What a pity. I'm not 30 years younger What a pity. I'm not 30 years older. Oh, thank you, sir, and I'll let stop scratching each other's backs and get to the point all right Jonas is a fine man No doubt. He did have reason to get upset these past months have been Well, I suppose I haven't seemed like myself at all. Why is that?  Dollar careful how you talk about you might have been lover What has been wrong these past months? Maybe I am losing my mind Because actually Nothing has been wrong. I don't agree. I Think something is wrong right now. Then why don't you tell me about it? All right. All right. I will Currently I'll have to if we ever expect to get anywhere All right some months ago you stopped going into town Stopped having visitors Then you decided to get rid of your estate turned it over to Susan When your nephew Walter heard about it. He implied to Jonas Park's that you were losing your mind Then you yourself started to back down on the idea Why was Walter putting pressure on you? Not exactly What were you scared of Mrs. Graham Lee? It's got something to do with Walter and Hilda, right? sit down Almost a year ago. I discovered that the two of them were stealing me blind tampering with the ranch accounts forging signatures all sorts of ways Why didn't you take it to Jonas or to the police? Because I didn't believe it at first By the time I was absolutely sure they'd cut the ground out from under me So you tried to convey the property to Susan secretly? Yes Until Walter learned what I was doing. Who's the push in that pair? Who's got the brain? Why she has?  I'm sorry, Mrs. Graham Lee. I I Supposed you'd already guessed it guessed what That it was probably murder tired and lost Seeing herself surrounded by enemies living in fear But she at least knew one thing that she wasn't alone now that somebody else believed her and was on her side Mr. Dollar, she'll be all right. Well, she had quite a shock Susan. She had to know some time Oh, it's not a matter of no exactly. It's it's only suspicion All right, you go to your church and I'll go to mine But I know Walter and he'll the murder my parents and I think you know it, too Call it a real strong suspicion then So what are you gonna do about it? What do you suggest I do about it advise my elders? I'm only a helpless young female. You're about as helpless as a mongoose with a cobra flattery Just a statement of fact say look, what do you think they've been doing with the money? They've cheated your grandmother out. Oh, that's easy Uncle Walter gambles and Gambles and gambles and loses and loses. Uh-huh. He's not real bright, you know Why does he do this different joints in Vegas? Oh, just one mostly a Club called the lead balloon and the name figures any special reason he hits that particular club I think it's the only one it'll take his IOUs The owner came out here to collect a couple of times have it a noise name. Sure. I got big ears His name is doos McCoy doos McCoy the lead balloon and the rest of the dough Hilda She's what's known as a luxury dame mr. Dollar. Yeah, so I gather. I'll bet you gather. All right. Relax way Yeah, I'll send you out of the room. Yes, sir. Does she run around with other men? Oh Mr. Don all right, then do you happen to know any of them? Nope I've managed not to but it hasn't been easy one or two. Where does she play the field? I wouldn't know but she's always getting gifts from somebody.  How would you like to get spanked? I don't know. I've never been But I can quote you all kinds of psychology about it. Never mind. Good night Your name McCoy doos McCoy, that's right Johnny dollar. I'd like to talk to you about a mutual acquaintance What mutual acquaintance Walter Gremley, he's the cross the room there at the moment bucking one of your craft tables Come on in darling. Thanks. All right now What about Gremley? How much is he into you? Nobody gets into me. You've been taking his IOUs haven't you? He buys them off Holding any now look what what's the pitch? I want racket again insurance. What's that got to do with Gremley? I don't think he's a very good risk Meaning he's probably going to be doing time for embezzlement before long. He's so white. Why are you telling me about this? What I thought you might be interested since you've been taking his IOUs Well, you're big hearted is that it you're just being neighborly you might put it that way and I might not now What what is your angle? Is Gremley a personal friend of yours? No more than any other sucker out there at the tables then you wouldn't know where he gets the money he loses Well that I never asked and I don't suppose you'd know his wife Well, he's married eating her name is Hilda she likes gifts and brandy and money and Excitement then I hope she manages to find Whoever she is.  