Svoje cilidrom sem možemo počkej, da grimo pristih, zato sem tko včasno zelo kaj je zelo, nebo prejzavljar, kak je vstupen. E.g. Iron Silinium, ki je iznačitiva, zato sem da je počkala, da imamo na teba, da se kovakarujem vzelo.  The first point I would like to try to convince you that it was a good idea to start this workshop with session in Iron Selenium. Because even if not everybody here live and breath Iron Selenium as some of the speakers in the people in the audience, this is a nice system, it belongs to the family Iron base superconductor, kaj ne vseh ne zelo koralitivne materijale.  Je to ne spolivno, da se počutimo in se nešto izgleda. Počutimo, da se je, da je ne spolivno, da se je, ta je metallik, nešto nematik. In potem zelo pa vse izgleda, nematik, kot nekaj nekaj, da se pa vse izgleda. Kaj je rejst, da je vse, da je vse izgleda, nekaj rejst, da je izgleda. kako se izgleda, da je je tudi veliko mlače, da se je predizvano. And then this LOTC superconduktor is the one in the family highroom printize, where it's much more difficult to explain the gap anisotopi. And this is one issue that several theory groups are fighting on recently. So in some sense, iron selenium exasperates all the passing effect that are there in general in iron-based superconductor. And this is why it's interesting and this is why there are so many people in imeli smo je zelo všeč da vsezpene v terzy več jaz. So, da vsezpnega se, kako izgleda in silenja in silenja, da sem zelo vsezpnega in silenja v fizijske oprike tajs. Vsezpega se, da se napravite na komentarje, in pri studenti ne različite vse, zelo pa bo se nekih idej, nekaj ne bi vsezpega vsi, nekaj nekaj da se napravite na komentarje. Taj so materijal, kaj bo vsezpega na izgleda, na izgleda, in silenja in silenja, in in vseh lejer. Faze diagram je seminarne z vrstvenim in otroj koralitivnimi sistemami. Kaj da je sistem, da je najbolj manjetične vse, nekaj je to obržen, ta superkondativitje vse. Takaj sistem je z vzbim v multi band. Kaj da se vzbim v terkome uniji cel, ne ste imali vse vsevrje pohleda in elektroniko pohleda, ali ta trasnja vse se pohleda in nokrča, in da je ta vse pohleda in elektroniko. Ekatera taj poslutni unit sel je pomejnit z dvej ironi imel vjavnih atom in tako, bo isuprati, in silinijtih atom vse je prizvene vza oblad, kjer se jah bi ir ne stranje. Tudi, odprav je reelo unit sel buenoj, tako, da je svoj vse taj neštrunstvar na konev reprodukulje in zetnih atomov, in tukaj še v zelo všem vsega je vsobit. Na vsega experimentujega je, da bi se na tukaj vsega vsega vsega na gamma, na m, in vsega teori vsega vsega, da bi lahko ta časna vsega veča in zelo. Protože je lepo, da se vsega vsega vsega vsega, da se teori in teori počusti. Nekaj, da se vsega vsega ta vsega vsega vsega vsega, in elektroni. Nisem vsega vsega vsega, da se vsega vsega vsega vsega vsega vsega vsega, vsega vsega in teori je počusti. Tako je vznik, da majske vsožite. Vznik njega je in elektronika poživna. Vznik z njega je veliko zelo. Vznik njih je užil, zato, da načinem ta začočen spetul, da prunem začočen, da prunem zelo, zato je minus zelo. Vznik njega je užil, da prejvoje začočen vsega njega, da je to vznik in sega. Vznik njega je vznik zelo, da je to, kaj je vzivnega logaritmijska in vzivnačenja. Tukaj, da vzivnega in vzivnega vzivnačenja je zelo vzivnačenja na rpa z vsej tukaj, na svečenju sektoru. Zato je tukaj vzivnačenja, kaj je vzivnačenja vzivnačenja in vzivnačenja na vzivnega vzivnačenja vzivnačenja vzivnačenja, vzivnačenja vzivnačenja in elektroničnja. Zelo je zelo, zelo je zelo.  But there is residual interaction between the whole, like, electron-like pockets, which are mediated by residual spin fluctuations. And this can be a glue for pairing. And this pairing will lead to s plus, minus superconducting or a parameter in the sense that if you now want to solve this couple VCSE equation k je to neko lahko v dakle v elektroni, k ki se se neko neko lahko tu nako lepo, incelja celja in rupalsi, skazal jo si odjeljenj vzor v t斌idov prameter in zopraviti sem ovega nekaj vzaj.  Roshne, da se je res rečeno, samo da, da je skupana, da je kar spremno vzelo, zaato, da je učnila, začetno, po vrstej naši energij, začen je je zelo vzeljeno. Tudi je izgleda v tega včasna mikroskopična modela, kaj je vse obojezaj, oj či zelo celinu. Zelo ki se odstavljajo, da se obojezaj obiže, tudi zelo je običan izgled.  Zelo, da se je začetno, načo je izgleda izgleda, s ko poču, občise je, that this pictures work more or less well. One that you overall renormalize bandwidth of the electronic state in rispective DFT calculation. So, there is a C, that you can squeeze your bands, and then you can end up one with the low energy model, which is the one that I was showing before in the ơi rek podridaux effect v Milwaukee. This somehow provides a good description of the Fermi levels physics. Drisko retali Flash, 녹ißen iz NATO PER SET Assemble vsk音 pack nekaj je, da se prišli, da vidimo, da je bilo dobro. Če však. Dej, da je bilo dobro. Tako, pošli, da je, v FES-E, nekaj le bo izvečil, o druh ponekv. Tak, tak. V štih, da je, sem tako, da je neko... Nekaj neč je neko skupovati vzvečki, nekaj nekaj pravda nekaj. Nelj ta tukaj nekaj, pa vse partirimo in da prvi, posledajtečne spočrjevce n replace ateli. Pa počekaj do zelovačneho stručnjavih, zapravim, da sem češa, da ne kreče orošnje. Zelovačne korolje prej pomečujemo skorotno z pravi za zelovačna očke in elektronice. Najlepši v mostu, ta smutna zelovačne zelovačnega istrano. nešto prej pahne, či ne bo in nešto presično. Zato bomo mene zelo nešto poživati, neče, da bi priješel, zelo nešto priješel, nešto poživati, nešto je. Poznačite, da je iznovu na svakom tega, da je nešto iznovu, da je nešto iznovu, da je iznovu nešto tega, kde je je, nešto poživati, nešto je. Zato bomo nešto poživati, nešto je. Veseli, da je tudi tudi tudi, da je izgleda drtveno vzelo do 3 elektroni. Vse je to nezatelnit, da je vse z 2,3, moj da nezatelnite, in bilo do 1 elektroni. Vsreč sem izgleda, da se je vse začunil do 500 mili elektroni. Vse je to, da se nimi se zelo na ovo energijstje. Tudi je to vzela vzela, da je to vzela vzela vzela, vzela na matiziji in sovno.  Mi narrujem, da nam je vseところ težel, zadebeno pravje, neko težel, nekaj težel, nekaj je zelo, sprinflatacj vzivo RPA. Daj je prihodnju modu. Pačiš sprinflatacj in kredite vzivne brrati sa mene povrste. Vzivno ne比較 pojave, če se v gripsimitri in s plusovim su papravih parametrov. Ta neče vzivna, nečo bolj, vzivač po kašku andi quantity. To zelo konog sprem, da je počet kez linstva s nãoo početna mene je prihodnju. Je zelo skupno, in vso prijasne koncepti je zprenostil, na which I Together will discuss later in particular for Island Silenium. So far, so good. Everything is simple. Even within this very simple scheme where we have a whole electric and electron-like pockets which are interacting thanks to spring fluctuations between them, what can have very interesting physics? So having whole electric and electron-like bands in to je zelo inžel, ne zelo na vsej dobrojj vsej superkondakter. Taj je vsej zelo, ki smo tega daj o zvonju, kjer bi splah v vsej vsej fizikljno vseči, kaj je benššinj, nekaj preselj, nekaj vsej inžel, za superkondakterin. Ko bo me da ga vsežel na nekaj del, je to iz vsej benšinj, ker je prej se izvonj, ki se je začeli, in da ne vsej na njela vsej superkondakter. Tako, ki je tudi, Or DFT more or less reproduz the topology of the Fermi surface on these materials. But the real band, as they are measured, for example in the Azvan Alpha, have pockets much smaller than prediction. So this shrinking of the Fermi surface has nothing to do with the band normalization. So if you change the mass of the band, it doesn't mean that you change the Fermi surface area. You're just changing the slope, which is the Fermi velocity. So this is a picture that is not usually captured by the dynamic and material theory. And this is in the Azvan Alpha. It's also observed in arc-based measurements. So it looks like your bands are shifted up and down, giving rise to smaller Fermi surface. And of course, since this is a semi-metal, you still preserve the number of electrons, so this effect doesn't violate the number conservation. So a very simple way, somehow to explain this effect, is to consider the coupling of this electron with this residual spring fluctuation. And this can be done within the Liageberg approach, where essentially you compute the self-energy of the electrons interactive with the collective bosonic mode, which is here model as the typical spring fluctuation spectrum. But what is important and specular to plink ties, as compared to other systems, is that the bands here are almost empty, which means that you are doing a Liageberg calculation, relaxing the usual assumption of infinite bands width. And this give rise to a real part of the self-energy at finite zero frequency, which leads to essentially to a band shift of the electrons. And again, the main mechanism will be still whole interacting with the electrons, because the main exchange is the interband one. And it is very interesting, because actually, when you try to do this calculation, so we do full numerical calculation, where you can estimate in approximate way how large is the shrinking of the self-energy, you see it depends on the asymmetry of the band. So the distance of the band at the top or bottom from the Fermi level. The sign of the shrinking depends on the character of interaction in this sense. It should start from a whole like band, then you ask yourself, what is the effect of the self-energy on the change of the Fermi wave vector? You have two possibilities. If the band has a strong interband interaction, so somehow the band fills itself, this can be a typical mechanism for interacting with the phonons, for example, the total sign of the shift is positive, so the band would expand. And this is, for example, a mechanism that we recently invoked to explain some pump probe experiments in GB2. But if the interaction has a dominant interband character, so the whole like band sees somehow the effect in the electron-like band, and then this number changes sign. It's negative. And then you have a shrinking of the Fermi surface. So having expansion of shrinking of the Fermi surface somehow gives you indication if the dominant interaction are interband or interband. And in the case of pinning times, which I tried to do calculation in very simple model, so parabolic bands in orbital character, this is a work back in 2009. And then we modeled the interaction as interband once. And then you see essentially the shrinking of the Fermi surface, the white lines are the bare bands, the color plot is the spectral function for the normalized ones. And