So he called this an OODA loop. An OODA stands for Observe, Orient, Decide, and Act, okay? So when you're thrust into a stressful situation, and that could be anything. That could be walking into work at the ER. It could be the pipes busted and your kitchen's flooding. I mean, it could be any different sort of stressful event. The first thing that happens is that you observe. There's unfolding circumstances. There's outside information. There's interaction with your environment, and that's something that just happens to us, okay? And any human does this. The problem is, is almost every human stops right there, okay? This, right there, the observations, is thinking, okay? That's cognition. What happens next is we feed forward into Orient. And Orient is where your mind really comes in. That's called metacognition. And this is something that objectivist epistemology talks about, is that the human animal is the only animal that has to voluntarily turn on its consciousness. In Orient, you are thinking about your thinking, okay? And no one else can do this for you. Only you as an individual can do it. And you may not be able to do it in this given circumstance, as well as another individual, but you cannot borrow another individual's Orient. It's all you, baby, because it's all your cultural traditions. It's your genetic heritage. It's new information, and it's your previous exposure, and that's completely and utterly unique to you, okay? When you're thinking about thinking and you're having metacognition, what you're doing there is you are narrowing your focus and you are formulating a plan slowly. But once you've oriented, once you've thought about your thinking, that automatically feeds forward into decision, okay? This, you don't have a choice about. Between here and here, you choose whether or not to turn on your brain or not and perform metacognition. A choice, actually, you have no choice about, because like the band Rush says, if you choose not to decide, you still have made a choice. That's very true here. So you form a decision about what's going on around you, and in this decision, you're forming a hypothesis, and you have to test that hypothesis with action so that feed forwards again into an action which tests your hypothesis. But you need to do that quickly, and what I have found in emergency medicine is the greater your need to act decisively and rapidly, the greater will be your need to hesitate, okay? So you have to do that quickly. Now, in this realm, under Orient, is a very big danger that we see all the time, and that danger is called normalcy bias, okay? When things go bad, if you have an active shooter incident, or your plane catches on fire, anything really bad starts to happen. The tsunami is coming.  It defends the normal. I see this all the time in the emergency room. Early on, I saw it myself. The first time I remember having it, we were at the end of shift, and I was coming on, and we were talking about the patients. The ambulance rolled between us with this well-dressed, middle-class-looking guy curled up on the stretcher, moaning and groaning, and acting dramatic, and I thought, oh, brother. That guy rolled between us, and my attending said, keep a close eye on that guy. He's got mesenteric ischemia, meaning one of the arteries to his bowels is blocked and he's dying. I'm like, shit, how did he do that? Well, two and a half hours later, after multiple testing in an angiogram of the gut, he was right, okay? And I realized, because this guy was well-dressed and he was acting dramatic, I made an assumption about him, and I latched on to that for normal C-bias. I see it with nurses. They'll bring back a patient and if you ever show up in an ER, kind of look a little scrungy, my friends. Don't wear your clean underwear, because the more normal you look, the more normal C-bias will kick in for the people taking care of you. We can believe that some derelict that we pulled out of the gutter is going down the drain, but you come in with your khakis on and a nice pressed shirt and you're doubled over, it's kind of like, whatever.  See them bring someone that's actively dying and put them in a non-acute room.  Now, as you feed forward and you go into decision and action, this is another real danger point right here is after you take your action, you're not done. Okay, what your action is, is your contribution to the chaos. That's it, that's all you're doing. Just because you're taking an action and it seems to have worked, it's not like, woo-hoo, celebration time. I see this every time I do a major resuscitation. The most stressful point in a major resuscitation typically is securing an airway in the patient, getting them intubated. And a huge amount of tension builds up to that point. And then all of a sudden the tube goes in and the oxygen level comes up and everyone breathes this collective sigh of relief. There's high-fives all around and then the patient crumps because they've been paralyzed, they've lost all their tone and they crash. The other thing is just don't celebrate. So, let's move forward. And before you start this, the real key of an oodaloupe when you're competing with someone or the environment is to turn it quickly.  And if you can turn your loop faster than your opponent can, then you win. That's another, and that brings us to Dr. Doug McGuff. Let's bring it home. Great to see you. Thanks for having me. First time I remember having it, we were at the end of shift and I was coming on and we were talking about the patients. The ambulance rolled between us with this well-dressed, middle-class-looking guy curled up on the stretcher, moaning and groaning and acting dramatic. And I thought, oh, brother, that guy rolled between us and my attending said, keep a close eye on that guy, he's got mesenteric ischemia, meaning one of the arteries to his bowels is blocked and he's dying. I'm like, shit, how did he do that? Well, two and a half hours later after multiple testing in an angiogram of the gut, he was right, okay? And I realized because this guy was well-dressed and he was acting dramatic, I made an assumption about him and I latched on to that for normal C-bias. I see it with nurses, they'll bring back a patient that, and if you ever show up in an ER, kind of look a little scrungy, my friends, don't wear your clean underwear because the more normal you look, the more normal C-bias will kick in for the people taking care of you. We can believe that some derelict that we pulled out of the gutter is going down the drain.   I see them bring someone that's actively dying and put them in a non-acute room.  And then finally, we want to be able to bend the curve. And what we're looking at here on this curve is you have performance on the Y-axis and heart rate on the X-axis. And what you'll see is as heart rate goes up, you reach this optimal performance zone here at the top. If you get too stressed out, you start to go into that realm where everything starts to go to pot. Well, there is a way of performing stress inoculation to bend that curve. So you go from condition red, instead of going into condition black, you just extend condition red out further. Udaloops and think in terms of breathing, self-talk, actually do all those things.


Hey Psych2Goers, do you have a complex relationship with food? For a long time, eating disorders were not acknowledged for what they were, a complex mental health condition characterized by an unhealthy relationship with food. In 2018, Neda estimated that 20 million women and 10 million men in America will have an eating disorder at some point in their lives. Although anyone can be affected by an eating disorder, this condition usually targets younger women and men. It's more than just not wanting to eat. It is a complex psychological portrait surrounding food that can manifest itself through restrictive, binging, purging, or other behaviors. So if you're having problems with food, here are 5 signs of an eating disorder and what to do. 1. Fear of gaining weight A common symptom of an eating disorder is the fear of gaining weight, or Obesophobia. Obesophobia, sometimes known as Ocracophobia, is a type of anxiety disorder that involves having an irrational fear of a specific place, object, or situation. In the context of eating disorders, Obesophobia presents itself through the prism of the body. It can cause you to obsessively count calories, fast, go on frequent dieting, or over-exercise yourself. Although this fear of gaining weight does not have one specific cause, there are several factors that may contribute to it, including the stigmas of weight, having perfectionism, an anxiety disorder, or having gone through a negative experience in the past. 2. Food control Do you look for things you can control when you're feeling stressed out? Oftentimes when you're going through a difficult period in your life, you'll turn to food as an outlet. It may seem logical as how much you eat and how you look can be seen as physical indicators of how in control you are. However, this type of thinking can quickly devolve into harming behaviors like restrictive eating, extreme dieting, binging, purging, or hoarding. But looking for control is just one reason you may engage in these harmful behaviors. The normalization of purging or restrictive behaviors, bonding purges, and diet cultures in our societies can all also affect your relationship to food. Unfortunately, continuous engagement in these behaviors can lead to health complications such as heart failure, heart arrhythmia, malnutrition, gastrointestinal complications, and even death. So if you notice that you're engaging in food controlling behaviors as a coping mechanism, you may want to work with a licensed therapist so they can help you create better adaptive coping mechanisms that help you address your fears, anxieties, and pain connected to food. 3. Food and body image plays a large part in self-esteem. What do you think about yourself? According to American Psychology Association, low self-esteem is one of the underlying triggers for an eating disorder. In today's culture, the beauty industry and the media like to bombard everyone with photoshopped images of what the ideal woman or man needs to look like. This can brainwash you into thinking that the numbers on a scale correspond to your worth as a human being. However, this habit to correlate your self-worth to your clothing size, the calories you consume, your waist measurements, or your weight not only negatively impacts your self-esteem, but it can also lead to a tendency to turn to harmful eating diets and restrictions to cope. So, if you struggle with self-esteem issues and have problems with food, please seek professional help. Engaging in CBT-E or other forms of treatment can help you recognize and reduce harmful thoughts and emotions related to food. 4. Ritualistic Eating Patterns Do you have a preference for how you eat and prepare your food? Perhaps you like to cut your food into small pieces before you eat, or you have to use a certain set of utensils and plate to eat. While ritualistic eating does not necessarily point to having an eating disorder, many people who have obsessive-compulsive disorders can exhibit extreme eating rituals that can end up harming their overall well-being. Some examples include arranging food in a specific order, only eating at specific times or places, or weighing and measuring their food. Since eating disorders are often anxiety-driven, having a ritual can provide a certain degree of comfort and familiarity. And although some of these are harmless, some extreme forms of eating patterns can end up being dangerous to your health. 5. Continued Fixation on Food Are you constantly thinking about food? Perhaps you're wondering about what you're going to eat next or questioning how many calories are in each item of food on the table. The constant thoughts about the food you are eating or will eat can slowly take over your mind and prevent you from paying attention to anything else. Not only that, it can also cause or exacerbate an eating disorder. These intrusive thoughts may include asking yourself if you'll be able to stop once you start, if you've eaten too much, if the food is healthy or clean enough, or if the food will make you fat. These thoughts can pull you out of the experience of eating and make you deaf to the hunger signals that your body sends you. If you've found yourself being bombarded with these intrusive thoughts, you may want to try practicing intuitive eating. It's not a diet, but a way of becoming more attuned to the needs of your body. It is an approach that teaches you how to listen to bodily signals and cues. What to do? If you are struggling with an eating disorder, or any of the points mentioned in this video, please consider seeking professional help. A licensed therapist or professional can help you build the tools necessary to recognize, examine, and deal with the underlying triggers of your eating disorder. They can also help you establish better coping mechanisms and build a better relationship with food. Do you or someone you know struggle with their relationship with food? Let us know in the comments below. If you found this video helpful, be sure to like, subscribe, and share this video with those who might benefit from it. And don't forget to hit the notification bell icon to get notified whenever Psych2Go posts a new video. The references and studies used in this video are added in the description below. Thanks so much for watching, and we'll see you in our next video.


