yw gallwch Welcome Square on music education services. Ionnw yw'n unig allwedd y ffordd, oes byddo'r gwaith yn fath. Mae'r gweithio, ar olawl o'i ysgolion, mae'n gweld rhan o gyliannod yw, mae'n sgolion os yn ei wneud, mae'n gweithio i'r ffaith, mae'n meddedig. Felly, mae'r fawr o'r cyfnod wedi'i gweithio'r ymddylch yn ymddylch, yn ddau, ac yn fwy ymweld, oherwydd mae'r fawr o'r ffordd yn ei ddweud o'r cyfnod. Mae'r rheswm yng Nghymru a'u ddweud yn fawr o'r gweithio'r pwysigol, We don't do very much Samsung, even though we do some, we do believe that more work at the moment needs to be done to include deaf and hard of hearing children in playing musical instruments. We do want to use less of percussion instruments, which is quite commonly used, and because we have found throughout our project that when you use the widest possible range of instruments, children indeed do choose all kinds of instruments. There is no favourite instrument at all, so we want to widen opportunities and open up choices and deepen experiences through various musical experiences. We're very, very keen to push the boundaries and even looking to singing as well as instrumental and Samsung and so on, because there's so much you can do with music. Performances, we do organise performances by musicians who are professional musicians and we want to break into music venues. So it's very, very rare that you ever see a musician with hearing rock performing and we want to change that. The way I'm made to be seen performing, I think that will change our doing the perceptions of deaf and hard of hearing people who consume music. We believe that obviously we want to raise expectations of deaf people who consume music. So I'll come and move on to the next slide, please. So I would like to ask you all, how, I'm sorry, can we go back to the previous one, please? How does music sound to deaf and hard of hearing children? What do you think it sounds like? Are you able to have any responses at the moment or not? A certain question to the moderator. But maybe we can talk about that after the presentation, Danny. OK, that's fine. I think I could mount the sponsor anyway, because I've got that down in my note. With technology available, many people are hearing devices. They experience some level of hearing through hearing devices. We always must remember that musical perception and appreciation of music, even with hearing devices, can only be developed through the current exposure to music. We have noticed that there were many deaf children in schools with hearing aids with very limited exposure to music, but their perception skills were limited. And so therefore, with that exposure continued, on a day-to-day basis, they can only develop their perception skills. Music also has a visual, physical and performance aspect. For example, visually, you could be reading music, you can visualise musical motives and patterns and shapes, different themes, even themes that might have been varied. Music is physical. For example, when I'm playing on the piano, I might be playing for a coffee ad, and it might be very, very percussive. And I could be playing Debussy, and it would be very, very gentle, very impassionistic. And of course, physical is totally different. That is an experience itself. Music, we believe, is a multi-century experience. It can encourage participants to experiment outside of their comfort zone and to express themselves in a new way. Next slide please. So, is music something... Oops, let's go back to the previous one. Is music something that all deaf and hard-of-hearing young people should have access to? And how could that work? We believe that hearing loss should never be a barrier to enjoying and making music. It is proven that participation in music can play a crucial role in a person's development. It promotes inclusivity. It teaches young people how to work together. It develops their listening skills. It builds confidence. It develops communication skills and provides a vital outlet for self-expression. We work mostly with integrated classes in the school, and we find that music making is an extremely effective way of supporting social integration. So, I think music is actually universal. It unifies the community. I feel quite emotional every time I say that in my talks. I think if you look at me here, I've been found with that music that enables me to find my voice. It enables me to speak to people, to express myself through performing amongst those facing the audience. If it wasn't for music, I would never do that. So now, with my voice, I can express myself just like my peers. That is valuable, and I think it's a special value for deaf and hard-of-hearing young people, and it's a special value for their development. Music is also a discipline process because, as you can imagine, when you are practicing on an instrument, you've got a performance coming up, you will be practicing at home, you will be developing your technique on the trumpet, for example, and that's how you're disciplining yourself.  I think it's a very angelising experience, quite a lot of the time, trying to hear people in the mainstream school, the vast majority of students are hearing, and so having you there is, it gives me strength, really, and it's amazing in the way that it helps me to deal with life in general, across the whole spectrum of life. Next slide please. So, recently we did a project, we are still doing this, it's ongoing, and we are working in partnership with the National Centre for Early Music, and it's based in York, in the north of England, and we are working with young people in the city of York on a Saturday afternoon, and we are working with a range of musical instruments, the sessions are led by deaf, adult, music, graduates, and music educators. So, before, well, I'm not going to say any more, I think the videos explained it so. Music has a profound effect on people's lives. We believe at the music hub that regardless of any child's situation, they should have an opportunity to access music. A really important thing today is to make sure that music is open and available, and that there is a pathway for both deaf and hearing children to take part. We wanted to give opportunities to children with hearing impairment through I Can Play, it's brilliant to have music in the deaf being part of that and leading some fantastic workshops. What we are about is to try and give the opportunity for young people to make music regardless of their age, of their background, or in terms of what their particular needs are. I Can Play sessions are going to be happening at Vale of York through York Music Forum on a Saturday morning. It's to assume that conductors just don't go together. The sessions will start to open up music and give a taster to young people in the city of York. Watching Danny work with young children learning about rhythm patterns using fruit was just absolutely fantastic, and watching their level of engagement, those sort of activities could be done with any child. So this is a really positive message about what deaf children can do, really looking across the whole spectrum. On the next slide please. OK, so you may be wondering how we actually engage deaf and hearing people in music making, so I'm going to give you some examples of activities, approaches and benefits. So on the next slide we will talk about how we can introduce post and rhythm. So what is post? Post is a musical term for beat.  Now quite naturally any child attempting to clap the pot may want to get faster, and if you are turn taken as a group naturally they will get faster, and we need to demand them that this is not a race, you need to be steady. So an activity that I do within that process, they will have everybody clapping in turn, but we keep this interesting by providing a rule, which is anybody can clap twice, but if anyone can clap twice we would have to go in the opposite direction. So wrong, wrong, wrong, wrong, wrong. And then we have another person trying to do the other direction. It may sound simple, but it's actually really useful for keeping the concentration going in the group, and it's really good for teamwork as well. It's very practical, it's very physical, if you have everyone in the circle, everyone looking inwards they can see exactly what is happening. So if you look at the picture on the screen you will see some flashcards, with some symbols. If you look at the top row, the sequence of four cards here shows a black square, and let's say the black square represents a single sound, one single beat. And so the next one would be shh, the rest. And the third one would be two beats, within the post, okay keep it. And then the last one is one beat. So if you had a clap you could use these flashcards by displaying them on the board, and I would probably start by using four black squares, and we would point each of the squares in turn and in time, and include the whole clap to clap along in time. Did you look at the bottom row? You will see what looks more like music notation, and that's how these notes really are on display behind the above cards, and you could turn them round to reveal the music notation. And so you are very quickly introducing music notation and music notated rhythms, and so you can make this a very interactive session where you would be swapping the cards around. Now here I've got these cards in front of me there, in the row. I'm going to show them, and put them two squares here, okay, and then I would perhaps volunteer to come to the front of the clap, and then change the pattern. I'm going to move one card, and then the pattern has shown. Use two different patterns at the same time, and make it more complicated. You could use different instruments. You could use body percussion. You could act the clap to give some ideas using different types of body percussion ideas, or using the table, or you can be quite resourceful. There are many things that you could use in a classroom, even if they didn't have any instruments. You could use milk, or recycled items. You could use plastic buckets. It could lead to a performance in a school concert. You could extend this pattern by using a sequence of four here, and then you could make this an ABA structure like this. I'm composing at the moment. Here I have decided to create my music in an ABA structure. It's considerably longer when you use structures like ABA. You could use a Wonder Form, which is ABACA, or you could make it even longer. ABACA. You can have young people writing their own rhythmic pattern, and have them on display on the wall. You could have a table with some