then you see this shrinking of the Fermi surface. So somehow the most likely candidate for this interband interaction are, of course, pin fluctuation. Or if you want, the systematic observation of shrinking in pinning times is an indication of relevance of interband interaction, and the most likely candidate are spin fluctuation. This effect is temperature dependent, because the spin fluctuation itself are temperature dependent. If you move up in temperature, somehow the spin mosque go over, and then the self-energy correction becomes smaller. And then the effective size of the Fermi surface becomes larger. So somehow the pockets are expected to expand as the temperature increases. And then this is actually has been seen, again, in Ape's experiment. These are data from very unique way, one to two materials back in 2013. And then Sergei Borisenko, who will give the next talk just a second, has also seen the same in iron cerinium, with a very, very strong effect here. Yes. Microphone? Yes, your computer self-consist is the chemical potential. But here, in any case, we have all alike and electron-like bands. So if you shoot them in this way, the total number of electrons is preserved. Yes. But you have to compute that, of course. OK. And probably Sergei will tell more about this later on in the talk. So just a final remark. So this Fermi surface shinking is a kind of probe of the T-dependence of spin-flactuation. This is a very interesting, profound implication for the optical sum rule, which is the point that we discuss most in this paper here. But I will not mention it now. OK, so this is nice. But all this was done in the completely bent language neglecting any orbital degrees of freedom. And this is not the whole story, of course. Orbital degrees of freedom are very important. And this is already this high-energy normalization that Chimian was mentioning before, are very important and orbital dependent. So this is somehow orbital degrees of freedom cannot be neglected. But the point where people really started to struggle about orbital degrees of freedom is the case of nematicity in iron selenium. Because here everything becomes very somehow complicated. And this picture of spin-flactuation seems to fail at the first look. Why this? First of all, what is nematicity? In these materials, we have a structural transition from tetragonal to orthorombic. As I said before, your basic unit cell is made of iron atoms. In high-temperature phase, the system is tetragonal, which means that the two lattice directions are equivalent. Below the structural transition, one direction becomes longer than the other. So this is just a change in the lattice structure. Of course, a change in the lattice structure is expected to give indication in the electronic behavior. But the point is that what you do see in the experiment, here, for example, our resistivity measurement, you get an isotropic resistivity across the structural transition here, which is extremely larger than what you can expect from a simple change of a few percent of the length of the two bonds. And this is why people think about nematic. So somehow this is an effect. Of course, there is always a connection between lattice and electron degrees of freedom. But the main idea is that maybe are the electronic degrees of freedom themselves who drive the transition. And of course, if you want to say again in this picture of spin-mediated interaction, one possible candidate are the spin clotation themselves. Of course, this is an effect that you have to capture going beyond RPA. So you have to take interaction between spin mode to the fourth order. This is a beautiful work by Andre and Raphael back in 2018. So as I told you before, the basic interaction between the whole-like and the electron-like pocket, but you have two possible wave vectors, which connect whole-like with electron-like pockets. And then for temperature-large and the nematic transition, this two-directional completely equivalent. Below the nematic transition, heat can happen. This can be driven by interaction beyond RPA. That fluctuation becomes stronger in one direction than in the other, without breaking spin symmetry. So there is no spin order parameter, but there are fluctuation stronger in one direction than the other. So in this picture, nematic transition means that you break the degeneracy between fluctuation qx and qy. And this is completely electron-like mechanism for nematicity. And of course, this was a reasonable approach, especially in the case of one-to-two material, where the structural transition happens immediately before the spin-dense-way transition. So somehow spin nematicity is this breaking of the fluctuation is just preemptive to the magnetic state which is established for lower temperature. And indeed, in the magnetic state, you do see order for one specific direction of the q vector for spin modes. And then this pre-carcel, then pre-carcel of magnetic transition can be seen, for example, in a Raman experiment, like an announcement in a specific channel. We will have a couple of talks later on in the conference on this. And the same effect has been seen, actually, for example, in Raman, also in Arion selenium. But what is puzzling here is that the orthorhombic transition, which happens here at 90 Kelvin, is not followed by magnetic transition. So somehow the puzzle is, why should I have a spin nematic transition if there is no magnetism appearing before? And magnetism actually only appears when, for example, you dope the system with pressure, but then you see spin-dense-way transition happens when nematicity is gone. So, of course, iron selenium can be problematic from this point of view. And the second point is that in iron selenium, since there is this huge range of temperature where the system is nematic without any other transition, this only happens for 90 Kelvin, people have seen in Arpes a very strong reconstruction of the Fermi surface. So this is, again, the Fermi surface I was showing before, whole light and electron light. I'm adding now colors here. And the color chord is the main orbital character of each pocket. So you have to take three main orbitals to describe the pockets of the Fermi level, xz, yz, xz. And then you see, when you go below the structural transition, these pockets deform, the gamma 1 becomes elliptical, this one shrinks, this one expands, and this can be reproduced in a kind of crystal field splitting for the orbitals. So it looks like you are taking your orbitals, they should be degenerating energy in the tetrangular phase. In the nematic phase, you have a kind of change of energy of the local occupation of xz and yz. And this change of energy also changes sign between gamma and m. So this is a very peculiar way of crystal field splitting. And then everything happens in the particle channel. So, of course, this triggered the idea that in iron selenium nematicity has a different origin. Everything has to do with interaction in the particle channel, so spin-wave interaction are gone. And this will be described, I think, in more detail by in the near on Friday. Now, this, of course, is a possibility. And this is a complicated system, one cannot rule out any effect. But one point that we try to pursue is, is it possible to revise this very simple picture that I had before adding the orbital degrees of freedom, and what is the consequence of this? And then when we did that, what we realized that, once that we construct our spin-mediated interaction, starting from the real description of the low energy with orbital degrees of freedom, we can still find the kind of one-to-one connections between spin fluctuation in different moments, and the orbital character of the pocket. And this is what I will call orbital selective spin fluctuation. So let me try to give you an idea why there is this correlation between spin and orbital degrees of freedom. And let's start again from a low energy model, where now I added the orbital content, as I told you before. So I'm still talking about the whole like and electron-like pockets. But I take into account what is the orbital content of each pocket. Then I want to play the same game as before, for example. Can I have a spin fluctuation between whole like and electron-like pocket, which are, which are, at some moment, large, to do the nesting condition? OK, if I now started to build up on my spin operator, taking into account the orbital character, this eta here is just an orbital index, when I do this particular bubble, I want to go from essentially from the whole to the electron-like pocket, because I want to take into account of the nesting. And then I want to come back. This means that if I want to make a spin fluctuation between this whole pocket and this electron pocket, I need to have the same orbital degrees of freedom on both of them. Otherwise, I cannot make this spin fluctuation in that bubble finite. And this implies that, essentially, if I want to make fluctuation in the x direction, since only the yz orbital is in common between the whole like and the electron-like pocket, the fluctuation along x only affect the yz orbital. On the other hand, when I make spin fluctuation in the other direction, the only orbital in common is xz, and then spin fluctuation for that q vector will only select orbital, which is xz.  