That's one way or another. You know got her problems down Yeah, but some of us more than the others right McCoy you through speaking your piece now They're not another word to say well, and I don't I don't want to rush you but hey, that's a nice cigarette case Platinum isn't it? All right wouldn't know It's not yours Somebody left at the table Somebody huh then you don't know who it belongs to if I did I'd give it back Then I'll save you some trouble mr. McCoy. I do know who it belongs to We'll make you think so because I saw it earlier today It belongs to Hilda Grimley Now here's our star to tell you about tomorrow's intriguing episode of this week's story tomorrow The pressure hits the top of the whole mess starts to crack join us. Won't you yours truly? Johnny dollar truly Johnny dollar starring Bob Bailey is transcribed in Hollywood written by Les Crutchfield It is produced and directed by Jack Johnstone Be sure to join us tomorrow night same time and station for the next exciting episode of yours truly Johnny dollar Roy Rowan speaking


, , , , , , , , , , , , , , we need only two hands we can use both hands for our daily life we can use both hands for our gadgets, equipment and needs we can use both hands for our daily life we can practice that we are all married we can use both hands for our daily life we can use both hands for our daily life we can use both hands to prepare vegetables we can use both hands for making vegetables first we have to know who you are to whom and who and where are you you need to know with whom you are they are both men or women 2, 3, 4, 5 7, 8, 9, 30 now do this repeat this for 5 days 3rd chest compressions for 5 days it will take 2 minutes after that do PUNAHA SS return it to the body return it to the science of life or if you don't come you should take it to the front if you don't come to the front return it to the expert after that when the experts come hand over it to them and then move it to your body till that time if you don't come to the body return it to the body return it to the body THANK YOU


At the end of every baseball game there is a winning and a losing pitcher that is determined throughout the course of the game and it's based on which pitcher gave up what runs and a few other things that we're about to look at here. So in this video I want to look at how to determine which pitcher is the winning pitcher. You can see the main definition right here that the winning pitcher is the pitcher whose team assumes the lead while that pitcher is in the game or during the inning on offense in which that pitcher was removed from the game and does not relinquish that lead. So the first thing which is probably obvious is that in order to be the winning pitcher you must be on the team that won the game and likewise the losing pitcher will be on the team that lost the game. The second thing to note is that the pitcher will remain that team's pitcher until another player, the pitcher actually throws a pitch. So this might seem obvious but it is important to note if there is a game in which the pitcher is pinch hit for and it is in that half inning that he is pinch hit for that his team takes the lead. So he is still considered the pitcher for those runs. The second stipulation is that the starting pitcher must pitch at least five innings to be credited with the win. So the starting pitcher is the first pitcher for each team in that game. All other pitchers after the starting pitcher or the starter are called relief pitchers. For relief pitchers there is no minimum amount that they are required to pitch to pick up the win. If the game is called after five innings for something like rain then the starter is only required to have pitched four innings in order for him to earn the win. Now as I said there is no minimum amount of matters that the relief pitcher has to face to earn the win but the final part of the rule does present one stipulation that they must fulfill and that is that the official score does not have to credit a relief pitcher with a win if their appearance in the game was brief and ineffective and there was a pitcher after him who was more effective. What does that mean? Let's take a look at an example here. Let's say that the pitcher comes in to replace a starter and there are two outs in the inning and the game is still tied zero to zero. Nobody is on base. So we will call this reliever A and reliever A gives up five hits and three runs score before getting that one out to end the inning that he needed. So then in the next half inning reliever A is pinch hit four and in that same half inning his team scores four runs to take the lead. So technically reliever A is in line to get the win but if the pitcher that replaces reliever A will call him reliever B goes on to pitch four more innings does not give up another run for the rest of the game and the team wins four to three. The rules say that even though the team gained the lead with reliever A in the game it was actually reliever B who should get the win because reliever A's outing was brief and it was not very effective but then again it's important to note that you will rarely ever see this happen and generally the pitcher who is credited with the win is the guy who was in the game when his team took the lead for the final five.