instruments, and other young people could be looking and volunteering to play in the wrong time, and you have an interactive display board of different compositions. You could open things around in the shrew. I hope that makes sense. Could we go on to the next time, please? Could we go back, please? If we go to the next one, I'll jump to that one. Many people do ask, how can we introduce pitch to young people who may not be able to hear it very clearly? For me, being profoundly deaf with my hearing aid, I'm going to hear some pitch, and what I find is that when I'm playing the piano, I can hear the mid-range. The further I go towards the top end, the pitch, parity, it changes, it gets worse, and it becomes more like a peckensound rather than at anything that is pitched. Even down in the bass area, it has become very muffled and very deep, but no parity there. The main thing that I always point out is that I'm aware that the sound is traveling further and further up. If I had a music score, even if I cannot hear that part clearly, or this part here, I can visualise it. So all these other senses are coming into play. If you wanted to, you could use a pitch resolve which I used at the very beginning. It introduces two different pitch levels. If we go on to the next slide, I can show you four different pitch patterns. OK, so you see on A, we have three hand notes. I have two chime bars here, and so this is the bottom note, and this is the bottom. And then B is C. I would normally introduce each of the patterns like I did, and I would like to always have this physically held higher than the lower one, and so that I can make it visually clear how I'm matching up with the pattern. And what I would do is a simple game, a liquid test, allowing children to listen and to see at the same time. I would play, for example, on that, and they say that, we say that, brilliant, we'll do this again with everybody else guessing. And then I would probably challenge them by playing two different flashcards, for example. And see if they can guess what the two flashcards were and whether they can guess that in the right order. But this is very, very simple. It is only to introduce the concept of pitch. I think it also shows, I think it's a very good way to develop all the memory, because if I want to play three flashcards and the pupils are trying to hear and concentrate and get three in a row, it's really good, you're pushing them, you're challenging them to listen, to watch, concentrate and trying to perceive what is actually playing and understand the sequence of patterns that play through pitch. You could also use movement responses. For example, if you have a flashcard, three high notes you have high high. And for B, and C, E, and so I would probably have a go doing that and then ask them to respond using movement, so understanding through movement. See if they can have a go just listening. I'm not watching. See if they want to have a go, I'll try them out. And don't really, really find to make the most of perceiving pitch through listening. OK. Let's have a look at the next slide. I found that music is a very effective way of bringing stories out to life. So if you have, if you're accustomed to reading stories and having children listening, you could actually do more by including music, because I think music helps to give children a sense of ownership and to give them a part in the story. And it gives them, what can I say, an emotional connection to the story and to be alive. They probably want the character in this story. So let's have a look at the next slide. Here we have a PowerPoint presentation which I have before. And that is a very, very short story. Let's have a look at this. Blast off. 10, 9, 8, 7 and so on. I could ask the class, what's happening here with a rocket that is switching all the engines on and there's a plane bursting. And then at this point, you're including everybody to describe the scene. And what would the sound be like? What kind of noise can we make? Can we use our feet stand on the floor to create the sound of the thunder, sound of a rocket ready to blast off? Can we all count in time? So there's lots of things you could do with this slide. On the next one, the roar, the heat, become the heavy beat. So, could we create a roaring sound? Could we create something like the madness of the heat? Could we include a beat that creates tension? On the next slide. Now I'm in space, a dark and lonely place. So what happened to the music? How did it change? Is the music at all? Do we have complete silence? I think silence can be absolutely dramatic if you've got a sudden drop in sound and it just completes silence with blunting. Can we challenge the children to work together to be completely quiet and still? On the next slide. I see planets and stars all around. Explosions of dust and crashing sounds. You could use metallic instruments and maybe things like cymbals. You could use an ocean drum.  You could use pedals in a bucket, things like this. But maybe you could invite children to decide themselves. On the next slide. Rocks travelling fast. Is that the earth that I have just passed? So we could have something zooming fast. Really fast. No, going past is really fast. So what can we do? Can we have something that crashes together? You know, you have wooden blocks hooking together. Again, they don't create a room for anyone to suggest ideas. Next slide. Closer and closer to the sun's powerful heat. The rocket is shaking. I hold onto my seat. So how do we create that sense of heat? Do we create tension? Did the music get louder? Do we have a rumbling sound? You could make this more of an improvised section where you're using hand signals. You have everybody rumbling. Everybody's rumbling with sticks on the drums or on the table. But they need to watch you carefully. You're doing that. And then you make it louder and louder and louder, bring more people in to the turn. And that would create a dramatic effect. Next slide. My journey is over. I splash in the sea. Could this really have happened to me? So can we create a splash in sound? Does the sound ring? Does it stay suspended in the air?  That is up to you. You can make a dramatic ending or just have a sudden complete sound. So lots of inspiration here in a very short slideshow. But again, lots of room for creativity. So this kind of storytelling seems to work because you have the captions here. You've got photographs here. And I think it's just to invite everybody to have a look, to read, rather than just listen, but listen, look and read, and to feel really part of the activity. On the next slide. So, recently we've come to death from a project called Frequelize. We found that technology would be used more and more in music production. And so we needed to be more technology and digital focused. We noticed that there were lots of apps available for young people to make music with, and there are actually statistically more and more young people in the UK currently creating their own music and their own bettering. But how many children would hear not actually doing that? We don't know. So we've run this project to trial different apps to collect feedback. And if you look on the slide here, there's a photograph of a group of young people using both digital and acoustic instruments. We would have a speaker. We would plug this in with an iPad. We would download an app for them to try out. And then we would have a big whiteboard, as you can see in the photograph. We would draw visually what kind of apps we are using and how. And so here in this scene, we created something about a normal day in the light of a person waking up. So we created the sound of a fire lamp, the alarm clock, the sound of rain and wind outside, the sound of the traffic passing by. And so we really, really explored sounds that were available in the app to create a very good soundscape. So here's an example of an app that we use. I'm going to plug this into a speaker now. I'm using my mobile phone. So if we could just go on to the next slide, it will introduce the first app. This is the QZ app. As I remember, this is free. Available on the App Store. It can be used with Apple devices. I'm just switching this on now. What you have here, as you can see in the photograph, is eight different coloured boxes. I have used this with kindergarten children. And basically what you have is microphones, stimbos on the boxes. And what you would need to do is to press on the box and the box will automatically record whatever sounds you want to record. So I will press record on the other box here.  I don't know why this didn't work. I'm going to play it back without the speaker on. On the other square, I'm going to do something that is vocal. I'll play it back now. So you could be going around in an environment. It could be in a school or it could be in the playground. It could be anywhere really. And you do a site visit with iPads, collecting sounds and coming back to the classroom and identifying the sounds that they're playing back. But you can also combine them if you play them at the same time. It's an incredible tool for storing sounds that you might want to use for a composition. So you're creating your own sound sample and they're ready. They are saved and ready for you to use when you want to use them as part of a performance. There is not a lot of time to talk about technology but I think the potential is very, very exciting. We do have a resource on our website with all the research that we've done to create a booklet. So if you go on our website, you can download the Vocalize report with all the apps listed and all the feedback that we've gained from the research. On the next slide please. The Modulate project is something that we have been running for a year now. It's a national project based in five regions of England and we're on our sixth region now. But it's been quite revealing. The aim of this project is very much about enabling deaf and hard of hearing children to be able to play musical instruments to access instrumental lessons and to take part in music groups. Now I'm not sure if this is the same in Canada but there are 121 music education hubs and they are funded by the government. So this funding has to be used with every single child and the government believes that this funding is life changing. So our intention is to make sure that deaf and hard of hearing children are on oxygen out. And so with this project we would go in running inspiration days with deaf role models saying we can do it so can you. We would give performances and we would provide a wide range of