So somehow there is a one-to-one correspondence between the momentum of the spin mode and the character of the orbitals, which are affected by that. And then, of course, I can play the same game as before, for example, for the shrinking. So again, I want to compute a self-energy correction, but here I have to take into account the orbital character. So my self-energy will be somehow a matrix in the orbital basis. In the whole pocket, I will have a yz and xz character. In the electron pocket, I will have a yz and xy character. So again, I compute the spin fluctuation of the Leageberg correction as I did before. And since still the sign of the self-energy is due to the fact that I have interbund character, so all band coupled to electron band, still I have the shrinking as I had before. But now the shrinking become orbital selective, because somehow it can be in principle different in the two orbitals. Is spin fluctuation different? This is in the paramagnetic state, actually, that fluctuations are thought to be equivalent. And then the only effect that I have of this orbital selective shrinking is that I have somehow I can just shrink so much the inner pocket that it goes below the Fermi level, as you can see here. And then you have some kind of enunciated elongation of this electron-like pocket, due to the fact that I don't have spin-mediated interaction in the xy channel, since the xy whole pocket is missing at the gamma point here. These are just the comparison between the calculation and the data by Veronik Reine and Arion Selenium. Now, let's assume again that spin ameticity in Arion Selenium is still due to this breaking of spin fluctuation in the two direction. So what happens within this model? What happens in this model is that since the orbital selective shrink rotation are now different along x and y because of this spin ametic effect, then also the correction I have in the orbital sector will be different in the different orbitals. So this and the different sign of the self-energy at the whole electron-like pocket also means that this orbital splitting will have a different sign at the gamma and m point. So, somehow within this scenario, all that we observe as orbital ordering in the pneumatic phase of Arion Selenium can still be a consequence of spin ameticity if I take into account the self-energy correction of the electrons due to spin fluctuation. And this is somehow essentially with this kind of calculation, can reproduce the typical kind of model that most of the people take as a starting point to reproduce pneumaticity in Arion Selenium. So this is just calculation we did to reproduce the data in Arion Selenium, the data by Veronique Brouer. So we model the spin fluctuation under pneumatic phase with different somehow spin masses in the two direction. And we just found out that to reproduce observed splitting, we need the fluctuation stronger along x and along y. OK, so spin ametic can still be the explanation of pneumaticity in Arion Selenium, even if what I do see is an orbital ordering at the end. OK, let's go now to the last part, which is about superconductivity. And this is a really puzzle. Yes. You have to go beyond RPA to reproduce spin ameticity. Here we took it in a pharmacological way. I will comment at the end if there is time about going beyond RPA. But you are right. So the question he's asking is the following. This propagator is the typical propagator of spin fluctuation. What gives you the difference in the masses as to come from an effect, which goes beyond RPA? In this case, we took it as from logical parameter. So we just say, let's say how different have to be the masses here to reproduce the experiment. Perfect. Now, superconductivity. Now that we move from the band language to the orbital language, somehow it's obvious that also the superconductivity will have an orbital character. So orbital selective superconductivity here just means that if your band is made by different orbitals, of course, your superconducting order parameter in any paving model, which is written in the orbital basis, will be orbital dependent. And then the total gap along the Fermi surface, for example, of the gamma pocket, will be just the combination of the orbital ways of each orbital, which I call here U and V, and then the superconducting order parameter. So this is just trivial. There is nothing particularly fancy in this. If you want to write superconductivity, and you have orbitals and different orbitals in the Fermi surface, you have to take this into account. So what is the real puzzle of iron selenium? When you go in the nematica phase, as I told you, the gamma pocket, the form, gets elongated in this direction. But also the orbital character changes considerably. So these are, for example, polarized arpe's experiment, but several groups agree on that. So the character of the pocket is almost completely xz. So this crystal field splitting that you have in the nematic state, completely removed. The yz character from the pocket is becoming red. So this is just a sketch of the orbital character along the angle here. You see in the paramagnetic state in the nematic state. If you look at the experiment of the gap, these are data extracted from QPI, quasi particle interference in STM, the gap here on gamma pocket, is maximum at t equal to 0, which is here, is minimum here. So somehow the modulation of the gap follow the angular dependence of the superdominant yz orbital, which is this one. Because the main orbital, which is xz, is a minimum at t equal to 0, it is a maximum at pi overalls. So the real puzzle of iron selenium is the following. We have, of course, a contribution of orbital degrees of freedom. You go in the nematic phase, you completely remove this character with respect to the other one. The pocket is almost completely xz. But if you look at the gap, the symmetry of the gap is the gap of this orbital, the yz. And then if you really want to reconcile these two observations, you need the mechanism, which makes the orbital component of the gap in the yz channel much larger than the one in the x-y channel. Because you need somehow to overcome the Fermi surface reconstruction due to nematicity. And this is the big puzzle. And this has been, I think, pointed out very clearly in several art and data experiment in the last few months. So how to do that? Our proposal is to follow, to think again in the same way that we did before. We can just construct the model of the per interaction based on the spin-mediated mechanism, pairing mechanism. Here you see this is still here interaction between a hollow like pocket and the electron-like pocket. This factor here is just taking account of the orbital component and all of that. But what is very important, that if you have a fluctuation of stronger along this direction than in the other direction, also the pairing interaction has to be much stronger along x than along y. So you need that also the pairing interaction is nematic. Otherwise, you cannot explain what's going on in the experiment. Why that? Let me just show you the data. Here, this dashed line are the solution of the self-consistent equation where I just take equal coupling. So let's assume that this is spin-mediated pairing, but there is no nematicity in the spin-mediated interaction. Then gx is equal to gy, my language. And then this solution gives me an orbital order parameter at the lower pocket, which is much smaller in the yz than xz. This orbital is also suppressed. Then at the end of the day, the gap just follows the modulation of the xz orbital. And then it has a maximum at pi over 2 instead of the minimum. But if I include a nematic fluctuation, and then I can overcome somehow this effect, this suppression of this orbital, and then I have an orbital parameter in the yz channel much larger than xz channel. And then the gap follows the symmetry of the subdominant yz orbita, which is exactly the symmetry that you see in the experiment. So here is crucial to have one coupling much larger than the other. Of course, this is not the same everywhere. For example, here, if I go to the z pocket, in the z pocket, which is the whole pocket, measured in a different value of kz in the Fermi surface, this pocket retains still a strong yz orbital even in the nematic phase. Because, of course, how much you change the orbital content in a given pocket depends on the band parameter. Essentially, it depends on the Fermi level. This pocket is larger, so the nematic order has a smaller effect on the reconstruction of the Fermi surface, and then the yz character is still there. In this case, of course, is you don't have this strong imbalance of the two, and you can have a gain of the orbital character in the yz respect to xz channel already from the orbital ordering in the electron pocket. And this has been nicely explained by Andreja Raffel in a recent PRL. So somehow, even without playing with spin nematicity, so even taking the coupling equally in the two direction, you can reproduce the result of the job self-experimentary. And this is the dash to the line here. On the other end, if you add to this one also nematic pairing, which means gx larger than gy, you can have a much stronger anisotropy. And this could explain why the anisotropy that has been seen at the z pocket is larger than the anisotropy at the gamma pocket. And this probably will be shown in more detail by Sergey in the next slide. Of course, this effect is possible, but this effect is small if you want to use it for the gamma pocket. So if you only implement the effect of orbital ordering without nematicity for the gamma pocket, these are again the data by Andreja, you get a smaller anisotropy, but also the wrong sign of the anisotropy. So here, because here again, you are back to the problem I told you before. If you don't make this one much larger than the other, then you just follow the symmetry of the dominant orbital with the maximum at pi over 2 instead of the other one. Now, there are, of course, other interesting proposal that have been done. One is to play with the effect of the spectral weights. So this is the issue of the correlation. What happens if now the correlation, the different orbitals are not all the same? The first proposal came actually from the same group of Schimus Davis, the calculation from Peter Ishfield, Brian Anderson, and others. The idea is how to explain this anisotropy that you see experimentally. And then the author said, OK, let's try to implement now to add to the orbital character also the possible coherence of the various orbital. And then you have the different weight in the different orbitals. What did they say? Let's assume that the white z orbital is much more coherent than the other two. This assumption has two effect. You move the maximum of the spin fluctuation from pi pi to pi zero, as you can see here. So now you make in effective way interaction much larger than in the x direction in the y direction. And this give you also an orbital ordering which is much larger than the other one. And this is playing the symmetry of the experiment. However, this effect also brings back the white z character of the whole pocket. So if you now you play with the orbital character, you again get the pocket which is dominant white z character along at equal to zero, which is not what you do see in the experiment. And this, of course, is a problem. But there is an advantage, again, of this approach, that you explain why the white pocket is not seen in STM. This is a very important problem that is not completely solved. And different uppers, people have different opinion. Maybe Sergei will tell more about this. Another nice approach, which will be probably described by Shimi Asiyonov on Friday, is, again, to make a collision or start different multi-order DJ model, there's less spin approximation. Here the spectral weight are not taken by hand, but they are computed microscopically. You get the right order that is consistent with this STM. And here is malanisotope is enough to reproduce the gap. But, again, why is that? Because also in this model, the white z pocket is very large