The House of Squibb, manufacturing chemist with a medical profession since 1858, bring you Academy Award. The pictures, the players, the techniques and skills which have won or been nominated for the coveted awards granted each year by the Academy of Motion Picture Arts and Sciences to each in his field for outstanding achievement. The House of Squibb, makers of the great family of Squibb medicinal products, brings you the distinguished Paramount star Brian Donlevy in the great McGinty. The original screenplay for which Preston Sturges won his 1940 Academy Award. This is the story of a guy called McGinty who's ten and barren as joints out of the border. This is the story of McGinty his friends and their brief day of glory. Well, here we are and if your eyes can see through the cigarette smoke I'll point out our interesting characters. Oh yeah, those tough deadpan looking mugs at the table playing poker. Open, get it up. That's the boss.  I've been boss. That's Louie. He carries a rod under his arm and nothing under his cap. I'm in tow boss. That's the politician and over here the pale-faced young man staring into his drink. His name is Thompson. He's new down here and very sad. Where's the door to the patio? Right behind that potted palm and behind the bar. What's this bar for me Pedro? I got a hunch about that guy Thompson. The great McGinty himself about to go into action. Shall we join McGinty in the patio? Hey you, give me that gun. Oh don't, let me alone. I don't want to live anymore.  Come on out of here. Don't you. You're breaking my arm. Well, you're coming peaceful. All right. Why did you have to stop me? Why didn't you let me do it? Hey, I have a drink. Thanks. Hey, what's the matter with you kid? What do you want to pull a gun on yourself for? I hadn't any right to go on living. Nuts. What did you do? I was the cashier of a bank up in Montclair, New Jersey. So what? I had a nice house, nice wife, nice kid, and I stole $25,000 from the bank. Oh, I don't deserve to live. You as a cashier of a bank and you stole only $25,000.  But what did you ever do, McGinty? What did I do? I'll tell you. I was the governor of a state. You governor of a state? How could you ever have been a governor? Well, how do you get to be anything? Here, gotta start at the bottom and that's where I started. I got into town under a freight car. It's snowing and I'm cold and beat and I ain't been eating for two days and I'm in a soup kitchen and hailing some broth when the politician up to me. Good soup, huh? They need kinder the mayor to think of the less fortunate on a night like this. Never mind the applesauce, Bull. Yeah. How'd you like to make a couple of bucks? What do you think you're kidding? What have I got to do? Very simple, my boy.  How about voting twice? That's four bucks. What's the jail sentence for repeating? Who said anything about repeating? What do you think this is? Hicks corners?  They don't like this kind of weather. Some of them is sick and bad and can't vote. Maybe a couple of them croaked recently. That ain't no reason why mayor telling guest should be cheated out of their support. All we're doing is getting out the vote. Wipe down, you guys. The boss will be here any second. Now what was you saying about that bum? I said that bum just voted 37 times and I need the dough to pay him off. I don't believe a man can vote 37 times. I just said he voted 37 times! 37 times! Who voted 37 times? Oh, uh, good evening, boss. Good evening, Mr. Mayor. That blood there, cramming in the free lunch.  He may have the kind of service we're giving you. Hey, you log. I'm in here. We want to look at you. Me? Yeah, you. Don't you know you ain't supposed to vote more than once? Who are you? A tough guy, huh? I guess you don't know where you are. No, and I don't care neither. This guy kills me. He thinks he's me. I didn't know it, but he was the big political boss of the town. I guess he took a liking to me because he gave me some dough and I got a shave and a manicure and I bought me a new suit. Oh, carry, boss. Here's the lug. Some suit. Looks more like this suit got you. Less than you. Suppose you listen for a change.  It's because I can use some nerve in my business. In the meantime, if you want to do some collecting for me, you got a job. You got 20%. I paid the hospital bill.  Now, look. Your job is to collect for the protection I've been giving you. I'll collect. And when I do, I get 20% and don't you forget it. In here, Mark. You can take it easy now. I've been following you. Me and Louie up there driving. Okay. Move over.  Here's your dough. 250 and 500 and 400. That's $1,150, count it. So you collect it after all. I guess you think you're kind of hot stuff, huh?  All right, keep the change. Keep what change? I got 20% coming. I said keep the whole wad. I never expect to collect it anyhow. Well, then what's the idea, sending me out? I'm glad you didn't disappoint me. What? For a minute, I thought you was going to say thank you. Me?  Yesterday, you were a bow on the bread line. Today, you got 1,000 berries and I know soon. If you can't keep on like you've started today, there's no telling where you'll be tomorrow. This is a land of great opportunity.  You don't hear nothing in here. It's armor. Don't interrupt. And if you think I'm not the boss, you try cross me up sometime. You got me all at tremble. I bet you're scared to death of yourself. All right. You ask for it. Yeah, I'll break in that tired as I am. Yeah, here's where you get yours. Yeah. He always was a little muscle bound. I could beat him to the punch, you know. Boy, but we had some Branigan. I thought you said you were the governor of a state. Sounds like you were just a cheap crook.  I collected the chicken feed for a while, see, and then the guy makes me an alderman. And I move in on the second floor. Hello. Hello. I thought we was cut off, as I was saying. Dilling gas is dead as a doornail. We need a new face. Clean, typical American, upright, dependable. Somebody they don't know too much about. What do you think of McGinty? Huh? Ever heard of him, huh? Well, that's just what I'm talking about. A hundred thousand dollars. That's what they tell me, but that's a confounded outrage, Mr. Alderman. Even in the days of Boss Herman, we didn't have to pay that much for franchises. Not even in the days of Bathhouse Jake. Those boys were fighters compared to this mob. Oh, you don't mean that, Mr. Maxwell. You've got to remember, everything's gone up. Living expenses is higher. There's an income tax. Well, you're dealing with a better class of men than Bathhouse Jake. Now look here, I will not pay graft. Meaghan's for defense, but not one cent for tribute. You could call it advertising. Oh, yes? I'm over here. I want to talk to you. I got something important. Be right over. Well, I'm sorry, Maxwell, but that's the way it is. Katherine. Yes, Mr. McGinty? I've got to go over and see the boss. I'll be back about four. All right, Mr. McGinty. Not just a minute, McGinty! Well, you got here, huh? Yeah. See now, have a cigar. Are you kidding? I know them cigars. Listen, you want to be reform mayor. Reform mayor? That's what I said. Well, what do you mean reform mayor? What do you think it means? Don't make me say everything twice, will you? I said you want to be reform mayor of this city, mayor. What do you got to do with the reform party? I am the reform party. Who do you think? You're the reform party.  But, sir, when? This is a long time ago. In this town, I'm all the parties. You think I'm going to starve every time they change administration? Well, then, where does the reform party come in? They come in the back door every Wednesday. I ask you if you want to be reform mayor. You give me a plain answer. Well, sure, I guess so. Good. You're in. You'll have to kiss a lot of babies, meet a lot of guys. And, uh, wear your old clothes. They don't want no dudes after that last one. And though, you'll have to get married right away. What do you mean, get married right away? What do you think it means? Do I have to say everything twice? Women vote. Maybe they don't know it. They don't like bachelors. Oh. Oh, they don't, huh? Well, if they don't like them, they can lump them. It doesn't matter with you.  