musical instruments for other children to get hands on with and give them the opportunity to take part in an informal performance. And so we would also provide training to our instrumental teacher and run music surgeries so that we can troubleshoot any issues while the lessons are happening. It's been very, very positive so far. We have done some survey during the inspiration day. I think it's important to show you what the results were. The moment next time please. So if you look here we have the West Midlands, Robinham and Devon. And we have, I don't remember, 120 children involved. If you can see here, most of the children in each of their areas are saying yes. They want to carry on playing music. I don't believe this is because they've been offered the opportunity and they are able to make the decision themselves that this is something that they would really enjoy and benefit from. If you look at Devon it says yes 66% that was the lowest rating and that was because it was a very rural area and deaf children are dispersed across the region. So we were faced with a barrier of transportation and we were only able to meet the children too. That's just one. So I think that implies that the less you do in terms of music, the less impact that you're making. So the West Midlands was under Robinham and we were very, very successful. We met them just for three days and I'm waiting with clearly much help. So obviously we've increased exposure, the more impact you can make and it's more likely that deaf and hard of hearing children will want to take part. On the next slide, we ask what instruments would you be most interested in learning? So you can see here that there's no real problems. We only had more children preparing brass instruments before. This was in the West Midlands. We had a leader who was teaching brass and so we just happened to have a lot of children enjoying the brass workshop. What you can see here that it proves that deaf and hard of hearing children can tend to choose any kind of instrument and therefore it's very important that we offer the widest possible range of instruments and not assume that one specific type is the best. On the next slide. So as part of the Modulate Project, what you see in this video is a group of young people. Some have a human rock, some of them are siblings and I was a bit worried about doing this because it was in the evening after school. Culturally, deaf and hard of hearing children in the UK are in mainstream schools so I was concerned that they didn't want to be part of an exclusively deaf group. So yes, during the first session there were only three young people coming along. But we had a teacher of the deaf who would go round to the parents, persuading more children to come and so the numbers grew eventually. And then the parents came and then there would be the instrumental tutor coming along and he thought I wanted to come too, I wanted to learn sign language. And so what we have here is a very mixed group, very integrated community coming together and just really enjoying this activity. So just have a look at this, it was only achieved in an hour, none of them have actually taken part in music making before. So I think it's just to do an idea of what potential there is if we have the video running please. No sound. So what we have here is an arrangement of the bellarra. Everybody is playing the rhythm. And the woodwind section here are playing the bellarra theme tune. But the real challenge here is to try and keep in time. And for everybody to come in at appropriate times with the conductor given the cue for people to start and stop. So there's a lot of eye contact and teamwork going on here. It's a very different process but it was a very useful exercise and I think it was a very proud moment at what we managed to achieve at that point. So I think that round up the webinar, I don't know if we've got any more time but I think we have some questions perhaps from some of the participants. We have a few questions here, which is the question. Okay, I'm unfamiliar with the term profoundly deaf. I'm not sure if the categories are the same in Canada, but we actually categorise hearing loss in the UK in four parts. Maldi, Bria, Modwerth and Perfand. Thank you. Our second question is, I have a multi-aged class that range for deaf to hard of hearing. How do I teach music all the range of deafness or hearing? It's a good question, but I think when you're employing a range of approaches keeping things visual, keeping things all practical and hands-on, I think that makes it as engaging as possible for everybody. I haven't got to keep an open mind and not assume that everybody is going to access music in their own way, which is why I keep them very practical. It's also, I believe that composing and creating music is a good way for everybody to be able to explore music in the wrong way. Like playing on musical instruments, having a go at different instruments, and then inviting them to choose which one they prefer in terms of playing and hearing it, and then inviting them to create music that they actually like and choose. So, yes, you need to keep an open mind. I think a time goes on. You start to be aware of everybody's preferences and how they want to access music. Thank you, Danny. I think those are the only two questions that we have. We just probably should be closing, and we just want to thank you for your presentation and your wonderful ideas. I was quite inspired by your activities, and particularly the one on the space theme, I thought that was quite outstanding. I hope to encourage all of you to look at the website, Music and the Deaf, for some information on technology links and other activities. So, thank you, Danny, for, and sorry about the audio on one of your videos. Maybe if attendees could view them again on their slides, they might be able to get the audio. So, we'd just like to close this afternoon again, Danny, for attending and presenting to us. Thank you very much. It's been a pleasure, and I do hope you're always being inspired. It's very, very important to me that this word goes out there, and that more and more people are able to access and enjoy music. So, good luck, and I hope you all have fun making music. Thank you. Bye.


Thank you very much for coming to the messy middle part of navigating uncertainty and complexity. My name is Donna Jones. I grew up in the countryside basically and I'm always grateful to come to Sweden because the connection between Swedish people and nature is probably the most I've seen in any country I've been in and I've traveled around the world a couple of times so that says quite a bit. But anyway I spent a lot of time and when the world didn't make sense to me as a kid I would go into the bush and just sit there. And I didn't know it then but what I was doing was taking in absorbing if you will an understanding of interdependencies and just the living system how living systems work. That part got confirmed years later when I picked up a book called Nature Deficit Disorder which spoke to how kids are being cognitively compromised by not spending time in nature by not having a lot of their developmental years spent in nature. So flash forward to my professional career as a facilitator facilitating in just about every context every sector most often transformation of team performance organizational change or leadership development you know a long list. And I started seeing some similar some very interesting arcs if you will I call them marks of transformation that just sort of were the places where good intentions would be well set in front and then all of a sudden there'd be this messy confusing bit where people would want to run back to where they were before for safety. Accidentally or by design I'd like to say it's more by design but really it was accident I also started mentoring people and I wouldn't call it of that to be honest but it's the best word I have I would trip over someone who was heavy duty addiction into drugs and they needed someone to listen to them and I so I would listen to that story I learned a lot about that world and some things I didn't ever want to know about but it was it was an interesting experience. I also ended up attracting or and they found me or I found them a lot of kids who had been disenfranchised dysfunctional super dysfunctional situations and in the hours and I mean hours weeks of listening just listening that's all I did nothing more I would watch them move from suicide to hope and they did it but in that that's the messy part that's the part that you know now if we take it to Agile transformation and we take a look at it there that's what makes reading the deep dynamics very easy to do because of the capacity to read not what's on the surface not to just judge the first take but to see beneath that and look underneath do I just point this here I'm challenged with these things yeah push oh maybe it's that one yes here we are at Agile transformation where you're you've got two worldviews that collide quite dramatically and so what I'm going to attempt to explain is why you have agile anti-agile patterns backlash if you will why you have conversations that have agile language on top but command and control behavior sitting underneath or right on the surface actually most often and and it's quite simply because there's a lot of embedded assumptions and beliefs that that sit inside each of these worlds and a lot of values that are interesting some of them not positive values one of them is on the on the non on the traditional side of management it's it one of the values is harmony and what that amounts to is prevent pretend perfection so let's make it look like everything's fine even though it's not there's so much of a high value around stability in traditional environments that when agile trots in as a disruptor it messes up that nice neatness that goes with everything has its order we can predict the outcomes we actually engineer them so that makes it extra easy then along comes agile and it challenges all of those I just did a workshop on navigating the messy middle in Belgium in the spring and we had a project manager who openly confessed to saying look here's how we implemented agile we we did business as you be a you business as usual but we filled out the forms at the end of the week and sent them in nobody checked it worked and so that's that's one version of fake agile I also just moderated at the world agility forum in Portugal and there I learned there's another term I think Toyota mentioned it called dark agile which is I mean I imagine that we're