Good morning everyone and welcome to the 23rd meeting of the Delegated Powers and Law Reform Committee. As a worthy reminder and including members that mobile phones should be switched off, I have received apologies from является Torrance. Agenda item 1 is the Declaration of Interests. The first item on our agenda is a Declaration of Interest in accordance with section 3 of the code of conduct. I invite Graham Simpson to declare any interests relevant to the remit of this committee? No relevance interests. Thank you. Our second item is to choose our convener. The Parliament has agreed that only members of the Scottish Conservative Party are eligible for nomination as convener of the committee. That being the case, I seek nominations for the position of convener. We'd like to propose Graham Simpson as convener. Okay. Thank you. Anyone else? No? Okay. One nomination has been received and therefore asked the committee to agree that Graham Simpson will be chosen as convener of the committee. I will agree. Okay. I congratulate Graham Simpson on his appointment and hand over the chair for the remainder of the proceedings. Okay. Okay. Congratulations. Okay. Thank you very much. It's proposed that the committee take item 7 consideration of the committee's work programme in private. Does the committee agree to take item 7 in private? So agenda item 4 instruments subject to negative procedure. No points have been raised by our legal advisers on SSI 2017-225 and 2017-231. Is the committee content with these instruments? Agender item 5 instruments not subject to any parliamentary procedure. No points have been raised by our legal advisers on SSI 2017-234, 239, 240, 242 and 251 all 2017. Is the committee content with these instruments? Thank you. So we move on to agenda item 6, gender representation on public boards Scotland bill. The purpose of this item is the committee to consider its approach to the scrutiny of the delegated powers in the gender representation on public boards Scotland bill at stage 1. Specifically, this is an opportunity to identify matters which the committee may wish to raise with the Scottish Government in relation to the delegated powers contained in this bill. The policy objective of the bill is to increase the representation of women on public boards in Scotland. The bill contains three delegated powers. It suggests that the committee raises questions on the powers in section 8 that enable the Scottish ministers to make regulations modifying schedule 1 so as to add or remove an entry of a public authority caught by the requirements of the act or to vary the description of such an entry and section 11-2 that authorises the Scottish ministers to modify the act when making regulations under section 8. Regulations made under section 8 of the bill are subject to the negative procedure. The Freedom of Information Scotland Act 2002 provides for a different approach and it is a useful comparator. Section 4 of that act includes a power allowing the Scottish ministers by order to add or remove the public authorities listed in schedule 1 to which the right of access to information applies. Such an order is to be made under the negative procedure except in particular circumstances where the affirmative procedure applies by virtue of section 7 of that act. These circumstances are where regulations list the authority only in relation to information of a specified description. Does the committee agree to ask the Scottish Government the following? Firstly, to explain why it is necessary that section 11-2 provides power to modify the act as a whole rather than being limited to amending schedule 2 in relation to the application of the act to particular public authorities, in particular to provide examples of when it would be necessary for regulations made under section 8 to modify a provision of the act other than schedules 1 and 2. Secondly, bearing in mind the approach taken to the regulation making powers in sections 4-1 and 7-1 of the Freedom of Information Scotland Act, whether it would be appropriate for the regulations made under section 8 of the bill to be subject to the affirmative procedure where those regulations make any provision in table 2 of schedule 1 to exclude certain positions within a public authority from the requirements of the bill. Thirdly, regardless of whether or not section 11-2 is limited to making modifications to schedule 2 rather than the act as a whole, and given that the exercise of such power in regulations made under section 8 would amend primary legislation, whether it would be more appropriate for the affirmative procedure to apply, so do we want to ask the Scottish Government those questions? Okay, I'll now move the meeting into private session.


Hi everyone, this is Alice Gao. In this video, I'm going to talk about policies for a Markov decision process. When we're solving a Markov decision process, we are looking for a policy which tells the agent what to do. Now, it is not trivial to think about what a policy looks like for a Markov decision process. That's what we're trying to figure out in this video. Here's the first idea that you might have. You might think that in the Markov decision process, it's sufficient to tell the agent a fixed sequence of actions. Here's an example. Suppose we're considering a fixed sequence of actions, starting with a start state, say, go down, go down, go right, go right, and go right. And your motivation might be, if we start from the start state, S11, then down, down, right, right, right, we'll get the robot to the state 3-4, it will get the reward plus 1, and be happy, and escapes this world. So I've designed two quicker questions, and let's use these two questions to think about what happens if we ask the robot to follow a fixed sequence of actions. In this first question, let's simplify our grid world a little bit. Remember that our grid world has some uncertainty in it. So when the robot tries to go in a particular direction, it might not get there. It might get to its left or its right instead. So let's simplify this first by assuming that the environment is deterministic. So in other words, you can think about if the robot tries to go down, it would definitely get to the state below the current state. With that assumption, think about this question. If the robot is deterministic, an optimal solution to the grid world problem is this fixed action sequence that's given below. Is this true or false? Think about it yourself, and then keep watching for the answer. The correct answer is true. In a deterministic world, a fixed sequence of actions is indeed one of the possible optimal solutions. Because when we take an action, we don't have to worry about ending up in a place that we did not anticipate. In fact, there is another possible optimal solution. We can start by going right, right, and then down, and then down, and right. There are many possible sequences of actions that will get us