No, I'm just playing hard to get. Daniel, don't you know what marriage is? Don't you know that marriage has always been the most beautiful, the most beautiful setup between the sexes? Don't you know the coat without the pants? Like a pig without a poke? Marriage is the most... the most? Then why don't you try it? Because I ain't running for mayor! Yeah, well, I ain't neither. Poke that in your pig. Before continuing with part two of the Academy Award, may we suggest for your enjoyment every day, an ever-popular member of the great family of squib products, pure refreshing squib dental cream. There's something about its delightful minty flavor that seems to wake up your mouth to leave it pleasantly cool, clean, refreshed. Look into your mirror, and you will see your own smile with all its natural sparkle reveals. For the active ingredient in pure squib dental cream is one of the safest, softest, yet most effective polishing agents known to dental science. It's just one more reason why you can taste, feel, and see the refreshing difference when you brush your teeth with squib dental cream. Use it regularly for a more attractive smile, a cleaner, happier mouth. Taste, feel, and see the refreshing difference. In just a moment, Brian Donlevy will be back with the second part of the great McGinty. But first, we want to thank Paramount Pictures for making this story available. You'll be interested to know that you can soon see Brian Donlevy in Paramount's new Technicolor production, The Virginian. And now, part two of the Academy Award-winning picture, The Great McGinty. You want another shot of this? Yeah. Well, did you get married? Yeah. I made the mistake of talking it over with my secretary first, and then I was a goner. Oh, I'm so happy for you, Mr. McGinty. What are you talking about? I told him to go fly a kite. Can you see me telling some dame where I've been till 2 o'clock in the morning, and how did you get that lip-ruise on your hat? Well, I certainly feel the same way you do about it, Mr. McGinty, but you need the woman's vote. And if you had a wife, what I mean to say, Mr. McGinty, is that I've been married before. Well, I'd be willing to marry you, Mr. McGinty. Hello, Mr. McGinty's office. Who's calling? Oh, it's for you, Mr. McGinty. Oh, tell him I'm dead or something. I got to go into the office and think this over. Careful. I suppose we're legally married, aren't we? Really married? That's what the guy said. Mr. McGinty, I don't want you to think I've been concealing anything from you. There's no reason why I should. It's just that in the excitement... What? Sit down, Mr. McGinty. What's on your mind? It's just... Well, I think you ought to know if we're all going to have to live in the same house. Who's all? I've been meaning to tell you that...  Just that I knew you wouldn't mind being mayor and everything. I don't suppose you'll be home very much anyway. Allie got me all right. Being married was a sin to get elected. And Catherine wasn't a bad wife at all. For any guys, though, even though we didn't work at it for a while, but being mayor was a sin. But when I got to thinking of being married, that was a lot tougher. Let me in, please. Would you wash out those other stockings? Not yet. Oh, oh, Mr. McGinty. What are you doing in my room? Well, you know, Catherine, I, uh... I was thinking, why don't you... We have dinner together sometime. Well, I'd be very glad to, Mr. McGinty. Anytime. You know, if you told anybody that we've been living here like this for six months, then neither one of us ever give the other one a thought. I wouldn't believe it. That's right. Even if it was true, they wouldn't believe it. Well, it's silly. Yes, it is.  No, Mr. McGinty. That's silly, isn't it? Yes, Mr. McGinty. Well, what's the use of being silly? I'm your husband, ain't I, Catherine? Oh, Mr....  Our old friend didn't even stop to think.  Just as he got to the edge of the field by the old split rail fence, a shadow fell across his path. And who do you suppose it was? I'll give you three guesses, and three more and three more. But you will never guess who it really was because it was none other than our old friend... Darling, the children are asleep now. Oh, oh, good. Just a minute, I'll finish this thing. It was none other than our friend Muggle D. Wump the Tortoise. Oh, well, you know, that's who I thought it was all the time. Darling, the children love you so and admire you. It hurts sometimes. They think you're George Washington and Abraham Lincoln roll together, only finer. Hey, have you been drinking catnip? No, darling. No, I haven't. I know you and I believe in you. You'll be strong enough someday, Dan, and then you'll wash clean of grafts and crooks and saving politicians and really deserve your title. The Honorable. Huh? You're governor, governor of the state. Now you can keep your promise. Look, I, I'm governor. You're the governor's lady now. Everybody don't get to be governor. Isn't that enough for you? Why don't we leave well enough alone? Dan. Oh, Mr. Governor, the reception committee is waiting to see you, sir. Oh, well, show them in. You go with that guy. Find another room for a while. I'll be with you when I get rid of these bums. Well, well, well, we did it, eh, Maginti? What are you doing in here? I'm expecting the reception committee. He's expecting the committee. Listen, punk, you got it. I'm the committee. What a wonderful opportunity, Daniel. The state needs everything. They've had honest governors so long, the whole place is in rack and ruin. Is that so? Fantastic. The roads, for instance. They're in terrible conditions. In case of war, we'd be at the mercy. How could an enemy ever get to here? How do I know, am I a general? Now we'll start off with a new state capital building. Maybe White Marble. Well, do you like pink? What do we need it for? Need it for. This one's got a crack in it. I like it. And I got a live in it. Or do you're trying to pull logs? Look, there ain't going to be no dams and no bridges and no buildings that people don't need from now on. The people?  I feel fine. Then what are you trying to put over, your cheap double-crossing rat? After I spend 400 grand to put you in here? Look, here's the key to my safety deposit box. I'll pay you the rest out of my salary. What's all this talk?  Ah-ha, your wife. That cheesecake. You're mighty. Leave her out of this. There, I told you. You skunk. You're double-crossing skunk. I'll give it to you for this. Oh, no, you don't. Now, what's your stone? Hit me with a chair, will you? Yes, sir. Let it go, have it. Governor, Mr. Governor, where are you? Oh, there he is, under the table on top of the big guy. Was on top. Governor McGinty. Yeah? I'm afraid I've got bad news for you, Governor. You're under arrest. Put him in cell number six right next to the other one. Oh, boy, that turned out to be something. I said he tried to kill me. He said I tried to kill him. He said I was a crook. I said he was, well, anyway. There we were, sitting on the hot seat in the cooler, side by side. Oh, Dan, I'll stand by you. I'll fight for your night and day. We'll lick them if it takes 20 years. Sure, sure. Thanks for trying, honey. Well, good night, Dan. Good night, honey. And don't you worry about me. You're still here. Who asked you anything? I hope you're satisfied, you're right.  You and your little brother.  Stick a cork in it. Yeah. Jesus, the guard's coming. Hey! Come on, get to the politician. How did he get in that suit?  What's the big idea? Any more noise, and I'll put you both in solitary. I've got all the keys right here, and it'll be very simple. He's got the keys. You said it. Now be quiet! Wait till it gets dark! If you want a yell! Now head to the politician's, bring us. And get us this car and an hour's time. I'll be right with you, horseface. Just let me finish this phone call. Catherine, I can't talk much. I've got two mugs waiting for me. I couldn't stay in the jug. It wouldn't look right for you to have to tell the kids. Are you... I think you're wonderful, honey. And I wanted to tell you, I left you a key to the deposit box. There's something there I held out on you. So long, honey. Come on! We got a boat to catch! I got to hang up, darling. I'm sorry it didn't work out. But you can't make a silk purse out of a big zeer. Kiss the kids, honey. Come on, I said! Why didn't he kill you? I never could figure that out.  Ah, well, have it your own way, kid. And that'll be two bucks for the drinks. Thanks. Sorry, you. Tell me what, thick face. Don't make me say everything twice. I saw you put those two bucks in your pocket and ring up no sales. I'm going to teach you once and for all, to be honest.  You asked for it here, nothing but that music. What's going on at the bar? Not much, Louis. McGinney and the boss are at it again. Boys will be boys. I got four aces. What do you got, politician? Not bad. I got five kings. Sorry, Louis. If you will look at any squib product, you will see that every package bears a control number. That number is the symbol of a painstaking way of working that safeguards every step in the production of every squib product. Every date, every test that is made, from the day raw materials arrive at squib to the day the finished product is in your hands, is recorded by the squib control number. It identifies every laboratory worker and every scientist involved in the making of a squib product. It helps to eliminate the risk of human error in all squib products, from life-saving drugs to pure squib dental cream. For no squib product is released until every detail of its history has been entered in its control record. It's just one more evidence of the quest for perfection that never ceases in the house of squib. One more reason why squib is a name you can trust. Next week, another great picture. The House of Squib will present Academy Award with a treat for the entire family, a special treat for the children. Walt Disney's delightful fantasy, Snow White and the Seven Doors. Paramount's The Great McGinty was written for radio by Frank Wilson with an original musical score composed and conducted by Leith Stevens. Our producer-director is The Anglebot. Paramount's current release is Kitty, starring Paulette Goddard and Ray Malan. This is Hugh Brumbage bidding you goodnight until next week at the same time when you were invited to listen again to Academy Award, presented by The House of Squib, a name you can trust. This is CBS The Columbia Broadcasting System.