close to Halloween I'm pretty sure you can come up with some images that would fit with that so it's like the dark side of agile perhaps the Darth Vader side so so there's that's the underpinning then is there's these collisions then between the the certainty the predictability the familiarity the design for stability and and the creative the zone that says let's try this we've got 90 day you know 90 day delivery times but let's try this out and see how it works so there's a lot of interplay in there and in the zone in between is exactly where the opportunity for leadership comes and I'll expand on that as we go so my job over the years has been to detect the underlying dynamics this came up that comes up for me in multiple ways it comes up for any professional facilitator we've we've all seen it at some point or another but it's the undertow it's the part where you want to you know big ambitions like I was organ facilitating a group they had these wonderful ideas about moving forward and literally you know they they move forward and then rolled back meaning they got incremental results and that was 2003 the epiphany struck me it struck me that oh my gosh if the best we can do is incremental we're in big trouble because it was easy to see from that point of view where we would be today with respect to climate change and other large global issues we had to evolve and as long as we were getting incremental results in major transformation initiatives we weren't going to get there so that was that was the easy part the harder part was you know how do you actually map this out how do you you know how do you support people and shift making these shifts the undertow is made of I'm going to just give you three things it's made of a lot of things but the three things that you will easily witness it because it's very subtle stuff so some of the gross thing that like the big obvious things are metrics metrics that reward individual behavior you heard that this morning from the conversations you know metrics that reward individual behavior but ask for collaboration beliefs that say competition is the way to go to get results that's how we win in business but we're going to collaborate and do something creatively it's like yeah that's not how you win so so it's those kinds of polls that that work at the metrics level and there's tons of other the big one that everybody's been railing against is you know shareholder value tied to CEO compensation and the worst ethical breaches have been built around that relationship obviously so that's once fairly straightforward when you look at a system you see how it works you know the metrics one is easy one to remove barriers and that's a wonderful role for managers who are looking to be a part of this new shaping this new world we're in in terms of work and and humanity's future on the planet and so forth the other one is is conflict in traditional organizations there's been this long thing and I've I've been a part of it because I've been delivering training and stuff for eons and so in conflict most of traditional organizations center around resolve it let's get rid of it and so the idea is kind you know if you avoid it it'll go away it's actually not how it works if you avoid it it gets worse a lot worse and I'm sure you've seen this and so the shift that we're looking at you know in that in that jump is to really use conflict to connect to develop you know understand empathically what's going on here because the surface is just the surface underneath that our hearts and souls wanting to contribute I have a tech project on depression and anxiety and building empathy through that and also on building and restoring the capacity to work with the crazy notes of the world to really restore how you how you do that and and it all it all centers on on understanding that we are very complex beings at just in the same way you're working in a complex organization with a lot of interdependencies we are complex and so when you use conflict not to get rid of it and pretend that it's everything's good but to actually walk into it and say what's going on here what can we learn from this what can we all learn from it together that's where diversity starts paying off to organizations so I'm giving you some of the things that show up out of the undertow that aren't being used for a lot to a large extent to develop agile leadership to develop capacity to work with all of the things we're working with in today's world and finally focus focus is one and one of those things that when you wake up in the morning you're focused on getting up and trying to remember what you're doing for the day focus is subtle it's when you want to move forward in action you use mental focus a lot organizations to a large extent run off of mental focus but when you want to find out what's going on you suspend focus and you just listen with the widest radar or you know like big thing it's like a big just look at yourself as a receiver on the top you know that you have in television all that you're just taking in information your mind will sort it out later it's a sense making device it's very good at that but your information and your data is coming in widescreen so you're getting social data you're getting emotional data you're getting all of the stuff that informs a solid decision going forward and most people know me for the decision making stuff but it's all grounded in in the deep dynamics let's see push this again all right so I'm really grateful to Dave Snowden because some years ago I came here talking about energetic sensitivity which is the science of intuition and not everybody relates to that so Dave kindly used the word sensing which you'll see is contextually you know crosses every context in in the kind of an and hopefully I said that right kind of in my lunch most people are familiar with what Dave's done but the beauty of the sense sense sense sense in each of those four areas is that it gives you a way and this is something robots and AI can't do this is yours alone you sense into these environments and then you can understand what you're working with to be able to identify am I am in a complicated environment or is this complex is it is it a kind of environment where things are very tangled up but not in a cause causal way but more in a very interrelationship kind of way so causal meaning if I if I if this then that that's the kind of thinking if I do this this will happen more predictable but in in complex environments there's nothing terribly predictable about them and that's precisely the environment that you're in and organizations for the most part and also we're in in the world today I really appreciated Dave Packard former founder of Hewlett Packard a friend of mine worked for him and she told me the story that somebody they ran across him in the hallway and when he was asked the question you see on the screen how can you tell when the HP way is working he said well I can't but I can sense when it isn't and I so that sort of gives you the executive level of how these skills play out now I'm sure you've all seen you know look agile is working cut it quickly and you look at the decision you go how did they get there well this is data that comes from and and if you were here in 2016 when I was last year uh Jonathan Reems presented this data but in a different way and I dug deep you know I asked him for his back end and he he shared uh Taylor Dawson and tons of great articles on on medium by her by the way uh her data and so because I'm from Canada what we're used to seeing in Canada is US data so I called her up and said you know is this American what am I looking at here and can I use it and she said no no this is global so what they've got in the in the electrical scale is a way of measuring your capacity individual capacity to work with complex concepts to work with complex work with complexity period and what they've discovered is that as you can see from this lovely graph is that there's a gap between as the more senior you get the bigger the gap now in that gap are the anti sit the anti agile patterns sit the confusion around what is agile selling and telling to management it's all of that package of how do we get this move forward in the in the management mindset but also sitting in that gap is the opportunity for greater leadership skills and development that everyone shares everyone not no one gets left out of out of that part of it it takes us back to a time this was um four you know like oh gosh I can't remember how many years ago numbers are many are challenging but there was a time when navigators from Polynesia had absolutely no instruments they would get in their boats and ship you know their boats and they would travel 4 000 kilometers across the south pacific using no tools whatsoever using themselves they would use birds they would use the ocean swells top at multiple layers of current all the way down so the undertow picture that I showed you earlier is a picture of an actual undertow wave under the water the one that sucks you out into the ocean if you get into it and don't know how to swim out of it but that's what they use they use the stars so what they're doing is the same thing what they did then is the same thing we're doing now we're drawing on very ancient skills to take multiple streams of data and pull it in and make sense out of it now that's both a cognitive function here but it's also very much so draws on a whole lot more of your intelligence than than anything intellectual could ever do so both men and women were trained for this they started very young they would be at the age of one or two from the time they're you know they would be left in tidal pools to get used to the currents start to feel what those waves felt like and so forth and then they would develop them you know like a very rigorous training and and so the sentence with the blank in it is for the men because both men and women were trained but the gentleman in the photograph who's still here you know he sees the one that's alive you know now still practicing these skills at 14 he tied his okay so imagine men the most sensitive part of your body the part that when you get kicked bad things happen imagine taking that body part and tying it to the mast to the top of the thing so you could sense the currents impacting the boat that yes that's a little bit of an out-raven for women so it's it's one of those things that but that's the level of commitment that they had to being able to detect the multiple currents the layers of currents that that are part of navigating the uncertainty