character at equal to zero. So this is, you have 8% of white z character, where what you do see in the experiment is 18%. So, of course, you should bring back the white z character to explain the malanisotope with a very small anisotope in the orbital sector. OK, just a final comment. As I told you why, at least what is my belief, why all these models have so much difficulty to explain what's going on. Because enigmatic effect in sphere of rotation, as you was asking before, come from interaction beyond RPA. And then one has to work the problem hardly, especially including the spin degrees, the orbital degrees of freedom. We just did the reason to work on this. We just, I don't have time to give the detail, but just the idea is that in this kind of spin interaction model beyond RPA, also the orbital character of the pocket is very important, not only just the nesting proper division of all light and electrolyte. And then also orbital nesting can be very, very important. And then the orbital mismatch that you have in iron selenium between the gamma in the electron pocket, explaining why you can have a boost of enigmaticity and the suppression of magnetism. And this can eventually explain what's going on essentially in iron selenium where you dopper with a soulful. OK, I don't have time to say this, let me just conclude. So the point we did try to push is that you can explain a lot of physics with the idea that you have spin medial interaction with the whole light and electrolyte pocket, taking into account the orbital degrees of freedom. And the same mechanism can explain different phenomena. The shrinking, which is temperature dependent above Tc, the reconstruction of the Fermi surface, and the gap here in the superconducting state. There are, of course, many more issues we are studying now, and this will probably appear soon. And with this I conclude, and I thank you for your attention. Thanks. OK, we have time for questions. Go ahead.


Hi, welcome to Cooper Hewitt's symposium, part one, Fashion, Cultures, Futures. I'm happy to be here with you all. This is the panel Sustainable Fashion Practice from Africa to North America. And I am Teju. I am a Jamaican-American poet, researcher, writer, and geographer based in Oakland, California, which is the unceded territory of the Ohlone people, the Chichenyo speaking Ohlone people specifically. And I'm happy to be here with Tahir. We had a third panelist, Abrima, who unfortunately was unable to be here. She's had a family emergency, so please send her some positive vibes and please follow and support her amazing work at Studio 189. And I will pass it over to Tahir to introduce himself as well. Hi, Tahir. Hi, good afternoon, everyone. My name is Tahir Karamali. I'm a visual artist born and raised in Nairobi, Kenya. Currently practicing in Green Point, Brooklyn. And I would really like to thank the Cooper Hewitt for inviting me to be part of this amazing panel and sending out positive vibes to Abrima. And hopefully everything would turn out favorably. Thanks for the introduction, Tahir. Wonderful. So we're gonna get started. And what I wanna do is just give a little bit of an overview of some of the topics that intersect with the panel today. And I wanna talk about black textile cultures and the lineages that have migrated as results. Part of what I do as a geographer is connect the dots between geographies and cultural practice and art and what that means for how we understand our present day experience and the futures that are possible that are more sustainable and equitable. So when we think about the fashion industry, current fashion industry, one of the main things that we think about are supply chains. And I think about supply chains very often, especially being a geographer. And so supply chain is very generally defined as the sequence of processes involved in the production and distribution of a commodity. And one of the foundational supply chains to our current fashion global industry is a triangular trade, which is a very specific supply chain, which is an economic and historical term indicating trade among three port regions. And more specifically, the transatlantic triangular trade, which was between Europe, the West Coast of Africa and the Americas. This was a three stage process. And the first stage of this process in the supply chain was tropical Africans were enslaved and forcibly taken to the Americas to work on plantations. And then the production part of the supply chain was that the raw materials and natural resources were extracted by the slaves as a labor force and sent to Europe to be manufactured into finished goods, which brings us to the distribution part of the commodities, which is these manufactured products from Europe, which are traded on the West Coast and the desert coasts of Africa for the enslaved Africans who created the production, right? So it's a circular trade, a triangular trade, a supply chain that involves processes, production and distribution of commodities. And what we know to be true, which is also true in the current fashion industry is that the distribution and commodities is what generates the most profit and the first two levels of the supply chain, the extraction of raw materials and the processing of those raw materials and the extraction of those raw materials generally are not the most profitable parts of the supply chain, generally the more devalued part of the supply chain and generally, as we know with the triangular trade where black and brown bodies are abused and experienced violence. So let's talk about processes, fashion processes, textile processes. I wanna start with some indigenous African textile cultural processes. So tropical West Africa as early as the 10th, 11th century was a center of cotton production and more generally textile culture. It was a center for creating natural fibers using the materials that were around there, cotton group runnerly and family kinship compounds, fiber like bark cloth, which was made from bark and raffia, which was also made from a type of bark tree were common processes that were used across Africa and specifically in tropical West Africa. And in terms of cotton, which was really one of the main textile fabrics that was used there. There was a very small long artisanal process involved in creating some of the textiles and fabrics that were made from cotton such as weft and weft is a popular textiles design out of tropical Africa. It has to do with adding patterns to a ground weave and this ground weave was usually made out of cotton. And so the way that these fabrics were made was that the cotton seeds were planted usually in family compounds, but specifically with the heel of the foot into the soil to disturb the soil less. And as you know, if you're interested in permaculture, one of the main principles is to disturb the soil less. So there was this indigenous practice of using your heel in order to do that to plant the seed. And then as the seed grew and it was picked, it was separated by hand or with a comb-like tool from the seeds. And it's very difficult to separate the cotton from the seeds, which is why the cotton gin was so popular. But before the cotton gin, like centuries before the cotton gin, tropical West Africans created this tool where you comb the fibers out and they are extracted from the seeds. And then finally it was spun on a ceramic spindle, which they usually made out of the clay from the earth and then woven on a loom that was usually made out of tree bark. So this whole process was very long, very slow and really about working with the earth, with the soil, with what's around you, rather than mass producing. And even though cotton was used for trade, as far as Madagascar, the sustainable indigenous practices were used for centuries in the process of cultivating cotton and creating this rich textile culture. Similarly, mudcloth, which we know as a popular design now was a mainstay in tropical African cultures for thousands of years. And the cloth was usually cotton and it was dyed with fermented mud, indigo or other plants, whatever other plants were around. And now we know mudcloth as a very popular design that we see in modern decor. And it's largely divorced from this very indigenous slow practice of dyeing cotton based fabric with designs and with plants. So this intergenerational thousand years long history of natural fiber cultivation, harvesting and artisanal weaving among indigenous Africans was invaluable to European colonialists who needed skilled enslaved labor to make their profit crop model possible in the Americas. So it wasn't just that this was labor that was cheap labor. It was that it was skilled labor. It was skilled in terms of textiles, in terms of agriculture. And so these skills and some of these traditions traveled across the Atlantic, along with the 12 million Africans who were forced into slavery and taken across this ocean to points in the Caribbean, Latin America and North America. And some of the ways this textile and agricultural ingenuity migrated across the ocean was from very radical practices of hiding seeds in hair, hiding seeds in clothes or pockets wherever you could. The way that rice started growing and being planted in North Carolina and South Carolina was that women who had been enslaved braided some rice seeds into their hair and carried it off of the slave ships and planted it in their slave plots. And planters were having a hard time with cotton and tobacco because of how specific the soil was in the Carolinas. They noticed that Africans were growing rice on their plots and started planting rice as a plantation crop. So this ingenuity, this agricultural skill set was taken across and migrated across the ocean and was brought into the production aspect of the foundation of the supply chain. So we as in black people were at the foundation in every level of the supply chain from seed to sow, specifically with cotton but also with other fibers like hemp and wool as well. Cotton however was the first luxury commodity in the US before anything. Cotton was a luxury crop for centuries that had been known as a special crop that did not grow in Europe and Europeans were trying to get their hand on it. So the slave market, plantation slave trade allowed them to create this cash crop commodity of cotton. More than 70% of all slave black people in the South worked on cotton plantations by 1860. So most of the folks who were enslaved in this country were specifically cultivating, harvesting, producing cotton which created the Great Britain to dominate the global textile industry which previously was dominated by India. The Indus Valley being the origin of the cotton plant and being one of the first places that