When you finally succeed The narcissist does this when you finally succeed When you finally achieve the desired aim or result There are only a few things that the narcissist will do They might act as though they are responsible for your success As though you couldn't have done it without them As though they made you who you are They created the circumstances for your success or they will ignore it They will act as though they don't see it You're not even successful Or it doesn't mean anything to them They will try to minimize your success and act as though it's nothing or they will try to stop towards your success They will try to ruin your accomplishments When you finally succeed This is what they're going to do, but whichever mode they take Just know that they are envious and jealous They're not happy for you They just want you to give up on your dreams and lay in the hole that they have created for you But no The hole that they've created was not meant for you if it was meant for you You would have created it They created it because it resonated with them and that is where they belong But you belong in the hopes and dreams That you have created for yourself.  It's because you're not being you You're not living in the way that is authentic to you. You can't be yourself around the narcissist They will always criticize you And there will always be something wrong. They will never tell you this But the only right thing to do in this situation Is to leave the narcissist in the hole that they've created for themselves and move on with your life Believe in yourself and follow your dreams They will never appreciate you or your success But once you achieve the result that you were looking for You realize that you never needed them anyway because now you're on the level of where you always wanted to be You're in the frequency of success And when you recognize your worth When you recognize your value You will realize why nothing ever worked out with a narcissist You will realize why no contact is so important And you will never desire to return to them Because you know that the difference between going back to them or moving on with your life and following your dreams Is the difference between failure and success Thank you for watching. I hope this video raised it with you Please like comment share and subscribe Click the bell icon receive notifications for my future videos if you like to donate My paypal link is in the video description Coaching inquiries can email me and that's what I'm coaching at human.com. Thank you for watching and I'll talk to you soon


Hey everybody, welcome back. Today I have an update for you to the red, green and blue line repair that I had talked about last week. I had some great feedback and some questions as well as Jose Cruz sent me the actual note from Sony. So I have their actual admission to the problem here and there, what they said to fix it in a bulletin, a service bulletin that was sent out in 2001. So we'll take a quick look at that first here. So again, this is if your screen has the red, green and blue lines like in the picture that was at the beginning of this video would show you and this goes into the A chassis or main board with the flyback and everything attached to it. That's a picture of that board right there. And you can see this is a Sony technical bulletin from 2001 in September 17th and it's picture distortion. It says additional information here but for description it says electrolytic capacitors may deteriorate in units used continuously in a high temperature environment resulting in picture distortion. If this occurs, perform the following modification procedure. So here's what parts that Sony had a part number for these. These are the caps that need to be replaced. This is what their recommendation is for the upgrade on the two capacitors that I talked about in the prior video. And then it's, you know, don't worry about this part of the technical bulletin. And then down here the procedure, it just says replace C572 with a new long life 4.7 micro faring capacitor and replace C586 with a new 105 degrees Celsius capacitor. So those are just higher heat tolerances. And I wanted to show the exact model numbers up here. So I know it might be hard. It's a little bit blurry. It was just from a Facebook message that I got this. But you could pause it maybe take a look at these because it gives an exact number of model numbers here. And there are a lot of ones that I didn't discuss before. And some even BVMs, which are these BVM 14 M4 units, which are very similar to like the 14 M4 on the PVM side, but they're a BVM. And then it's actually up to a certain serial number when it was produced that it was all made with this low quality or wrong specific respect caps. Because again, you want to do this. This is where the those lines fall into your screen. You don't want to skip on this repair. But this is the exact memo from Sony. So if you want to pause it real quick and see, it's got the Olympus monitors here, I'm going to go a step further. And I still believe that this is the same A board setup as like the 1354s, 53s, 50s and all that. So I still think that the same issue can happen there. I just don't think it was as common as it was in this. But I also want to follow up a couple of questions that were given to me about this last video where I had just introduced the problem more in depth and told you guys, you know, hey, it's really important that you fix this right away and do it the right way. Don't do it through the service menu. Because again, the service menu, if you change it and keep running your monitor, it could just pop and cause major issues for you. So just another YouTube channel first asked, does this apply to consumer sets? He's seeing it in 16 by nine and they aren't there in four by three. And then same kind of option here for a 14M2. Alexis was asking, he could see the lines when it's an underscan option is activated. Is it serious? Thanks for the video. And that's actually not serious. Both of those times are pretty much normal. You most of the time, you will see these retrace lines like in this picture here. See how it's in an underscan mode or even a 16 by nine mode. Those lines will show up. They're always going to be there on the CRT. The thing is, once the capacitors go bad in some areas, those lines tend to drop down. And that's what they call the screen distortion when those lines drop into view. And that's when you're there's an issue with your TV monitor. It could be really anything. These lines could creep down into your picture. But this is a really close up of that image. And you could really take a good look at what it looks like there when you have it in underscan mode. And your content is actually down here. Well, those are meant to be there above the screen. So that's actually normal. And so if you have even a different model that's not mentioned in the PVMs or PVMs, most likely in widescreen or 16 by nine mode, if it's a four by three CRT, if it's in 16 by nine mode, you'll see these lines. And then you'll also see them in underscan mode normally. So here's where it gets into that area of it being trouble. So this is pretty much what you'll see right off the bat if this issue just starts to show up. Like maybe you've had a PVM for a couple weeks, could be a couple months or a year. And all of a sudden you start seeing these lines and it'll just start with one red line and then a green line. And then the blue line finally shows up. But that's when the capacitors are starting to fail. And that's a good sign that you need to go ahead and change them if you see anything like this. Because you could go in here and do the OST trick of pushing those lines up. But that still doesn't solve the ultimate problem of the capacitors being bad or out of the spec for Sony later down the line. And given you that trouble still, it's especially going to be a problem if you see them and they're really separated like this and further down the screen, then you know you've really got to take care of it right away. Those capacitors pretty much a hundred percent failed at that point. Here's another picture of another PVM. They're all the same style. Could be a 20 or 13 inch most of the time. Again, if you see that and it looks like that specifically, don't even try to use the monitor long term. Don't even try to use the OST and trick it out of the screen. Change those two caps immediately. Then reassemble the monitor and test it out. Use it the rest of the way and see how it works. But you really got to do these two capacitors. They have to be changed if you don't want this problem to eventually show up.  If you want to go and order your own two capacitors for this job and try to get it done or hire somebody to do it, then please do so and save your monitor from having to have a new flyback and a couple of new ICs. Just a big mess if you let it go too far and it pops the monitor. But hey, thanks again for watching today. I will have more content coming up for you this week. And I'll see you guys next time with some more retro content.


Jack, I just scrolled up, there was nothing down the bottom for me.  Yep, that was a centralized plan rollout, right? Why was a centralized plan rollout? Because those people in government that have stocks and most people in government in the United States that are controlling your governments and Canada and Europe and the West. They're pretty well off, right? They're the .0001% of your societies. Guess where they have their money invested? They don't have their money invested in mom-and-pop shops. They have their money invested in Wall Street. And who's on Wall Street?  This crap, right? The centralized large multinational corporations that your people that are running your governments are invested in. So what are they going to do? Well, they're going to kill the mom-and-pop shops and make sure your tax dollars go to the companies that they're invested in. How hard is that to figure out?  How hard is that to figure out for the population of countries?  Pretty simple.  Oh, here's what they're using. They used to use your... It's for the kids to save the kids. We're going to start a war on drugs for the children. That wasn't playing out well anymore. What are they doing now? Oh, we're going to lock you down to save the senior citizens. Like, who believes this crap? If you believe that the lockdowns are to save the senior citizens, you're the same type of person that believe that America's war on drugs was to save the children. You're not too smart.


This study found that many families living in food insecure neighborhoods rely heavily on meat and carbohydrates when preparing their meals. Additionally, the majority of participants did not have any interest in learning new recipes or cooking techniques. These findings suggest that it would be beneficial to develop culturally appropriate food assistance programs that focus on providing more variety in the types of food available. This article was authored by Elena Comer, Claudia Loyola Amador, Kimberly Montes, and others.