part navigating the waters so that's the skill set we're using everybody has it some to a more or lesser degree usually the people with the most sensitivities are on chronic disease chronic sick chronically ill either can't function in those environments at all so or or they have gotten into fallen into depression deep depression because the world makes so little sense and it's extremely noisy i was just in a steven caughtler workshop um doing flow for writers flow is the challenge it's the gap between the challenge and the skills so we've got that graph shows we've got a gap in the skills the challenge is big worldwide and organizations quite often personally but the the gap is where we close that and it's a peak performance state which meant means that when you know how to create that when you use these challenges to go into flow states and peak performance states you actually reduce cognitive overload so a whole lot of bad decisions get made because people are just overloaded cognitively they just they chip out front prefrontal cortex goes offline and and really dumb decisions come out of it the good news is scientifically you don't have to stretch far four percent base jumpers and people that fly off tops of buildings they're they're they're doing it more dramatically you don't have to do that uh four percent is fine but then the bottom line is you always make the call you decide how far you go the core skill set uh there's a lot of core skills that go with it but the most obvious one is to shift perspectives this is a fly's eye and a fly has each one of the little dots on there is a its own camera it's sensitive to light and darkness it can move around and so using that the fly knows what's coming out at any point in time if you're trying to hit a fly it's not challenging it's not easy they're very quick and they can know you're coming so but a fly's eye when you put that all together you get the bigger picture and that's the way you make decisions in in complexity it's also the way you build bridges diverse points of view are part of that so can we let's see if i can how do i do this so the other part of what goes on in complexity and and agile thing is is emergence do you know how to turn this on so i'll give you a feeling of what emergence looks like in the most dramatic way possible yeah he paddled right into the middle of a humpback feeding moment and you can see from sorry now we need to get off just wanted to give you that feeling but the emergence is usually not look like that it's not usually gross oh my it's like you know these humpback whales blow up in front of your kayak it's more subtle than that so you're really looking for nuances and reading the nuances whoops uh i want to back up several steps more because what's going on and the way in which i made sense of the wider things of what's going on in the world today is that we are in the middle of what what the systems theory theorists called bifurcation and it is a place where where um there is a split it works it's it's a law of transformation in in non-linear systems and so we've been moving we've been designing our organizations on linear we've been running everything on linear decisions that based on linear which is why we're dealing with climate change and a whole lot of other issues that that have been created that way uh or at least amplified that way and and so it's a it marks a radical change in the evolutionary trajectory where we either the whole thing just collapses or we transform it so we each one of us plus everybody and we stand in that gap we stand in the moment where you can create the future you want where you create a new word you know the whole thing out of it but it's it's through that gap in complexity that we we uh we do that thank you


Hello viewers, it's K.E. Felix here and I welcome you to my YouTube channel K.E. Felix Inspire. I'd like to say a very big thank you to all of you for the support and the contribution you are giving to this channel. If you are new to this channel, please do not forget to subscribe and hit the bell icon so that you get notified whenever I post new videos. Stay tuned for more details in this report. What was wrong under MMD? What was wrong under PF? Cannot be right under UPND. We should condemn this as ambience. We should say no to police brutality. We should not say no to police intimidation. If Tiari committed an offence, just write a call out. Tiari has been salmoned by the police more than six times and reports himself. You know when I heard that the police have surrounded Tiari's house and they want to arrest him, I thought he had committed treason or probably he had committed a gravitated robbery or he had made at somebody. These are serious circumstances or serious omissions where at least police can go and surround somebody's house, break the locks and force themselves into the premises. Because these are serious offenses but defamation of the president and misdemeanor, you go with the battalion of police officers, force yourself, break the lock. That man is but a family. He's but a wife. And there is a child there. We all know that Tiari is but a small child. You go and do such a thing at a Zambian's house and you call yourself a professional police service. No, no, no. This should not be allowed in Zambia. Muema muna muna Zambia na papatya sana. Ichime bati tiila, di mule sansa, tiari la mene mishila. Can we all stand up and tell president Aga hilema that this behavior must come to an end, we should not allow it.  But you are keeping people for five days. Savo Yimboela was detained for five days. Tembo was detained for seven days. How many people are you going to detain? Kajova must resign on moral grounds or you must be fired. I have gone through this treatment and my heart bleeds to see that this has continued. We even made a public statement and the whole world. And when you went to the European Parliament, we again issued this statement. Donors, where are you? The European Union, where are you? Americans, where are you? The United Kingdom, where are you? You are seeing these things happening. When somebody came to the European Parliament and said freedom has come to Zambia, no man is arrested and detained in police custody. Nobody would be arrested for criticizing us. But this is exactly what is happening and you are quiet. International community, you are quiet. Is this because you have been given a visa with her? Is it because you have been given visa with her by this government so that nationals, I mean citizens from your countries are now going to be coming into Zambia free of charge without visas? Is that the compromise that should be given? Should we take it that way? No, no, no, no, no. Enough is enough. You know that tiyari as a person may not be perfect. Everybody knows that tiyari is the one who went and concocted a story that had forged my son's signature. It came as a key witness and our sense to prison. But I will not allow him to be treated the way I was treated just because I may have had a problem with tiyari at one time. I don't operate like that. I am a person who believes tiyari should be byguns. But as long as tiyari is a Zambia like me, like anybody else it should be treated fairly because tiyari does not have any other country apart from Zambia. He may be committing offences but that's not the way you treat him. That's not the way you treat him. And this hypocrisy must come to an end where you are saying, no, we are going to repeal this law of defamation of the president but as long as it is still enforced we are going to enforce it. Hypocrisy must come to an end my dear brothers. We must run this country with love for one another respect for the rule of law. Look, Zambia does not like the sentence of death sentence to death by hanging or whatever. The law continues on our statute books but nobody has been killed as a result of a prison sentence to death since I think the 80s. Nobody has been killed but the law is on the books. Why is it difficult that even now when the law of defamation is on our books police should stop using it? No, no, no, no, no. Pressokimit. Pressokimit. This should not be allowed. Let me tell the UPND you are in what is known as a political self-destruction month. I can assure you You are in what is known as political self-destruction mode. Zambians are watching you. And I can tell you Zambians are very patient. Zambians are very patient. They are watching you. They are seeing what you are doing. They will speak one day and you will not like me. Garen combo my brother. Where are you? You were minister of home affairs. My dear brother minister of home affairs. You and I, Garen combo, stood in parliament to condemn these acts in the previous regimes. From MMD, PF, we stood on the floor of the house. Have you not ashamed, gentlemen, that your government can be perpetuating the same things that you condemned? Garen combo you came to parliament, even raised the point of order. Why should the police go to arrest president Aga in the enchile mat night, breaking his house? Why not send a call out to him?  Ha ha. Now it is you. What are you doing? You are quiet. Maibamu ni na ne. Maibamu ni na ne. Temu mu nnubi ngefiyo wa itte ma. Chitilu mu biyo. Isyo indatte ma na you are want to work chitile. Power is sweet. Power is sweet. But it must be exercise. maaviti. uga maaviti. Uga maaviti. maaviti. maaviti. We don't want you to run the police. This is unacceptable. This is unacceptable. And why are you refusing to give Tanyawe a medical report? Issuing with a medical report, driving to the nearest hospital, let that medical report be signed. You cannot continue doing such things in a democracy exam. Tanyawe a medical report, looking at the police for arresting somebody who's been insulted, you know what that is going to do? People will just be saying we don't deserve to insult this man. It's just too good. But under this government, over 2000 people have been arrested since Haga-Inda Ichilema came into office for the case of defamation of the president. Igita kuva 3-4 nimata nakaozi, kadzuma ni jointly nakaozi, na watia nusine gaisa kuha dupu mreozia wa kiku pika na niha kwenya? K농i wapala kuwa h Mali polizitasi na misaka? Ugo nua lisha ntokilangu kwaa ya ntokilangu ni maizu kota kia uwasa ni wakutu na wakaku mnibrata. uno na nohna na nohna na nohna na nohna na noha tiniitne bangun na noha napimantin wa maikuli maikuli mundia mundia maikuli kulei maikuli kajia maikuli kakini maikuli wukwera tawu but taking action if he's not involved in this let him take action against the police then the Zambians will respect him.