cotton was turned into fiber. So previous to plantation slavery and the cultivation of cotton in the Americas the Indian subcontinent was the largest producer of cotton. And because of the cheap labor that made cotton profitable for Great Britain they were able to dominate this textile market through industrialization and factories. And this really created the fashion industry in the US but also created the foundation for the US economy more generally banks were invested in cotton all kinds of industries were invested in cotton in the US. And so all of this was done through the colonization of Africa which was continuing to take place the enslavement of black Africans in the Americas and the mass cultivation production and trade of cotton in the Americas. And so the colonialism that created this structure really transformed the planet and the global economy. Colonial powers tried to eradicate traditional indigenous textile ways through centralizing textile productions. However, as we know this lineages migrated, evolved, developed and have even been in some cases subsumed into mainstream American culture. So through plantation slavery and the mass production of textiles like cotton, like hemp and other crops like tobacco soil erosion was created across the US South and in Haiti by time Haiti won independence from France in 1804 most of their land was no longer arable due to the plantation economy. There was mass deforestation which took away some of the climate stabilizers such as forests and trees. There was the increasing of natural disasters because there was less natural cover from forests and other biodiversity and with monocultural economies such as plantation economies that means that there is this eradication of some of the diversity in plants. So colonialism transformed the planet in order to create this globalized fashion economy that was based on this very violent supply train starting with the triangular trade.  I've used some of these indigenous influences and these indigenous skills to innovate in the Americas.  So in Jamaica, my home country enslaved African women created lace from the legata tree which is also known as a lace bark tree. So they would peel out the inside of the bark they would stretch it out and starch it and bleach it and leave it in the sun and it would create this lace-like material. And so they would weave, crochet, knit this lace-like material into these beautiful dresses and sort of ornate pieces, shawls that they would wear. And so even though the clothing that they were given as enslaved people was mostly scraps of fabric, cotton fabric, they were able to create this lace-like material to give themselves some luxury in the midst of this violence. And they understood how to create cloth from the bark cloth cultures in tropical West Africa but also they learned from the Arawak and Taino indigenous people who were using this lace bark to create rope, to create baskets, to create other types of utilitarian products and enslaved people created lace and slave masters use this fiber actually for whips but now this culture of weaving and knitting and crocheting and lacing is so much a part of Jamaica, so much a part of Caribbean culture. And now these crocheted knit dresses like Rihanna wore in her work video are popular in mainstream fashion and really are part of this lineage of ingenuity of enslaved African women. And of course the journey truth, one of the most iconic images we see of her is her holding knitting needles. She always wanted to be photographed with knitting needles and actually she spun about 100 pounds of wool into homespun yarn to buy her freedom. She was enslaved, born into slavery and quilting is another popular craft that is traditionally American. I grew up with quilting culture. Harriet Powers who was born into slavery was one of the first women to be recognized as a quilting artist. Her quilt was exhibited at the Athens Cotton Fair in Georgia in 1886. And of course now we have popular artists like Faith Ringgold who make quilts about her experience growing up in Harlem in New York that reflect black culture, that reflect black life. And C. Lee Pettiswold quilter I recently interviewed in Louisiana who makes quilts using scraps of African fabric to think about her own creolized African culture and even fashion designers. This is Leon Bridges a singer in Bode who created a quilted pattern jacket. So it's in fashion now and this black tradition usually held by women has been continued through generations and we now also see it in mainstream art and fashion culture. So when we think about the distribution side of fashion the distribution side of textile culture we see heavy exclusion currently and in the past of black people. Black people along with the continent of Africa more broadly have been overlooked, excluded or completely ignored in the current fashion economy even though we have always been central to the cultural production and the value chain still we have always found a way to disrupt the status quo and insert ourselves and insert our value into all aspects of the supply chain. And of course Cooper Hewitt is currently celebrating and honoring Willie Smith who was really seen as an anomaly in the mainstream because he was the most commercially successful African-American designer in the 80s but he was clearly inspired by his black American upbringing and specifically the women in his life and we know that women in black culture really transmit this culture across generations and specifically his sister Tuki who was his muse. So his ideas of function, collaboration and performance art really exemplified his brand distribution model which was clothing for the everyday people in the 70s he went to India to start Willie Ware to figure out how to create the designs that he wanted that were based on function, based on what he saw in his everyday life what he saw when he was traveling through India. And so one of the things that Willie has known to have said is that for most of these designers who have to run to Paris for color and fabric combinations should go to church on Sunday in Harlem. So again understanding black life as inspiration and knowing that black life is one of the ways that these crafts that have now been adopted into mainstream culture have come from in recognizing these lineages. So what does this mean for futures? Which is also what we're talking about last week along with an organization called C2Shirt we launched a campaign called Rerepresent Us which is a limited edition t-shirt line with organic cotton from farmers in Burkina Faso processed and sewn in a carbon neutral facility in Kenya printed at a black woman owned shop in Georgia and having four designs by black national and international artists vertically integrated and distributed by C2Shirt. So we created a sustainable t-shirt line through a completely black diaspora supply chain from seed to sew. And so this is an example of the types of fashion futures that we're seeing as a continuation of these legacies of African cultural textile traditions as well as the future of fashion and recognizing that black people have always represented ourselves in these industries and always affirmed our own value in these industries. And of course recognizing the way that art again asserts blackness into the future. This was an art piece by Alicia B. Wormsley there are black people in the future. And of course my other two panelists Abrima and Tahir who are representative of the fashion design in our futures that are happening here now. So again, unfortunately Abrima can't be with us but I'm gonna pass it over to Tahir to talk a little bit more about his practice and the way he understands some of these concepts. Tahir, please take it away. Hi, thank you. I'm really happy that you chose that photo. That's a great photograph. Thank you for choosing that one. Okay, I'm Tahir Karamalli and today I'm going to talk to you about one of my projects called Strata which is inspired by the Kuba cloth textile that is found in the Kuba kingdom in the Congo. So my first fascination with this textile was within the museological context.  So here's an image from the Brooklyn Museum Archive and over here at NCMA, the North Carolina Museum of Art. So Kuba cloth is like primarily uses these sort of mathematical and geometric patterns which has sort of like prevailed throughout a lot of African textiles. But what's really unique and very interesting about it is the process of how this particular textile was made. And looking at them, they definitely give you this very much modernist sort of painting something that you would think would come out from contemporary post-World War art. But definitely these objects have been made way beyond that dating back to the 1600s. So just to give you some geographical reference, this here is the Congo, the DRC. And here, this black spot right here would be what would be what was the Kuba kingdom in the Congo, right here next to the Sankuru River and the Kasai. And if we move on to the next. So Kuba cloth is typically made by a fabric that is sourced from Raffia. And so Raffia is a palm product that is essentially sort of like stripped down and turned into these sort of like long fibers. And then using the warp and weft method, they are these fibers are woven together. Once these fibers are woven together, the textile is then beaten so that it is actually given this very soft textile. So it feels more like a cotton rather than sort of what you typically understand Raffia or somewhat of like a rougher textile. So the Kuba cloth itself is incredibly soft and incredibly malleable and it actually sits on the body very well. Typically used for adornments or body adornments for skirts, also for wall works as well. So the Kuba cloth not necessarily was only used for body adornment or dressing or for ceremonial use but also used for decorative use as well within the kingdom itself. And specifically for the backdrops for a lot of the kings and like the reigning king at the times. And it is dyed with this very specific type of plant which is tool, which is a tropical plant that you typically find in the jungle and in sort of like dense jungle areas. And it produces this sort of like reddish brown dye which sometimes is mixed with palm oil for, excuse me, ceremonial purposes, right? And what the belief was is that this particular plant harbored a, like harbored a power or a sort of healing to it that would be imbued inside the textile as well. So it was not only just used for its dye process but also its perceived ability to transfer healing or transfer some level of spirituality to the actual object itself. This is an installation of the Brooklyn Museum so that you can see sort