Welcome, welcome, dear friends, artists, producers, presenters, policymakers, performing arts lovers, and all in between. Um, first one housekeeping notes, please do not click on any links, not from perform Europe to avoid spam sites. Very important. Once again, welcome, my name is tuned to hear a dramaturg assayist and lecturer. During my time as a city dramaturg in Brussels, one of my focus was on trying to help ensure pieces by that PCs by artists that I work with were able to tour. But how does one ensure that when in fact some of the artists of work with where theater makers of color with my current backgrounds that reflects, of course, constantly changing Europe. While at the same time, those who are programming are often white middle class and male. A conundrum. Welcome to perform in Europe's opening events, our chance to understand a four mentioned issues, as well as better understand perform Europe in general. How can we contribute and be part of the change we want to push to reality. I propose attendees to write questions in the queue and a not in the chat, because those won't be seen. If they're not answered during the event, we will answer them later by email. However, the chat is open. If you want to chat with each other. The webinar is also live stream and recorded. The recording will be made available at the perform Europe platform. Well, now that we've kind of gotten the introduction out of the way, let's have a quick look at what you're at what perform Europe is. Welcome to perform Europe. Perform Europe is a creative Europe project. It is for performing arts professionals, producers of work and presenters of work alike in all the creative Europe countries. Perform Europe is a project that will give us the performing arts sector an opportunity to reimagine and eventually change the way we do international touring. The way we show work, the way we travel, the way we exchange, the way we reach audiences. Through perform Europe, we will hit the road and on an 18 month journey, test new touring and digital distribution models. And propose a new European support scheme for the performing arts. We, the perform Europe partners, ITM, EFA, ITN, Circus Trata and IT consult are thrilled to take this journey together with you. We thank the European Commission and the creative Europe program for the mandate to lead perform Europe. We're glad to have you all here to the opening events of the perform Europe. So the day is actually split up into two parts, the informative and inspirational part. And this last till 3pm. This will set the stage for informing us about the project, followed by a more interactive hands on part with a smaller group of individuals. And this group will collect ideas from the sector and policymakers for me, formulating the sort of wish list scheme for what sustainable and inclusive distribution could be both parts of the events can be followed on our live stream. Okay, let's move on perform Europe is embedded in the European context and invitation and invades station to us by the European Commission to rethink touring. Perform Europe is a service. We together deliver to the European Commission. After 18 months, we aim to advise the commission on why it makes absolute sense to have a new EU scheme for the performing arts distribution and circulation. And the scheme we believe a scheme we all can believe in relating to values and visions. So, in order to give us more insights into that I'm glad to welcome Barbara Gessler, Barbara Gessler sorry, who is with us, head of unit and with her team falling closely our work in perform Europe. Barbara, please tell us more about the expectations you have for this process. Thank you very much for your kind introduction, I hope you can hear me. Perfect. Always this is always tricky the tricky part so dear attendance of this launch conference of perform Europe and, frankly, excited and happy about the journey that we are about to embark on together today. Today's event is the first culmination point of what has been in the air for some years now, a wish and a need expressed by you the performing arts sector, and in particular, it's representative networks to support the sector in its efforts to circulate across borders. As you all know, the Commission first listened to the culture and creative sectors concerns to enable individuals, artists and professionals to work in a transnational manner, allowing them to be mobile outside their countries of residence to work on the project in another country. With opportunities, we set up a scheme that caters for this mobility in a targeted and what figures show very successful way. In parallel, the need to accompany this individual mobility by creating targeted possibilities for the works of these artists to be shown outside their countries of origin in a festival maybe or in any relevant forum of exchange was always present. So, the creative Europe programs main culture action the cooperation projects but also the platforms cater for these possibilities in a structured and partnership oriented way. That's why we are happy that the new creative Europe program that starts this year, not only has a considerably increased budget with almost more than 80% more than the current program to continue these actions and reinforce them. And the performing arts, the sector you represent here today has by large been and will certainly continue being the sector most benefiting of the culture strand of the cult of the creative Europe program. The deeper evaluation into the needs of the sector has shown that further action was needed to raise the level of European collaboration, starting with the knowledge about what is currently being produced, and an opportunity for a European audience to actually and witness it live for preference, but in these times, also in a digital environment, and the times are difficult. The latest study presented by Ernst and young and which confirms the figures forward forwarded by many of you over the past months, unfortunately flags the worst in 2020, the cultural and creative economy lost approximately 31% of its revenues. They are more affected than the tourism and automotive industries, and the most impacted cultural and creative industries are the performing arts sector with minus 90% and music with minus 76%. Even before the crisis, the Commission was aware about the relevance of cross border distribution of performing arts works for the performing arts economy, and it's vital role for the sector's professional growth and artistic development and it was aware that the sector was challenged by a changing context as well requiring new answers to help combat climate change increase its sustainability and inclusiveness in order to remain the source of innovation and thinking outside the box that it stands for bringing critical thinking to the audience that needs to be broader and less concentrated in urban areas. It's not the least these reflections and concerns that will make this tool that will be presented to you today and on which we spent the not so small amount of 2.5 million euros, so relevant for the European Commission, and I believe for our citizens in our society. It will embody the pure notion of what we like to call in our jargon, the European added value par excellence, not only by supporting and circulation, and by supporting circulation and audience development for the sake of it. But because these questions you are facing are also the political priorities for this commission. I'm convinced that the European added value of this new tool will also notably spring from the fact that it will be developed and tested by a professionals from your sector for your sector. With the consortium that will start this endeavor, IETM, the European Festivals Association, the European Dance House Networks, Chirkostrada Art Sénal, the European Network for Circus and Street Arts, and Edea Consult as well as a savvy technical subcontractor ACA IT solutions. I'm certain that they are the partners with the multidisciplinary nature and the complementary set of skills, connections, expertise, and experiences to make this a meaningful instrument. The new distribution tool will take the reality test, the consortium will look into existing support schemes and make a mapping in an effort to learn from the best and hopefully avoid repeating mistakes. Needless to say at the end of this journey, there will be lessons learned and knowing the people involved. I am certain they will not be shy to communicate them to us. With this commission, we are asking for concrete recommendations that will help us developing our efforts further and eventually how and if this specific experience can become part and parcel of the creative Euro program in the future and also how our transparency, that our funding is intended to support, can continue contributing to a more sustainable environment for the artists and the sector, accompanying thereby all ongoing actions of coordination with member states and with the EU. Thank you to my team and notably it be car who has been key in the setting up of this cooperation, we wish you a very fruitful and successful afternoon, and we're looking honestly forward to hearing thoughts and debates. Thank you. Thank you Barbara for those insightful and sobering words, especially the numbers, but also motivated, not only by the picture of James Baldwin behind you but just also motivated by the fact that you all are kind of taken on this very important and pressing challenge. Europe exists for a reason to serve artists to present their work internationally and to allow European citizens to access it, working the most inclusive, balanced and sustainable way possible. As Barbara has already alluded to, it also exists to take the time to think together about new ways of touring about values and principles the sector and the world. It's looking at sustainability once again balance and inclusivity are key words and concepts that perform and reflect on to really think about what do these words mean and how do we incorporate it into the pressing situation that we are we currently find ourselves. With that note, I'm glad to have Eleanor Bauer with us. The dancer and choreographer in order to borrow explores the use of a holistic approach for cross-border nations and translations between aesthetic social and informational values and processes. She's creating producing touring extensively and reflects a lot about how her practices rises from and to a certain degree mirrors societal challenges. Eleanor. Thank you. I'm very humbled and honored to address all of you in this really ambitious and urgent project of really evaluating and reconsidering what's possible within a sort of matrix of what I see as even contradictions. So I'm going to talk a little bit about, I mean, yeah, I'm invited as an artist here I cannot represent the whole field by any stretch of the imagination but I'm also thinking that in this moment. I also want to thank all of you for taking the responsibility to consider these really important and large questions and just remind us that everyone is creative in the capacity to imagine solutions to problem solve to respond to each other and to collaborate in old and new ways so we don't need to just ask the artists to create the solutions or to inspire meaningful processes and debates but all of us here by in our own gathering and in our own skins and experiences embody all sorts of values and questions and solutions so just on the contradictions I want to, I'm just thinking about the contradiction between the value of mobility and the value of sustainability, or the contradiction between the idea of Europe and the ambition of inclusion. I mean there's so many, or yeah also balance and scale, what's a scalable practice is something I'm going to be talking a bit about. So, wow, there's just so much to talk about I'm just going to kind of I'm going to go through these notes they're going to be a little bit nonlinear I hope to inspire some reflection but most of all I just want to encourage a lot of humility. A lot of humility because I think these large questions will not and do not have quick answers like there is a there's a way in which a body like perform Europe is a little bit the way that arts also get positioned as like the advertising agency of political bodies you know it's on us to sort of create the the identities to produce the