Hello survivors and thrivers, another video for you, please like, comment, share and subscribe. If you are interested in one on one coaching or giving a donation, the links are in the video description. The Narcissist will erase you at a core level.  There are various tactics that the Narcissist will use to do this. The double bind, denial, projection, blame shifting and gaslighting, targeting your self-worth, self-esteem, self-belief, self-assurance and self-pity. The Narcissist will completely erase you and then blame you for their own creation. Targeting your self-worth, self-esteem, self-belief, self-assurance and self-respect and other forms of control. First I am going to talk about how the Narcissist erases you at a core level using the double bind tactic. Narcissists are attracted to codependents and codependents are attracted to Narcissists. Codependents are givers, people-pleasers, Narcissists are takers. Codependents as children were brought up in an environment where they were constantly chasing their Narcissist parents' approval. As the child grows up, they find themselves chasing the approval of their Narcissist relationship partner. This is what gives the Narcissist the ability to erase their codependent relationship partner at a core level. Because of what the codependent experienced as a child with their Narcissist parent, they are self-loved efficient. They have low self-worth, self-esteem, self-belief, self-assurance and self-respect. Easy to take advantage of. Easy for the Narcissist to take advantage of and then mould into whatever they would like to serve them. To give them Narcissist supply. So how does this relate to the double bind tactic? As a child, you are likely to have experienced this with your Narcissist parent. As you grew up and became a codependent and attracted a Narcissist relationship partner, you are likely to have experienced this tactic again. What is the double bind tactic? Double bind is where no matter what you do, it will always be received with a negative response. Damned if you do, damned if you don't. A no-win situation. The Narcissist might complain that you are spending too much time at the gym. They might call you selfish and say that you have no time for them. You want to make the Narcissist happy, you want to please them. So you stop going to the gym to make more time for the Narcissist. You would think that the Narcissist will be happy now. As they told you that you were spending too much time at the gym. So you stop doing that just to please them. But now the Narcissist is criticizing you for the very thing they told you not to do.  It's a no-win situation. Damned if you do, damned if you don't. This is known as the double-bind tactic. No matter what you do, it will be met with negativity. The Narcissist might use this tactic in every aspect of your life. In your career, finances, hobbies and interests, social circle, relationships if the Narcissist is your parent. They can also use this on your physical appearance.  They will use the double-bind to change everything about you. Knowing that you are trying to please them. Knowing that you are trying to make them happy. But Narcissists are unpleasable people. So no matter what you do, it will be met with negativity. And when you stop doing what you want to do. The way you would normally look or dress, walk or talk. And change your character and personality just to please the Narcissist. Narcissists are never satisfied or fulfilled. You can never be enough for them. And this is why they are always trying to change you. They will always compare you to other people and tell you how you should exercise more or dress like this. Wear your hair like that. Once you start doing this, the Narcissists will become envious and jealous of you. They will feel as though you are stealing their shine as everything is a competition with them. So now they will criticize what they were once comparing you to. Or what they were once saying they liked. Even though they were the ones that told you to exercise more or dress a certain way. They will now criticize you for putting so much focus on your physical appearance. If you go out with the Narcissist to a social event. This is another opportunity for them to use the double buying tactic. You might talk to someone.  So you talk to someone and it's easy for you to do that. The Narcissists are aware of this and they become envious and jealous.  So when the Narcissist sees you talking to someone they will criticize something you said. Or tell you that they were not really interested in talking to you and you were just wasting their time. You might have told a funny joke and the Narcissist will tell you that you offended them.  It makes you afraid to be you because no matter what you do it is met with negativity. From this point on you may be quiet. You may no longer talk to people as you once did. You may no longer tell funny jokes. You would think that the Narcissist will be happy with this. As you will no longer make them envious or jealous of you by talking to people. But now the Narcissist will criticize you for being quiet.  Like hobbies and interests, meeting friends or a relationship partner. If the Narcissist is your parent this will be met with negativity. The Narcissist will tell you that you are not good at your hobby or interest. Or you spend too much time doing that and you don't have enough time for them. They will devalue you to your friends or relationship partner. Or they will devalue them to you. They will tell you that they don't really like you. They are just using you for something.  When you stop doing your hobby or interest, meeting your friend or relationship partner. Now the Narcissist will criticize you for that too.  By the end of this you will be so confused. You will have completely changed your physical appearance, character and personality to please this unpleasable person. You will no longer find joy or happiness in the things that you are once so passionate about. This is what the double buying tactic does to you. It completely erases you at a core level. It changes your beliefs about yourself, other people and the world around you. It alters your perceptions. Whatever you do, they will tell you to do the opposite. And then they will criticize and blame you for that too. They will deny any participation in the change of your physical appearance, character and personality even though they projected their insecurities, flaws and imperfections onto you. They will shift the blame onto you. They will gaslight you into thinking that there is something wrong with you and you are going crazy. The truth is, the narcissist has just erased you at a core level due to their pathological envy and jealousy, insecurities and inferiority complex. And now you have become a shell of what you once were. They will even try to erase your history by rewriting the past. They are deeply envious of anything that you have experienced before meeting them. And I don't just mean intimate relationships or sexual things. Anything that you have experienced before meeting them. The way you were as a child or as a teenager, they are deeply envious of this as it is out of their control. They cannot control what has already taken place. They are especially envious if it's something that they haven't experienced. They cannot control something that has already happened. So they will try to rewrite the past. They will try to rewrite your perception of what happened. The narcissist has to rewrite anything that doesn't fall into their narrative, their version of you. They do not want you to be reminded of having a life before them because that means that you could develop a life after them. They want you to believe that this is your life. What's happening now? This is who you are. The narcissist wants to be addicted in your life. They want to tell you who you are. They want to tell you what you're about. They do not want you to define yourself if you have a life before them. This is out of their control. So they will try to remove the past from your life. They expect you to relate to the character and personality that they have created for you. They want you to relate to your current circumstances and accept this as your reality. They do not want you to remember who you really are. They do not want you to remember what you really like. They do not want you to remember the fun, loving person you really are. This is why they try so hard to target your self-worth, self-esteem, self-assurance, self-belief and self-respect. They want you to see yourself in a different way. They want you to believe that you are not worthy or deserving of anything greater for them to do this. They have to rewrite your past.  You cannot please them or make them happy. You are not worthy or deserving of anything greater if you were reminded of your past and how different things were. How greatly you were received and how easily things came to you. Everything they are saying, everything they are trying to get you to believe, you wouldn't be able to take them seriously. It would be a joke. This is why they have to rewrite or erase your past. Then they can define your character and personality.  They don't want you to define yourself.  Everything they are saying or trying to persuade you of, it wouldn't make any sense. And then they wouldn't be able to look down on you and criticize you as you would then realize how much of a better person you are than them. They do not want this to happen. And this is another reason why they are trying to erase you at a core level. They want to enslave you. They want to take control of you. They don't want you to have your own thoughts, feelings or beliefs. They want to plant thoughts in your mind. They want to project their feelings onto you. They want you to adopt their distorted beliefs about yourself, other people and the world around you. If you start defining yourself, if you start having your own thoughts, feelings and beliefs, you are going to be a very difficult person to control. All of the narcissist manipulative tactics are designed to change your thoughts, feelings and beliefs.  You can find your true authenticity. You cannot get back to the person you used to be as we are changing all of the time. Even if you had never met the narcissist, as humans we naturally change and grow every day. The person you were one year ago is never going to be the same as the person you are today. But you can find your true authenticity. You can become better than you used to be. You can become your best self. Start doing the things you used to do before you met the narcissist. Listen to some of the same songs you used to like back then. Do some of the same hobbies and interests. Talk to your old friends. Do the things that you are passionate about which you are not allowed to do around the narcissist. Every day look at old pictures of yourself. Practice guided meditations. There are some really good ones for authenticity on YouTube. Meditate twice a day. Practice mindfulness rather than ruminating on the past or anticipating the future. Be present in the moment. Give yourself plenty of alone time to get to know yourself. Get to know what you like. Get to know what interests you. What you are passionate about. Then do that. Practice self love and focus on healing from the narcissist's abuse. Please check out my playlist of videos on healing from the narcissist's abuse where I talk about what has worked for me what has helped me to recover. It won't happen overnight but if you do this every day after a few months you will notice a significant difference. Thank you for watching. I hope this video resonated with you. Please like, comment, share and subscribe. Remember to click the bell icon so you can receive all of the notifications for my future videos. I will have more videos very soon.