of better how it is displayed in the museological context. I specifically referenced this because I'm really interested in how these particular fabrics are displayed here in the Western world and specifically here in New York City and in museums because they are often sort of seen detached from what its typical use would be within the Kuba kingdom, the Kuba nation necessarily. And so I'm interested in how they are cased and how they are treated. These textiles are not light fast at all. And they, because it's made from Rapha and they've been beaten quite rigorously, they tend to disintegrate. So the period to be able to see these textiles is often very short. So a lot of museums would actually have these textiles rotating. So it's actually incredibly lucky if you ever do get to see one of these textiles in person in real life. And this is an example of how one of the Kuba kings would wear the textile over here. And then you can also see sort of like panels of skirting and also panels that are for sort of like interior adornment. So transferring on to the Kuba cloth in contemporary sort of trade. We see Kuba cloth a lot sort of in companies like restoration hardware where you would now see them sort of adorn them, use the fabric to adorn like bedding or pillows or also wall work. So it's actually sort of translated not necessarily correctly, but it kind of translated in a way that is to what the people would have been using the textile for anyways. So I was really interested personally as an artist as to like how this textile comes to being and how we treat this textile and what the process of making this textile is. And then kind of looking at what our relationship to the Congo is right now and what kind of trade is happening in the Congo right now. And one thing that I am very interested in just like Teju is the supply chain and more specifically the supply chain of technology and our contemporary lifestyle. So one particular issue that we're facing specifically in the Congo is the cobalt mines. So cobalt mines, and if you don't know what cobalt is it's a mineral that, sorry it's a heavy metal that's used primarily for cell phone batteries. And these batteries use quite a lot of cobalt and a lot of cobalt does come from the Congo through these somewhat illegal mines and somewhat legal mines as well. And one particular issue is that a lot of children work in these mines because of like how narrow they are to sort of like pull out the cobalt from the mine itself.  And when we talk about the supply chain you can see here how the mining sort of starts here in the DRC and this particular material would move across East Africa into China and then refined in China and then distributed and then finally the end product ends up here in the US in the form of an Apple iPhone or a Samsung Galaxy Note or a Windows Surface object. So a lot of us unknowingly are holding a piece of Africa in our pocket every day. So with knowing this and kind of using the lessons that I learned from not only the museological sort of display of cobalt cloth but also the process of making cobalt cloth and also the knowledge of the supply chain of cobalt I started to work with a village very close to the Kasai province to create undied Rafia textiles that I later imbued with the cobalt that I would buy from, well, I would source from dead cell phone batteries off of eBay. So I would get a bunch of cell phone batteries and extract the cobalt and then just how they would use the tool and the sort of sense of power that is sort of imbuing the textile is to actually sort of like create an object that sort of describes our history with the supply chain specifically to do with cobalt and also the slow degradation of classical cobalt cloth production and just to give you a quick reference this is actually how cobalt and the lithium ion batteries sort of looks like the cobalt is actually attached to this copper foiling and that copper foiling is then what I pull out and extract the cobalt and also so impart some of the carbon and the lithium as well and I create a sort of this essentially which is then I oxidize and I turn that into a cobalt dye sort of supplement. And so the word strata really kind of references sort of like the rock but also references history and sort of like talking about this kind of recurring histories of like extraction of material from Africa whether it be people or also in regards to the Congo rubber and other materials that are just sort of like pulled from the continent without any sort of like remorse whatsoever. So a lot of the objects themselves are sort of like layered or reference shrouding or death or sort of like hung bodies on the wall or in some sense kind of this blanket type quilting references as well about how we discuss our history and how we put that into the textile and view it. Personally, I did not want to appropriate necessarily the Kuba Kingdom's way of using geometry as a style I just wanted to really kind of show the staining of this dye onto the textile itself because I feel that the textile as a carrying material harbored enough sort of like weight to it that when it is stained and it is sort of like place these like sheets of copper on it that it kind of creates a sort of like abstract landscape feel onto the textile but also gives it the sort of like weighted body feel. So you're not necessarily kind of looking into the object for a geometric or musical reference but you're actually looking at sort of like a landscape reference and sort of a treatment to the textile rather than sort of an adornment of the textile while the Kuba people definitely were concentrated on the textile as an adornment piece but I'm more thinking about the textile as something that is like harboring a staining from our history. Okay. And so that is me. That was very interesting, incredibly interesting and I wanna ask you some questions before we open it up to audience questions. The first question I have is just how did you get interested in this specific Kuba textile culture? Like how did you come to find this particular textile and go to understand more about the research? I would love to know more about that. I have always been really interested in textiles and a lot of my work references like fiber and textile and I was, when I moved to New York City and I went to the Mets and I was expecting there to be like a really large like, you know Africa or East Africa, you know and it's this tiny little dinky room that they have. It's like really small but what grabbed my eye was the Kuba cloth itself, right? Like the way that it's treated in the museum, it was just, because it's such a fragile textile and it's something that is so coveted it was so interesting for me to see it and I was just taken by the geometry and the breaks in the geometry and artistically just sort of like the execution of those textiles are gorgeous because the hands though like a lot of these textiles to give it like a little bit of like tufting and it's like hand tufting in these geometries it's not easy and these things date, you know 1635 to like 17, you know, they're very old and I really was taken by them and when I started to learn more about the textile and when I started getting into sort of like making my own textiles I was also doing a lot of research with regards to the cobalt supply chain and then that just kind of like clicked together it just seemed like, oh, this is a contemporary issue that I can use a process to actually discuss something that can be also making commentary about like the museological display of like African textiles as well Does that make sense? Yes, and my next question is sort of about that some of those processes I think it's important that you mention this sort of centuries long and continual extraction from Africa but also this like consumption of Africa that we all have Africa in our pockets or even the idea that most artifacts from the content and earn museums in Europe and the US and I wonder if you could talk about especially as an artist this idea of the types of extraction the extraction of raw materials, the extraction of culture maybe even the extraction of artists in the museum context, thoughts about that? Yeah, I do have thoughts about that especially with regards to sort of artists and how some artists are allowed to perform in the museum context to sort of like give light to certain issues and also to sort of like also silence other issues which is sort of like defeats the purpose of inviting artists and like whenever they do this sort of every few years it's the Africa exhibition contemporary African art exhibition and then how they decide to sort of like frame that work is very specific and how they extract these ideas and then move those artists to Western institutions so that they can actually capitalize on that is something that I think about a lot and something that I'm also personally in conflict about but with regards to just materials in general a lot of people are just completely unaware as to firstly where Africa is which is like a problem I was at my local bar and I asked people to name three African countries and it's like two, like Egypt is what you get Egypt, Morocco, Egypt, Morocco and I hear that and they've gotten those emails that's what they understand that you're gonna be Yeah, exactly or Somalia, you know because yeah, so there is just a general ignorance and they think that Africa doesn't really have anything to offer the world but have like high key just been profiting off of the continent and the landscape for the longest time and it's deliberately engineered that way that a lot of people around the world are constantly gonna perceive African people as sort of in the backseat and as something that it's a continent that constantly needs development and that's actually how that entire system works is because everyone believes that Africa constantly needs development and then while they do that they just exploit everything they just like pull everything from under you and you don't really realize it because nobody necessarily wants to talk about these complicated histories anymore. Yeah, and also I think history advised in that it is largely from a Western view or at least mainstream history is largely from a Western view so when you think about the history of cotton which I was recently doing research on for like thousands of years Europe was not a part of cotton. Next out there was supply chains and trades where Europe was minimal if even involved at all and so even the way we understand the history of production most of our feelings about supply chains are from a Western perspective and so necessarily Africa is gonna be seen as this place that needs constant development