identities to perform the effects to create experiences that affirm the values, the political values and I think it's a good moment in this sort of global wintering in this huge pause that has radically interrupted the momentum of business as usual. To also affirm the counter force that's possible from the cultural sector in questioning the very historical and material values that have brought us here so. I mean Europe as a promise of unity or unification is also built on a history of exclusion. So there's a there's a very like multi for multiple historical complexity that has like amalgamated into this moment, where I'm actually honestly as painful as it's been, I'm grateful for what this global pandemic has done, even though we've lost a lot of money and we're all in crisis there's a lot of people without work. It's forcing us to consider our roles and our values. Our responsibilities towards each other, and how we can get back to work differently and the longer the thing persists the more impossible as we yearn to meet again we yearn to go to the theater again we yearn for that social vibe and contact. It's it's continued absence is also an opportunity and I just want to encourage also on the one hand the humility. It's really difficult and it is difficult and that there is no quick fix. This is an opportunity to really do things differently like we, we won't be getting back to anything we knew before, anytime soon. We need to invite the real changes and in who we listen to who, how we think and how we feel what are our aesthetic agencies to take this time also to study. So especially with questions of inclusion, along the entire intersectional axes of class race gender ability, ethnicity, etc. And for everybody who has been and isn't a position of safety in a position of power has been given the, the gatekeeping roles has been has a job right now to take this time to educate ourselves about what we've been missing so to look at the historical assumptions that have constructed Euro centrism as a as a kind of whiteness as a kind of bourgeoisie or like what's what are all the sort of economic, the, the, the, whether it's the male gaze or a certain gendered or an ableism like what are these what are the performances we've been seeing constructed by. So before we can even approach inclusion we have to start to name what is already present. Why aren't the, when you say, well we we we need broader audiences we need more diverse representation on the stages. You can't just import these things if the soil is not set so using this metaphor of soil right now like the soil is at rest. This is a wonderful opportunity to figure out what kind of nutrients to use the metaphor like agricultural metaphor. What does this soil need in this composting moment to be able to receive new kinds of seeds, and this is like really practical So a naming what is present. In order to figure out how how this space is constructing the absence and continuing to affirm the absence of what it what is not present. Yet, there's a wonderful book I would encourage everyone to read it's really simple it's really a workbook it's really easy. It's called ideas arrangements effects by the design school for social justice. And I think they have it there's a digital copy you can see for free on issue but they also have an extended talk on their own website the design school for social justice. Basically, they do a really great job of breaking down how ideas like the big isms racism, classism environmentalism, little ism like isms can be huge and overwhelming sometimes in their influence. They are that's what they are their their ideas their ideas they influence how we behave how we act how we move through the world how we construct our spaces. And they also insight very large reactions they produce effects like they create strong emotions. And so in the triangulation of ideas arrangements and effects the design school for social justice really shows how they're how these three things can influence each other with more equanimity. So what are the arrangements refers to the how the rooms are actually arranged like our chairs in a circle are they all facing one front can who has the keys. Is it arranged by silence or participation how loud is it how like what are the colors of the walls like arrangements like everything from the architecture to the behaviors. There's spoken and unspoken, spoken codes of conduct, all these things that constitute how we gather the sort of choreography is if you will, of the spaces we share the rooms we come together in. And then effects are just the felt senses and each of us like how does it feel, I feel nervous, I feel invited, I feel alienated, I feel uninspired, I feel excited, I feel curious, you know, like all the feelings that can be produced from an arrangement, all the feelings that can be produced from an idea, and how by sort of studying the effects in order to come up with different arrangements can also push back on the ideas and shift the horizons. So as we are in like a multi tiered conundrum, we really have to look from all these different angles. So that's one thing that I feel this book helps a little bit break down is the different scales of approach to something. I have to move a little bit quicker. So, um, there's something I've been thinking a lot about which is, instead of coming back to this idea of sort of how to, how does culture not get stuck in being a kind of in this promotional lens, this promotional and very like marketing style, commercial logic of exchange of our effects of our skills of our potentials. I think there's a necessary shift away from saleable and provable concepts towards scalable and durable practices. So this I'm thinking, especially now in the values of sustainability, inclusion and balance, I think it points towards the practices we've, how we've dealt with time and space in terms of scale previously is very wrote, you know, there's a lot of assumptions that creation takes six weeks cost this much money. The stage is this large you should fit everything in this box and then it goes in a van this size and then like the ideas of what is a saleable and provable concept keeps sort of reiterate there's a very very reiterative habitual set of norms that have evolved over time. And they're not, they're not sustainable. So this is a great opportunity to look at what is possible here and now what we can do exactly here and now within the limitations of the present condition, and how that can start to shift towards scalable and durable practices. So instead of, you know, coming up with a project idea and pitching it three years into the future and convincing everybody it's a great idea and then chasing after the promises you've made and then hoping to have a good tour. Like there's all these ways that we deal with. And then it's provability is like, well, will you be able to make the thing you promise will you be able to tour the square that way. And there's a lot of like selling promises and speculations that kind of send us in a constant future. We're propelling ourselves towards this future with this momentum, and missing, maybe the, the practice and a here and here is actually the seed for change. I know this is very abstract, but I think also there's something about like in performance and dance especially there's a curiosity that's like to do to find out. So if it's possible now do it, and then check out what are the effects. Is this is this working now today are we are we excited to come to work today are we serving. How can we serve the communities we want to serve right now today. And that could be as much as like looking at your overhead, like what is your is all your budget going towards administrators and waiting for the touring to be possible again to throw some money at some investors, or how could we employ artists right now in this lockdown to do things like workshops or to totally to just be able to be to feel purposeful to feel engaged to feel present in the field. And waiting for things to get back to normal and I don't have the solutions I think leadership is really a lot about listening this is about thinking globally acting locally checking out who who is around you in your immediate community right now. That's suffering I mean the word curation, the root of the word curation is care. So, who can we help and I think there's, I'm sorry to get a little bit swirly around this but compassion. Is like so key right now in the ability to see new solutions with clarity with patients and to move towards sustainable inclusive balanced arrangements. We have to call upon our emotional intelligence more and more to feel the vulnerability of the critique of what has been habitual and how that has to change have to listen in to the field and the people that are calling for different types of attention. So, yeah, if it's meaningful now, it will create new possibilities later it will be meaningful later so that's a little bit what I mean, and then it can, if it's possible now it will be scalable up like if a few people can get together and do a workshop. They then more can do it later. So, I like the small small thinking about smaller gatherings and the importance of those kind of smaller gatherings and, and, and, and yeah, the local, in fact. Yeah, and what how am I on time probably way over already.  Oh goodness. Yeah. Yeah. So, I don't know if you want to say like a few last things, because I mean you know like it's I can listen to you for like a while, like, you know, but I don't know. It's so hard there's so much. It's okay. I think I mostly said things I just want to scan through my notes really quickly to make sure that I haven't missed something. Oh, just in terms of balance because I think well, well sustainability and inclusion can feel more concrete to us as like ecological and social problems that we can get down to the nitty gritty and look at like, who's here who's in charge who's curating who's employed who's on what kinds of salaries like there's a more material realness to both of those things. Also sustainability like okay get rid of the plastic water bottles, set up local touring so that things stay on the road use trains instead of place like there's a thousand checklists we can brainstorm I feel like balances maybe a little more abstract. And I think that's because balance is at its heart and nature culture problems. So I'm thinking about how sustainability, inclusion and balance are a little bit like tending cultivation and weeding. So we are in the sort of Anthropocene right there is no nature as such there's no culture as such, but I have to quote Anna grip she's a dancer who was the head of the dance department at doc, the BA for a while here in Stockholm, and she would always say when you're just about adding stuff to the program like inclusion is like, we want to bring in more people but you if the budget, especially with less and less now or I mean you have it that's great to hear that's a great budget for this project but I mean, we're we're facing economic crisis we're facing diminishing resources we have to be clever and it's scarce. The question is also what has to go. So we can't just include without also excluding. I think there's a very cult there's a lot of it's going to be difficult, because it's like the question of weeding like what are you going to take out the we the weed is a great metaphor because what makes something a weed is its aesthetics but it's also its relationship to the other other species that are present like it's invasive or overgrowth. So there's a lot of that it's a lot of cultural values in terms of like beauty also in terms of balance, so I would just say like with the balance chapter in looking for the sort of balance of values to edge away from the idea of balance as a static point of compromise that it will always be dynamic. It'll always have to be renegotiated balancing as an act of like embracing the conflict the agonism the contradictions and the just again that humility is going to constantly have to change. It's something that is in flux actually balances something that is in flux and it's something that it's not something that is not how we perceive it often. I hope this wasn't too abstract and preach. No, I mean, I don't know for everybody else but I'm like, Oh, give me more but unfortunately we don't have that much time. I'm really thought for provoking when you