Hello everybody, I'm EvilRabbit. We're here taking a look at the wheel from the Moza R5 Ecosystem so my one pet peeve about the R5 when I took a look at it when Moza sent it out to me was You know the small diameter wheel it you know it was a bit smaller than You know what I was used to but it's very much like the Logitech and stuff like that but now Moza racing has released their ES 12-inch wheel mod so just over 300 millimeter wheel we have a new rim Which is a round rim to put on the R5 ES steering wheel. So we're gonna take a look at that today Gonna put that wheel back there. We're gonna take a look at this 12-inch ES wheel upgrade See what we got going on inside there. Of course, we do have all of the buttons And everything all the stickers and everything that we can put on that. Yes And of course, we have the wheel itself trying not to Bliterate my camera The before we pull the wheel out. We do have a small box in here Which is the paddle extensions? So these paddle shift extensions are because obviously go to a bigger wheel They have extensions to add to the paddle shifters and these are nice quality Aluminum and really really nice design And of course, you got some hardware with some screws to put it all in there And we do have the second one right there as well. So we got some paddle extensions, which is definitely a Very big plus because that's gonna come in clutch if you're wanting to use paddle shifters and stuff like that And of course on the back they do have instructions on how to Install everything for the paddle Extensions everything like that. So taking a look at the actual wheel itself We get the tape open So we have their 12 inch wheel, which is actually, you know, nice and thick aluminum like you'd expect from moza You know, you got the traditional yellow line on top and things like that. So this is actually a very Big high quality wheel, which is gonna be quite nice Imperative to this one and that's what I'm super excited to get it on there and have that larger diameter way As you can see larger diameter wheels so that we can actually Utilize the R5 more for drifting personally without the D cut on the bottom So we're gonna go ahead and get this thing swapped over. It should be a very easy straight forward process Gonna take out our screws Was a little bit tighter than I expected So can't thank moza racing enough for being a continued partner of the channel as I dropped screw on the ground It just said geek. I'm gonna head out Continued partner the channel and sending this out to me so that I can get the R5 wheel with a larger diameter rim Because this bolt pattern is not a 70 mil bolt pattern like you'd expect from like the R9 one and and stuff like that For the you know, the RSV2's and the RS wheels and CS wheels This is a smaller diameter one. So I'm trying not to rotate that quicker. This was my hand underneath So that's why I'm holding it the way I was So we're gonna unscrew that So in theory this should just pop right off So me being a bit of a dummy did not take into consideration that there was three screws on the backside here You can see one of them here There's three screws. There's two there And then there's two that go right inside the here on the ES wheel. So I didn't Read the instructions do that. So we got those three screws on the back and the six screws up front I did take my quick relief off. So I do not damage the wire or anything like that So now we can take the wheel off, but we do have to be careful because there's a spring in here You don't want to lose So we take the wheel off and By spring, I mean the spring that's sitting right inside here Gonna make sure that goes kind of well as I'm about drop it make sure that goes back in there I'm gonna put it back the way it was kind of doesn't really make a difference. So so now since we have that We can grab the new wheel Which is only going to utilize actually the two screws on the back not the bottom one. So we're gonna take this We're just going to move the quick release because it's there. We're going to place this on Like so Now we're going to screw these two screws in To hold things in place Get my extremely long screwdriver here the only one that was narrow enough to go Through the quick release hole So then we're gonna grab one of the other screws Very hard to somehow do this one-handed Get that popped in there make sure all my Buttons and everything are in place. All right Now we're going to get this screw as I knock the camera over get this screw in there Once again, take the extremely long screwdriver Get those two screws tightened in place Like so so now that retention that little spring is not going to disappear So now we have that on there, which is already Substantially different as you can see the size wise and it looks much nicer So now we're gonna get our quick release put back on so we're gonna move that aside Going to get our quick release plug back in We got a quick release plug back in you don't actually have to take that quick release off. I just did just for sake of Safety We're gonna get that that put back down there in the two notches is very simple There's two notches and two notches on there Falls into place place it back down on there and we're gonna switch away from the very large screwdriver We're gonna drop our six Quick release screws inside And we're gonna go ahead and get this tightened down Now I personally always do them in cross patterns just like I do wheels on cars It's just a personal preference that I do not sure it doesn't really make that much of a difference going you know In a circle if you really wanted to tighten that all down This is actually already making this wheel much nicer to look at and much Much easier to drive. We're gonna find out so we're gonna go and we're gonna actually tighten these down all the way now not super tight don't need to like Manhandle these things in there Because I do love the ES with all the way the buttons and everything are set up in the ES Already did those now run the last two side ones Then we got to put our paddle extensions on I believe if we don't like the position See, I actually don't mind where those are Paddle extensions they're going to But you know what that does make for a much nicer Much nicer feel so we may put those on we're gonna try and drive it without the paddle extensions because personally I like them a little bit further in because I can just use my middle finger They use them and also keeps them kind of the way for when I'm drifting So we're gonna go get this put on the rig and give it a full send So we are here on the rig. We do have the 12 inch rim now on the ES wheel with the Moza R5 base Here on a set of Corsa and I did go ahead and actually put the paddle extensions on as you can see They give you a nice tool to be able to put the screw into the front side So if you are gonna do this, I would recommend putting those on Before you actually put the rim on It would make it a lot easier. They give you a nice tool though to go in here a nice angled Phillips head screw driver, so it does work But you know the rim being now a second rim is going to be much more better for drifting So we're gonna go full send here And see how we do in the VDC E46 First ripped with the ES wheel on the R5 with the 12-inch mod It already feels much nicer not having that bottom D cut I do not have a tune on this car, so this is Fairpones drive in this E46 so Go full send. There have been early initiation there Power alley. Oh Do I? dirt But we should be halfway decent run and Overall impressions of this wheel. This makes this wheel base that much That much cooler the R5 was a very good wheel base I used a lot in ESDA when it first came out and now with this larger diameter wheel. This feels more Like home, you know, I love my R9. I love my R21 the R5 is definitely a very great entry-level wheel to get into the direct drive game and you know, it's definitely a Very nice wheel with plenty of force feedback We may have scrubbed a little bit of speed on that. We're trying to stay in fourth up power alley a little bit too much angle there Little bit of a diesel. This is a very different version of the track that I'm used to But overall not too terrible for the wheel Feeling and you know, we are on 100% force feedback on the wheel base and stuff like that So let's take a look at the runs if we can See kind of where we were at. It was a long initiation a little bit of a bobble there. So not crazy Please where we downshifted in Yeah, we went all the way to wide on that one Overall not too bad of a run. You could have done way better But like I said getting back into this R5, you know from going for my 21 takes a little bit of getting used to initially With the way the wheel reacts and stuff like that But it is super smooth like I enjoyed it when I was in the SDA a lot of good qualifying runs and stuff in ESTA with it. So it's great to have this larger diameter wheel That was a hard flick entry This is a VDC E46 definitely a fun car with that LS. Yeah, see that was much nicer Going through this a little bit of over rotation there. We kind of stalled it out there. We should have been a More on power. So we're gonna go back And we're gonna try another track Of course, you know, we had to come here to Long Beach with Long Beach ending the event Definitely a very crazy event with some interesting calls and things like that Let me know down the comments what you guys thought about the event and the super drift events that just ended So we're gonna go full sense here in Long Beach and see How we can do here Probably off the wall by about a foot Probably could have gone third gear there.  