rather than this place that for centuries has produced most of the world's agricultural developments So I know we have some questions from the audience so I just wanna ask one more question which is not a super complicated question and then I'll open up to the audience which is since this Cuba textile is made for mostly natural materials you mentioned that it disintegrates when it disintegrates is it able to go back to the earth without poisoning the earth as a result? Not mine because it has cobalt in it. Yeah, I mean technically it is oxidized and can be but the way that that has to be treated is very different. But yes, no, with the tool dies and with the Raffia that naturally goes back in and that's actually one of the most interesting things about the museological sort of display of these textiles is that they're actually designed to disintegrate, right? They're designed so that we know that there's gonna be another King coming we know that there's gonna be another representative coming we know that something is happening it is actually a textile that works in congruence with the society and with how the Cuba kingdom operates, right? So these things naturally sort of disintegrate and they are like ephemeral objects, right? So the way that we treat them now is this sort of like holding onto a history that largely has been eradicated because of colonialism and we're just kind of like holding onto these sort of like remnants of memory because a lot of the kingdom has like largely been destroyed. So that's also kind of a huge part of that commentary is this kind of like sort of treasured object that is supposed to actually disintegrate. Yeah, and this idea of impermanence like part of the museum and Western culture is this idea of something being entrenched forever and most things in life are impermanent. So let me... I mean, permanence gives me anxiety. That's a change. It just gives me a lot of anxiety. I'm just saying I like impermanence, that's fine. I can deal with that. I agree with that. Yeah. So we have one question. I don't know if you have the answer to this. I don't know if I have the answer to this. Where did the process of wax print originate? How did the Dutch come to dominate this textile industry? Okay, so you should definitely look at Yankee Shinabara's work. I think like Yankee's work has definitely like talks about this, but from my dealings with the research with regards to sort of like Vlisco and like these sort of major wax prints, batik textiles, it actually originated from Indonesia and the Dutch has colonized Indonesia. And that process was taken to the Netherlands and then no one in the Netherlands really wanted that. And the market that actually wanted that was predominantly West Africa. Okay, next question. Where can we learn more about plants and trees being used in fashion or to create textiles? One resource that maybe comes to mind that I have used is called African Textiles by John Mack. And he goes through some of the traditional indigenous African textile cultures, all of which are from trees and plants. And to make sure you have some other resources. There are a few, I just can't remember them offhand. Definitely a lot of textile books on African textile for sure, especially about like heritage textiles. And also I feel like there is an online resource that you can use that is escaping me, but I will find that out and then I'll let you know. And also like before 1960, a lot of textiles and fabrics in general were made from natural materials or animals, such as wool. And so also like if you look in archives of fashion houses of museums, you can see what materials things are made from and it's very easy to just find what that source is and do research on that. In terms of things like lace bark, which I mentioned, which is a little bit more under researched, there are tons of blogs. Like if you could think of anything, you could just type it in like fabric made from this plant and there might be something happening. And I know there's a huge movement of using biomaterials for fabric and fiber. So there's now more information about people designing with moss and other types of things. Also the dyes themselves are all like natural dyes, especially like one like henna or like turmeric and also obviously indigo and all of the dyes that go into making mudcloth are really interesting as well. And also like kutch and like different types of like barks that are used all over Africa to get really interesting colors. One of the things about like while I was doing some research and I was talking to a very close friend of mine that works in the fashion industry more specifically concentrating on heritage textiles is that we're actually facing a situation where the production of heritage textile in Africa isn't necessarily meeting the demand around the world especially with like organizations like or like companies like Reservation Hardware and so on that you could walk through Williamsburg, you will see a plethora of these sort of stores that have these textiles.  So it's definitely something that you need to look out for in terms of like who you trust. And sometimes they just sort of like ship it to Mali and sell it from someone in Mali to make it come across as it being authentic. And whenever you do buy these sort of like textiles to make sure that you're getting sometimes they artificially wear the textile like wear it out. And so when you buy some of these textiles to make sure that especially with indigo dyed cloth that the indigo still kind of comes off onto your fingers like, you know, when you buy new jeans or whatever those artificially faded ones are most likely something that has been produced incorrectly and likely been produced in China. Which is worrying because it is an African heritage textile and it is, well, you know a lot of my project deals with like the appropriation of a process. It does work differently when now sort of you're capitalizing on like a trend especially an interior design trend where it's like modernist but rough and ready. I think the other thing about capitalizing on a process is that it naturally devalues the process because it has to be mass produced and what makes these sustainable is that they are small batch that there are not hundreds being produced or thousands being produced on an assembly line. It's the care, the craftsmanship. So I think part of that is also lost in the mass production and this consumption culture like everyone wants a hundred of these. So anyways, it was amazing hearing your presentation. I look forward to following your work. Thank you so much for joining this panel. Thank you to Cooper Hewitt for having us. And I know there was part two of the symposium coming up in the fall. So make sure you stay tuned for that. Thank you for joining us today and have a good afternoon. Thank you so much.


Hi friends, welcome back to my channel and welcome back to another weekly WW meal prep. Holy moly do I have a lot in store for you guys this week. We have so many recipes. We have breakfast, we have two recipes for lunch and we have a dessert recipe. So you're actually going to get four recipes in this meal prep instead of your traditional three. So super excited to share everything with you guys. Also extremely excited about what I have on the menu for this upcoming work week. So if you want to see what I have in store for breakfast, lunch and dessert, all you have to do is keep watching. For breakfast this week, I'm going to be making a sheet pan breakfast bake. I am so excited about this you guys. Easy peasy to put together and it sounds delicious. It's literally like you're eating a country breakfast in one dish, cannot wait. So you're going to need some shredded hash browns, some light butter, some olive oil, light shredded cheese, Parmesan cheese, eggs, bacon and some spices. So you'll need garlic powder, basil, black pepper, oregano, thyme and of course some salt. So let's get started on our breakfast meal prep. So the first thing we need to do for our breakfast bake is get our hash browns ready to go into the oven and start cooking. So what I've done is I've removed 10 ounces of hash browns. We want a total of 20 ounces. So now I have 20 ounces of hash browns. You can use refrigerated or frozen whatever you prefer. To that we are going to go ahead and add two tablespoons of melted butter. Yum. And then we're also going to add one tablespoon of olive oil. And I went ahead and kept the olive oil only because I wanted to have that little bit of healthy fat in my breakfast. To this we're gonna add some salt.  So we're gonna start with our Himalayan pink sea salt. And again, you're just gonna wanna add to your taste. To that we're also gonna go ahead and add in some ground black pepper. And then we are going to add some oregano. And again, just add what you wanna add for your own taste. We're also gonna add in some garlic powder. This should be so good. These hash browns are gonna have amazing flavor. And then we're gonna go ahead and add in some thyme. Certainly not least. We're gonna go ahead and add in some basil. And then we'll give this a big stir with a spoon. Get our hash browns all nice and coated in both the butter and the olive oil as well as get those seasonings mixed in. And then we're gonna add our hash browns to our sheet pan and get that into the oven. That way our hash browns have a chance to crisp up a little bit before we add in our eggs and our bacon. But look at that. Once you get your hash browns nice and mixed together, we're gonna go ahead and pull out a large sheet pan. You are going to need some sort of cooking spray or some additional olive oil. We're gonna go ahead and generously spray the bottom of our sheet pan. Remember, everything is being cooked on this pan so we don't want anything sticking to the bottom. We're then gonna go ahead and add in our hash browns. So put those on your sheet pan and then we're gonna get those nice and spread out nice and evenly. This should be so good. Thank you guys and how easy is it to just literally cook everything on one sheet pan. And we're having hash browns, eggs, bacon. Like we're having literally an entire country breakfast on one sheet pan. Love, love, love this idea. All right, so get your hash browns spread nice and evenly. And then to the top of our hash browns, we're gonna go ahead and add some cheese. So let me finish getting these. There we go. And then we're gonna go ahead and add our one cup of the Trader Joe's light shredded cheese. You can also use any shredded cheese that you want. Just make sure it's a light cheese. Mine is two points for a quarter of a cup. So this, I believe, is a total of eight points worth of cheese. Might have been 10 with the Weight Watcher's Math, but you get the drift. So make sure if you're gonna use a different type of cheese that has more points that you're accommodating that as well. So let's get this hash brown cheesy deliciousness into our oven.  