talk about seed and soil, you know I keep on thinking about Octavia Butler and earth seed and you talk about spacing so I'm thinking about Audrey Lord and how she thinks we she talks about how we need to find time to fill out the spaces that we want to create into the future. Anyway, thank you so much Eleanor, please, you know, just stay with us and be safe and keep on doing the wonderful work and most importantly wonderful thinking you're doing in terms of, you know, setting us here and thinking us through to the future. Thank you. Just one last thing sorry on inclusion. I was just remembering there's very important stuff about just the to be aware of the cosmologies have constructed the things that are present and how a totally different set of values is necessary to invite different aesthetics in the room. So, just in so far as like if time space and energy are the modernist values, or like proscenium front and like display of virtuosity have been the values that have constructed how stage works have been seen so far. You can't just stick, you know, an aphrological show on this in that space and expected to work you know if something is based on community joy and rhythm, or dancing on floors that aren't made of wood or Marley like there's everything from the materials of the room the to the, the very values of gathering and how and why people gather, or what are the historical inheritances of each of these works will demand that we actually treat this. The spaces we have differently. It could be part of redesign projects in this moment. So blah blah blah goodbye thank you. Thanks again, Eleanor. Moving from that kind of, you know, returning, you know, from the space back to the ground I would now like to give the floor actually to the perform Europe team to introduce the project in detail. Like all projects this one is embedded in a set of tools working strands and opportunities for the sector for us to use and work with keeping Eleanor's words in mind of course. It's high time to understand better how the challenges we are facing today and the visions we are embracing for international touring in the future translates in perform Europe. What is this consortium inviting the sector for what are we talking about in the next 18 months. Who has a seat at the proverbial table. What ground are we on right, who has.  First to also records doctor, Secretary General from ITM. Thank you very much to them. And thank you Barbara and thank you Eleanor. I'm going to dive right into it because we are indeed pressed for time. This is really the first of the perform Europe partners to welcome you here. It's great to see so many we have hundreds of people in the zoom room and following the live stream for us. This is a moment of celebration. Celebration of a very intense period of application writing last summer, and two months of preparation now. But this is also a humble moment, a humble moment because we feel a huge responsibility on our shoulders to do well to do justice and to listen. We are very grateful to the European Commission and the creative Europe program for trusting us with this project. We see perform Europe as a much awaited anticipated project, which comes for a sector that has for the last part of a whole year been shut down, not being able to do what it does best to bring to its audiences joy, happiness, magic house realities, everything that it does live on the stage in the moment. What it can have a significant impact on how we are going to collaborate across the creative Europe countries, how we show work, and also how we create an act as a sector. We get to do things differently now via perform Europe. We get a chance to test innovative ideas and solutions. We get a chance to show in practice what we have been preaching. That is, to put environmental concerns at the center of our tours, to include all those that belong to our sector to embrace and put focus on the many beautiful regions of all the creative Europe countries. And this is important at the same time, seek and celebrate artistic excellence. This project does not come about in isolation and it will not be executed in isolation. The principles of inclusion, balance, diversity and green deal are those the European Commission itself has put in the forefront, and those performing Europe has put at the core of its mission. We are in no way immune, nor outside of today's divisions and polarizations. We are part of it. And what we do as an artistic community matters. Perform Europe gives us a chance to address inequalities and put sustainable practice at the heart of everything that we do, because we must find practices that are sustainable for a long period of time for the sake of our planet, but also for the health of our art sector. Last but not least, perform Europe will give us a chance to really dive into and explore further the digital practices and means of distributing our work. COVID has taught us to live, work and practice online and perform Europe will seek innovative artistic work which can thrive in the digital room, as well as life on states and throughout our regions. There are six from the project that will now one by one, tell you more about perform Europe so stay with us. And I'm going to give the word next to my colleague yours Janssen, that is going to tell you about perform yours very important first steps of research. Thank you. Hello everybody need our very briefly introduce you to the mapping research, which we will do together at the start of perform Europe and the aim of this mapping research in first stages of the project is to gather all the necessary information all that we need to know in order to design the support scheme that's going to contribute as possible way to more sustainable balanced and inclusive international touring whole region covered by creative Europe. At the moment the solid research, this exhaustive and expensive is missing so we are going to develop it. But how are we going to do so first, we will map the current state of affairs. We will look at trends in international touring practices, also way international touring is supported and also the way digital tools are used in the process of touring and supporting it. So I'm describing the current state of affairs, but it's also about evaluating it in terms of sustainability balance and inclusion, not only about mapping what's there. It's also about how we want the situation to be, and how we want to transform it's about your needs up close you encounter your wishes dreams and ambitions, certainly more sustainable touring. So that's what is there, and where we want to go will ultimately help us to design the scheme which will put in place later on. So how are we going to gather this information of course we will read all the material which is already there and also the books that Eleanor recommended, of course, we're putting together a network of country correspondence, our antennas in all the creative Europe regions to discuss about policy schemes that are out there digital tools about practices, but most importantly, you all can contribute your input is crucial. We will soon beginning of February on the eighth launch, a large survey for all forming artists companies presenters festivals in all creative Europe countries, in order to hear from you about your situations, your dreams, your ideas. Register on our website for social media read the newsletters. This way you can keep give your input but also you will be able to follow on the results because we imagine perform Europe to be one common space for learning developing development for understanding and mapping is only the first step of that and address will develop. That will be explained by my colleagues first by Catherine David secretary general of Eva, the European Festival Association, she will explain to you in more detail, but to perform Europe support scheme is going to look like how it will work, and also how you can engage in developing a survey your risk testing is good. This is what I would like to start with, and now we come to the core. We come to you artists presenters and producers. We heard from our our invitation to you is the following it's to test together a future scheme of a real pan European performing arts. And for us there are two coins two sides to the same coin in our invitation. There is a thinking side, and there is a doing side. Let's start with the maybe more difficult part for me it's the thinking side and perform Europe give will give us the opportunity to speak to think and to list our proposals our needs our ideas for a future European fund that supports the sector that gives an added value to you and to your practices. In addition to the existing schemes that happen already on the local and on the national level. How are we doing this, we are working at the moment in this joint exercise with two elements we work with the digital perform Europe platform that we are setting up at the moment and secondly we are going to have a series of zoom conferences and workshops. To start with the digital platform. We are setting this up for you a space, as yours was saying to get together to get in touch with each other is space for collective learning experimentation for receiving also your applications and for matchmaking. In other words, it is our networking tool. Our common place for collecting different profiles of you data and presenting also the archiving and archiving audio visual material of selected performances. We have the knowledge that we gain throughout the process our hotspot for communication as well. Secondly, we work on a series of online workshops, we will, in addition to this platform come together in two moments in the next month through conferences, the workshop in April, and during summertime to learn together how to make touring more sustainable and inclusive. And this leads us to the doing side. Some of you will prove the value of our aim fund, meaning that we will test some of the new touring practices with a number of touring projects. There will be some moments, a little bit more hints on this matching and touring ideas of projects that we are going to select. As always, of course in the selection processes, there will be an independent jury that we are going to put in place. We are going to launch the call for this jury and for jury members mid February. So from June onwards when the platform opens, nine jury members will develop apply and follow up the testing phase of our new sports team. And complex still I know perform Europe is not a fund yet, it's under full construction, but as Ilya no said it's an invitation for us an opportunity and even maybe a responsibility that we can collectively take to test and recommend possible criteria to the European Commission to Barbara and to her team that reflect the needs and necessities of the sector for such a fund. Ilya Krem, I hope you are with me in this space from the European Dancehouse Network, I'm giving the floor to you for more details on the fund and how the fund will work here. If you are with me, there you are. Thank you Catherine, and hello everybody. I have the pleasure to further explain shortly to key functions from perform Europe, which perform Europe is developing with the aim to stimulate, or let's say, like Eleanor just mentioned, fertilize the performing arts ecosystem and plant fresh seats for all. So these functions are designed to offer a wide range of matchmaking and networking possibilities between performing artists and companies and presenters from venues, festivals and other organizations. So how will it work. In the first step, the perform Europe jury will select performers and presenters who enter in a matchmaking process via the digital platform. The activities that Catherine just talked about before will be made a selection respecting the perform Europe values. Yes, once more sustainability, inclusivity and balance. The first steps is the start of possible touring partnerships, which in a second step can develop innovative international touring plans before submit to get into the second round of applications. The second selection is a selection of touring partnerships. Again, done by the same jury. So the now selected partnerships will be awarded a touring grant with the objective to test their proposed touring plan. The test can include real life touring, as well as virtual distribution via the digital platform. So what