to the nice ghost state, the state S34 for sure. What you should remember from this question is that a world is really nice if it's deterministic. Now let's think about the actual grid world we are in. So in the actual grid world, an action may not achieve its intended effect. It has that 80%, 10%, 10%, noisy distribution there. So the robot might not end up where it intended. Given this grid world, think about the following question. Consider again, the fixed sequence of actions, down, down, right, right, and right. True or false? This action sequence could take the robot to more than one square with positive probability. Think about this yourself and then keep watching for the answer. The answer to this question is true. With a fixed sequence of actions, this could actually take the robot to multiple possible states with positive probability. Let's look at some examples. I've written down two examples for you, but you should be able to come up with lots of examples on your own. First example is a bit extreme. So if we start from the initial state S11, after five actions, we might end up in the same state. How is this possible? Well, when we try to go down, we could in fact end up going to our left. That's with 10% chance. So if we go to our left, we bump into a wall and stay in the same square. And then when we try to go to the right, we might actually end up going up. That's to the left of the robot with 10% chance. So if we go up three times again, we bump into the wall and stay in the same square. So we could end up reaching staying in the same state with a probability of 0.1 to the power of five, right? So all five actions with 10% chance will cause us to stay in the same square. Then I came up with another example where we ended up reaching the state S14 and we can reach this state by when we're trying to go down, we end up going to our right. That's with 10% chance. So we'll do that twice. We'll end up in S13 here. Do that twice, end up in S13. And then we'll go right three times and we succeed. So once twice bump into the wall, come back and then three times bump into the wall and come back. So the probability for all of that is 10% chance for not going in the intended direction and then 80% chance for going in the intended direction three times. You should be able to come up with lots of other examples. And in fact, you should, this is my guess. I haven't done this, but you should be able to come up with one example for every possible state in the grid world. So I conjecture that with positive probability, this sequence of action could take the robot to any square in the grid world. Now what's the purpose of this question? Remember that our goal was to figure out what does a policy look like for a Markov decision process? And the purpose of this question is to show you that a fixed sequence of actions is not enough as a policy for Markov decision process. And the reason is that a fixed sequence of action could take us anywhere. We might end up anywhere because of the uncertainty in the transition probabilities. So because of this, the policy has to look quite different. In fact, a policy needs to take into account of any contingency. And the contingency here means that we always have to assume that we can end up in every possible state. So the policy has to specify for every possible state, what should we do? If we end up in a particular state, which action should we take? To summarize, when we're solving a Markov decision process, we are looking for a policy which specifies what the agent should do as a function of the current state. So we have to specify if we end up in every possible state, what action should the agent take? There are two types of policies. The policy could be non-stationary or it could be stationary. If the policy is stationary, then it's a function of both the state and the time. So for each state and for each time step, we need to specify what the agent needs to do. If the policy is stationary, then the policy does not depend on the current time step. Time is irrelevant. So as long as we end up in a particular state, the policy specifies what the agent should do regardless of the current time step. Because now we assume that our MDP is a stationary model, so we're going to go with a stationary policy as well. The concept of policy might still sound kind of abstract for you, but don't worry. In the next video, I'm going to show you quite a few examples to see what a policy might look like for our grid world. That's everything for this video. After watching this video, you should be able to explain why it is not sufficient to specify a fixed sequence of actions as a solution to an MDP. Also explain what a policy for an MDP should look like and the difference between a stationary and a non-stationary policy. Thank you very much for watching. I will see you in the next video. Bye for now.


Hi everyone, Joe for jasphyscasewrakes.com doing our last filler pack for the cup hockey in the 17-18 version right there. That's pack number 14. Big thanks to everybody here and all 31 teams are in. So we're going to do the break itself first and then we'll re-randomize everybody's names to give away those cup spots. So let's do the break. Three times two and a one for names and teams. One, two, and three. Down to Daniel. Alright, so there's the first half-ish of the list right there. There's 31 teams and there's the second half-ish of the list right over there. Alright, and if those last two spots move before I finish this break, I'll do the break. Otherwise, I'm going to have to refuel a little bit. We'll come back. There's Max Jones and Matthew Barzal die-cut for the Islanders. Nice. Three out of 199. This is Max Jones. It must be some sort of parallel. Usually they write the name of the parallel on here, but... Alright, so I'm going to re-randomize this list right here and we'll see who's going to win those spots in that very break. Let's grab everybody's names. There's some new dice. There's a new list. And it's going to be the top six after five. One, two, three, four, and fifth and final time. So once again, one and a four, five times. Top six after five. I saw Will's name already. Steve, sorry, unless you're in the top six. But Will, you're already in. Daniel, Steve Wright, Rick, Steve Wright, and Daniel. Sorry, Steve Burch. But the top six you are in. I'm Joe for jaskyscasebreaks.com. I'll see you next time for the next one. Bye-bye.


Hello, we are Rosetta. Steve. Yn Oesca, Douglas Primary School in North London. We worked with Ross this year and learned about the science of learning and how to reduce cognitive load. The impact has been an improvement in achieving a consistent approach to teaching and learning. Staff have modified their teaching might pull the pupils cognitive load and users Ross' suggestions such as dual coding. 100% of staff were engaged in research and really infused and excited to share their learning. Thanks for us.