We're gonna be doing some racing and stuff like that with these With the 12 inch wheel on this R5 and keeping the R5 on the rig for a little bit time If you guys want to keep seeing more R5 content, make sure you guys follow me on all social media Found in the description box below. Let's get a big thank you to Moza for sending this out and being a Continued partner of the channel Got one more run here a bit more of an aggressive entry. Oh, I felt it Well, not too shabby of a run. We'll go take a look at those in the replay That for and this episode off. I believe that oh, no We'll go back to replay. This was our first run. Maybe you guys follow me on social media I'll try to find a script box below this entry Wasn't too bad of an entry About a foot foot and half off just touching into that zone. So that was not the greatest zone on those last two that transition was That wasn't too bad if I'd say so myself wasn't the greatest or the cleanest, but it also wasn't too bad So let's take a look at the second run, which I felt was a lot more aggressive So excited me. She just found me on all social media. I'll just find the script from box below Yeah, it was all much much more aggressive flig Almost all the way out to the wall Almost all the way out there and then here we did do a little little bumper tap Little grazer no big deal and then we punted that so as always a thank you guys for coming back You can begin enjoyed this video on the new ES 12 inch wheel As always, I thank you come back and watching I'm even rabbit. I'll see you guys on the track


Taxes are due on April 17th, 2018, not April 15th like it normally is, but for people in the military community it is automatically extended till June 15th. Please note though, this is not an extension to pay, it's only an extension to file. What that means is that if you choose to file after April 15th, you're not going to incur any penalties or late fees, but you will be accruing interest on your taxes. So ideally you want to get it done before April 15th.


I have a question about guilt. I'm still getting into all this, but it seems like one of the motivating factors of the ego propagating this world, perpetuating this world is the guilt from the separation. That's a concept. A lot of this stuff makes a lot of logical or intuitive sense to me. Guilt from the separation doesn't intuitively range from me. It doesn't seem like a natural consequence of separating. So for my own study I've had to replace that word with pain, pain of the separation to make it make intellectual sense to me, but I'm wondering if I'm missing something there, if you can just talk about guilt in that context. Well, actually it's really good that you bring it up because as you're working with this course, you will find words and experiences that you can relate to a little bit better. In other words, for you it's feeling like pain is something that you relate to more in a tangible way, like separation, pain, kind of being like an outcome of separation. And then we might go even one step further to maybe a sense of fear or even the whole concept of punishments being all tied in with this separation and this pain. Okay, so there's good. You've got your unholy trinity there. Separation, pain and maybe fear, but not the punishment. Everybody relates a little bit differently based on their experiences. Certain words, like some people, I was reading something recently where somebody was telling me, they said there was a big difference between fear and shame. And experientially, for that person, they felt different. And then in the Course in Miracles, Jesus comes along and says, you have but two emotions, love and fear. So he's basically saying that anything that's upsetting, we'll call it, is basically he's just using a word fear for it. They're very generic or general terms. So I think it's perfectly good to do the work with the Course the way you're doing it. Just find a word or an expression that you can relate to as you're working through this because you are working through this in a very experiential way. And you're not being asked, there's nobody saying we want this to line up kind of intellectually. We want you to go through that experience. I'm not missing anything that might not relate to this guilt. No, you can use the word pain instead of guilt. I mean, you're not missing out on anything that way.


Okay, so I have to apologize to my viewers in advance. This is incredibly petty Perhaps the most petty video that I've ever released, but I have to comment on this. So Mark Zuckerberg He just changed the name of Facebook's parent company to Meta and they did this really cringeworthy press conference But one moment really stood out to me where he had a conversation with someone who I believe is a developer for virtual reality applications and video games and the conversation that they have is So I don't know how to explain it It's so fucking weird that I don't think it's hyperbole to say that Mark Zuckerberg has never had a Conversation with a normal human being and this is evident in the way that he talks the way that they use Hand gestures and this overly exaggerated really excited way. There's too many points.  So I'm gonna mute myself and we're gonna watch it together And I'll I'll put the the good audio over over this here So we can kind of see but just just take a look pay attention to the hand gestures This is so fucking weird keep creating now Deb from our studios team is joining me Deb Do you want to take us through some of the exciting games in the pipeline for quest? Absolutely Over the years we've had the opportunity to work with incredible developers like vertigo games the studio behind fan favorite Arizona Sunshine I love Arizona sunshine that game basically got me and my friends through the first few months of the pandemic absolutely What I love Arizona sunshine that game get basically got me and my friends through the first couple of months of the pandemic Who talks like this who has conversations like this? This is not how normal people talk.  What else is coming? Well, the metaverse is constantly evolving So one of the most important aspects will be live service games that launch updates and new downloadable content Regularly like echo VR beat saver onward pistol whip and more We're focused on this a lot right now Making sure games can build out active communities beat saver has a passionate community I love beat saver So do I and beat saver just passed a hundred million dollars in lifetime revenue on quest alone It's a great example of a game that keeps releasing fresh content They've actually been working on evolving the way that you interact with the tracks and feel the music Also, the team has been working on something really cool. Check this out Wow I can't wait to play this and they keep partnering with incredible artists to release new music packs all the time Did you play the billy eilish music pack last month a little more than I should have? I probably should have been working more on this metaverse presentation Well, they have a great lineup of artists for 2022 and there's one more epic surprise before the end of the year So stay tuned. Okay. Have you played population one? I mean, yeah, I love the game so much For those who haven't population one is a thrilling battle royale that is only I can't do any more I don't know what it is about this clip in particular, but it really makes me want to kill myself That's awesome in roblox, of course And I just love how he's like, oh, I played the billy eilish beat saver upgrade I love his music billy is a good guy. I actually know billy myself I mean, this is so strange and the way that she's like, well, there's five new tracks everyone.   They control politics.    You're you're weird I think you're the one with the problem not me for overreacting to this I think that if you see that and you think everything is perfectly copacetic. It's all normal I think that you're the one with the problem because normal people don't talk like that I love beat saber. I love arizona sunshine It's what helped me and my friends get through the pandemic Motherfucker, you probably have never played any video game a day in your life During the pandemic you and your friends were like, I don't know Swimming in your indoor pool in your mansion.  I don't want to Like dog whistle to Conspiracy there's I'm being facetious here, but I just feel like, you know, these people are so detached and they try to hype up This product that they're selling but they're fake enthusiasm and it's just it's so disingenuous. It's so scripted You can have a conversation with someone And just it doesn't have to be scripted not everything has to be manufactured and scripted but This is uh, this is the dystopian society that we're living in again I'm just rambling at this point But I just I want you to see this video and I hope it makes you suffer as much as it makes me suffer Because I can't unsee this and there's something about this video that broke me, but um Yeah, that's that's it