do we mean when we speak about networking in this in this scenario. Well, beyond the perform Europe scheme, as it was just described before by my colleagues, the digital platform is designed to fulfill various needs to inform the performing art sector about each other in a more inclusive manner. And then provide support to develop new and meaningful partnerships, collaborations and the better access to networking and therefore enlarge a scope of touring possibilities in longer terms. I just said again, in the end, it's a huge collective effort of the performing arts fields to develop together and benefit from equal access, open and broaden already existing networks, partnerships and corporations and yes, taking special care towards target groups which often do not take any part in an in and benefit from cross border distribution. So for this to happen. We need your participation. Please join the movement. And I now I give the floor to my colleague Stefan coordinate or sequester other network, who will tell you how cross touring, cross border touring works and digital distribution partnership will. Thank you. Thank you. Thank you. And Bonjour, everyone. So picture it. It's the summer 2021. The presenters and the producers have been selected SPI just explained, and they're finally able to create what we call a distribution partnership. This will allow them in turn to apply for a grant, and the selection will be made by an independent jury, as mentioned earlier by Catherine. So why do distribution partnership. Well, of course, the artistic work should be the core element of the application, but you also need to have a very solid partnership with at least three partners in three different countries, among the creative Europe and your partnerships needs to scream sustainability in a holistic way through the prism of these five values, artistic, human, social, economic, and of course ecological values. You also need to be able to explain how inclusive and accessible your strategy is, both in terms of how you plan on reaching audiences, and how you work with arts professionals. It means that you need to have a clear audience engagement plan and show also that you have a digital strategy. And what happens if your application is successful. Well, first of all, you can celebrate the good news, but you can also receive a grant ranging from 10 to 20,000 euros for a distribution partnership, which you will be able to use to cover any budget line of the cost incurred in touring, where it is live touring or virtual distribution. You see, we are all very much aware that cultural and artistic mobility, as well as international touring have been put on hold for the past year. So we remain convinced that real life international touring is essential. And through perform Europe, we also want to explore digital opportunities. We can allow us to reach a wider spectrum of audiences and experiment with new aesthetics and artistic approaches. Thank you for listening. And let me give the mic to Elena Politseva, head of policy and research at it and she will tell us everything we need to know about the policy recommendation. Elena, the floor. Hello everyone. I will not tell you everything because I have to be brief now. So it was, as it was said today, continuous support for performing our circulation is absolutely vital, especially today amidst the crisis. I believe that the dedicated your action for performing our circulation would be an essential brick to be to build stronger and more easy for Europe. That's why perform Europe is there to pave the way for a structured and continuous support for performing our distribution and touring. The European Commission has given us a mandate to develop policy recommendations on how to create such a tool as part of creative Europe 2021-2027. Precisely in 17 months from now, we will be advising the European Commission, the Member States and the European Parliament, and how to better support inclusive and balanced and sustainable touring and distribution of the performing arts. We will also assess whether there is a need for specific actions targeting various disciplines of the performing arts circles theater dance street art performance. So how will it be happening and what resources will be using while drafting those recommendations. First of all, we will hear later today from some of you during the workshop. Secondly, we will embrace the outcomes of the research phase about which you are told you earlier. And then we will also analyze the outcomes of the performing from Europe touring actions, which are the main experimentations of this project. And last but not least, of course, we will need the input of the sector itself, basically, of you. There will be a few consultation moments to which we hope to hear about your needs about your insights about your expectations and aspirations, and please stay tuned for those consultation moments. We are very excited and happy to take this challenge and difficult, huge task, and we do hope for you to be with us in this way. And now I'm glad to give the floor back to IDM Secretary General Ausa to tell you about the immediate next steps of perform Europe. Thank you, Anna, and thank you, colleagues. I hope all of you listening and watching feel you know a little bit more about perform Europe when when you enter this yet another zoom room. We really had hope to meet you live in present but so we there's going to be plenty more opportunities to know more and most importantly to take part. And first of all, put in your calendars now 8th of February survey coming from perform Europe. It is going to be a hugely important tool for us to get to know your needs and desires that you're so eloquently described earlier. Please take part. Please also and ask all your friends to follow our channels. We are on Facebook, Twitter, Instagram, and link it in. And most importantly, if you haven't done it yet, subscribe to our newsletter on www.performEurope.eu. And right now we just put a whole lot of new information there. Lots of new info that is there now. Please check it out and stay tuned to the finished platform coming up and being released in June. I want to thank all the staff and teams of all the partners of perform Europe. You know who you are for the immense good hard work in the last weeks in preparing this event, and also the start of this project. As I said, we are celebrating, but we are excited, as well as humble regarding this responsibility and we count on you to help us. Thank you so much for being here over to you today. Yeah, and there have been some questions, some wonderful questions actually, they've been posed already. What I'm going to do is I'm going to kind of ask them or presented to the panelists, including Eleanor and Barbara. And you all can, you know, once I asked all of the questions you all can take it as a bunch. Is that clear. So, here's the first question from Cheryl Martin. Hey Cheryl. It sounds like perform Europe is for EU artists companies and citizens. Does the UK have any role here. That's the first question. Second question is, how do Europeans, how do European institutions become more inclusive within their administration, as well as they're in their decision processes of who gets support and funding. This is from Leonard Cruz. And then the next question from people Bailey. There's a big question. It's a big question, whether people who have been leading and managing broken systems are the right people to lead change. And then the last question in this bunch from Mimi Waschke is, what is the more inclusive working manner that is being mentioned many times in this conference. So who wants to start. I'll start by saying that it's not just European Union creative Europe is actually a much larger region. And I'll let Barbara explain that further and also take the question regarding UK, what we can tell you that we are going to include the UK in our research part. Yes, thank you. I saw those questions and I thought that they were probably aiming at me so at the moment it looks like as as the UK was part of creative Europe when we launched the whole the whole program. The UK artists should normally be able to participate and indeed creative Europe is larger than just EU 27. But I would like you to really check out the details once they once they come nearer the time. Yeah, but that is also obviously part of inclusiveness, even though we may be as you well know and you have witnessed over the past days, part of part of some kind of relationship issues between between the UK and the EU at the moment that I hope for the sake of our sector to put it like that for for culture in general and for diversity that we will be able to overcome in a very constructive way. I saw the questions about the languages. And of course, I'm not totally sure I fully grasped it. Of course, if you if you are engaging, we believe in an international project you should be able to to communicate in a common language so I don't know if your if your question was rather more towards minority languages or languages not being the formal language of a country that you live in so I'm afraid I can't really, I can't really answer that that question. Maybe someone else saw the question and has a better understanding of how we can, we can answer it concretely. I understood the question as relative to those seeking jobs. Having to deal with the linguistic hegemony of the places they're applying to which, which keeps the faces of those institutions sort of looking the same by nationality or ethnicity that language is a barrier. Maybe one one practical solution could be that some funds are considered for translation or, you know, like that. Yeah, just thinking about in when you get to the practical brainstorming tool part like how is language barrier part of the problem. Yes, indeed that's a very good. I think it's a good way of thinking about this question Eleanor I mean we in Europe we already have a very broad diversity of languages. So we know what we're talking about if we talk about linguistic challenges but of course that does not include languages from countries where where people may live in a country but coming from somewhere else where these languages are not spoken so we probably think of that but nonetheless in the in the perspective of of an international and cross border cooperation we have to we have to bear in mind that it needs to be somehow also just very practical also in a way but yeah that's it's a good suggestion and we'll certainly think about it or the consortium will certainly think about it I'm sure. Yes, and we will take all questions that haven't been answered and find the way of processing them and answering because we have unfortunately gone over the time allocated to there I'm going to give the word back to you. Yeah, yeah definitely um yeah and also kind of thinking about you know the power the power that language holds. Anyways, so where will we be in the 18 months of this trajectory. I'm curious to see what comes out of the setting how things are potentially shaken up. The work starts here in today. So we need to make sure we use the lessons of last year. Once again, to create the portal that the writer, I read that to Roy encouraged earlier of we need to tear down and eradicate old systems that have not served us, while we create spaces that would hold and reflect more of the individuals in our society, who often exist at margins. And then our work center them in sustainable ways, following this launch moment, we can continue with some talks on how to imagine future touring in a way that is representing more of the individuals that we often leave out. Anyways, in 15 minutes, I invite everyone back to the live stream at 315 less than 15 minutes actually with a series of talks so 12 minutes that will help us better understand some factors of future touring and our work in perform Europe. The link will be displayed on the final webinar. Sorry, the final slide of the webinar so look out for the link and a smaller group of people will then be part of a series of breakout groups for those who could not get a place in these groups. Don't worry. We got snacks for you to. They will be repeated in three weeks time on Thursday the 18th of February. So put that in your calendar. The work here is done. I hope you all have a beautiful day wherever you are in Europe. Goodbye, and good luck, and please do better.