And essentially we wanna create six wells. So go ahead and take your fingers and create six wells in your hash brown mix. Because into our wells, we're going to be adding our bacon and we're going to be adding our eggs. Also, you wanna make sure that you let your hash browns cool for a few minutes by the way, because these suckers are hot right out of the oven. So make sure that you let them cool a little bit. Go ahead and create six even wells, or as even as you can make them. They don't have to be perfect. We're actually gonna add our bacon to them. So you want six wells and then in each well, you're gonna add two slices of bacon. So I'm basically just gonna kind of pop it around the inside of the well here. And again, it doesn't have to be perfect. You actually wanna do two pieces. So just kind of fill that well with some bacon. Try to leave an open space to pop your egg in. So again, another well, two slices of bacon per well. Each well is going to be one serving of the breakfast sheet pan bake. So you wanna make sure that you are as even as possible. And we're just gonna continue doing this until we fill all six wells with bacon. And then we will crack one egg into each well as well. Well as well. And then we'll add a little bit of salt and pepper to it as well before we put it into the oven. But this looks so good. Literally you guys, this is an entire breakfast and on a sheet pan, super excited. So I'm gonna finish the bacon, get the eggs in, some seasoning, and we're ready to put this back into the oven. Once you have your eggs and bacon in all of your wells, you're going to take three tablespoons of Parmesan cheese. And we are just going to sprinkle that over each of our wells. Try to be as even as you can to try to keep the points even. But go ahead and add your little bit of Parmesan. And then these are gonna go back into the oven for about 10 or 15 minutes until the eggs and bacon are cooked through. But this looks so good. I cannot wait. I just pulled our sheet pan breakfast bake out of the oven. Look you guys, yummy, yum. Now I did not cook the bacon all the way through because I'm going to be reheating this throughout the work week. And I don't want the bacon to be too crispy. So my bacon is not quite done all of the way, which is fine. And then we are going to separate out our six even servings. Their serving is one sixth of the sheet pan, which basically encompasses one egg, the two bacon, and then one sixth of the hash browns. So I'm going to go ahead and divide that out nice and evenly. And then we're just going to pop this into our meal prep container. And I'll show you what my breakfast looks like. But this looks so good. So here is our completed breakfast meal prep. Look at that. That looks so delicious. It fills the entire large side of my meal prep container. I do have some blueberries here. I'll be doing a mix of blueberries and strawberries. So I haven't filled the fruit portion, but doesn't that look absolutely delicious? And you can have one sixth, so one serving of this breakfast for only six smart points. That includes hash browns, cheese, bacon, and eggs. So this is going to be this week's breakfast. As part of my lunches for this week, I'm going to be making candy apple salad. This is a zero point salad. It is sweet. It is delicious. I used to make this all the time. And I don't know where I've been, but somehow I found the recipe again. And I was like, oh yeah, that is so good. So here is everything that you need for the candy apple salad. And again, remember, this is zero smart points for one cup. So you're going to need two apples, some non-fat Greek yogurt, crushed pineapple, and sugar-free butterscotch pudding. That's it. So let's put this candy apple salad together. So let's get started on our candy apple salad. The first thing we're gonna do is go ahead and add our package of sugar-free butterscotch pudding to our bowl. And then we are also going to add 32 ounces of non-fat Greek yogurt. I did go ahead and use my food scale and remove 3.5 ounces as this is a 35.3 ounce container. So this is exactly 32 ounces of non-fat Greek yogurt. I am going to reserve that yogurt that I removed to just have as a snack. So it is just a little teeny bit. Now you could probably put the whole thing in, but I decided to stick with the recipe exactly and do the 32 ounces of non-fat Greek yogurt. And then you're gonna take a spoon, get that nice and mixed together. Before you add in your apples and your pineapple, make sure that your butterscotch pudding and your yogurt is nice and combined. It already smells so sweet and so delicious. Cannot wait. So once you get that nice and combined, that's when we'll go ahead and we'll add in our pineapple and our chopped up apples. So two medium size apples is what you're looking for for that. So there's our yogurt and our butterscotch pudding. And then to that we're gonna go ahead and add our two medium diced up apples. I went with Fuji, I believe is what I ended up getting. And then you're also going to add your can of crushed pineapple. Make sure that you do drain it because you don't want all of that added liquid. Give that a stir. So get the apples and the crushed pineapple nice and mixed in with your yogurt and pudding mix. And then that's it, guys. That is literally the caramel apple salad. It is done, we got a label in there, there we go. It is done and it is ready to go.  So look at that. That looks so divine, I cannot wait. For lunch this week I'm going to be having the Taco Bell copycat crunch wraps. Yes, ma'am, I said crunch wraps. I am so anxious to have this. I love the Taco Bell crunch wraps and there are so many points. So this is a copycat version that fits into WW. So let me show you what is in the crunch wrap. So first you're going to need some non-stick cooking spray. You're also going to need some queso, light sour cream, one pound of extra lean ground beef. This is 96-4, shredded lettuce, light shredded cheese. I prefer Mexican blend, taco seasoning, two tomatoes, extra thin corn tortillas or toaster shells and some sort of wrap. I'm going to be using the one-point extreme wellness. So let's get started on our copycat crunch wraps. Since I'm using corn tortillas, I'm going to put these into my oven at 400 for just a few minutes until they are crispy. I'm going to do that first so that they have a chance to cool because we do want that crispy corn in our shell of our crunch wrap. Next you want to get your ground beef nice and cooked down. Once it is browned, we'll go ahead and add in our taco seasoning. So I'm going to go ahead and get my ground beef. Good to go. And then I'm ready to pop my corn tortillas into the oven.  I'm also going to weigh out one tablespoon of light sour cream, put it into my little to go containers. So I won't actually be assembling my crunch wrap until I'm at work. And the reason for that is I do not want warm tomatoes, lettuce and sour cream. So I'm going to get these baked up separately, get my sour cream into my little to go containers and I'll show you kind of what the entire thing is going to look like. We just won't actually assemble them until we warm them up. So here are my little bags of lettuce and tomato. I'm just going to take these to work with these in the small compartment of my meal prep container. I also have five days worth of one tablespoon or 15 grams of light sour cream. Now I am going to make one complete crunch wrap to show you guys exactly what it looks like. My husband will eat it cold, so we're good there. So this is what I'm taking with me to work. Brown, go ahead and add in your taco seasoning and a little bit of water. Make sure you do drain your hamburger as well. I love 96-4 because there really isn't a lot of fat that comes off of the hamburger so it makes it super easy. So I'm going to let this cook down and I just pulled my crispy, look at that, nice and crispy corn tortillas out of the oven as well and they are currently cooling and then we'll be ready to assemble our crunch wraps. So to assemble our crunch wrap, go ahead and take one of your Ole Extreme Wellness tortillas. We are going to put some hamburger right in the middle. Now I accounted for four ounces of hamburger per crunch wrap so I'm going to add relatively close to that. We're probably going to be a little bit shy which is just fine. We're still going to go ahead and count it as the same points. We're then going to go ahead and add our nice and crispy corn tortilla right over the top of our meat. We're then going to drizzle about two tablespoons of queso over our corn tortilla. Two tablespoons of queso is only one smart point. So again, we may not quite use two tablespoons but it's going to be close enough and then you're going to go ahead and take your light shredded cheese. I have one eighth of a cup here which is one smart point so I'm going to go ahead and add that. This is also where you would add your lettuce and tomato and sour cream which I'm not going to do simply because I don't want them to be hot. And then we're just going to go ahead and fold up all of the edges of our tortilla to go ahead and cover up our corn tortilla. You may also, maybe better actually now that I'm putting this together to fold your corn tortilla in half to make it a little less large so that you can actually fold up all of the corners. There we go, that's a lot better. Of your Olay wrap around. Here is where you would actually go and pop it onto a pan to seal the layers here of your crunch wrap. So for my husbands, I have a full size regular flour tortilla. I just wanted to show you guys the completed finished crunch wrap with the lettuce and tomato. I am going to go ahead and cook down my crunch wraps on the stove just so that they have a little bit crunchier coating but they won't have all of the cold ingredients. So for my husband, same thing, meat in the middle, corn tortilla on top, drizzle over your queso, cheese. I'm not measuring for my husband because he does not care. And then to the top of that is where we're gonna add our lettuce and our tomato. So I did save out a little bit of tomato and lettuce. We're just going to put that right on top. Now it does want you to cook the crunch wrap with the lettuce and the tomato but it won't have the opportunity to get warm enough but it will if we have to reheat it after we've cooked it. So go ahead and nicely fold in all of the corners. So this is gonna look very similar. Here's a look a little more similar to a Taco Bell crunch wrap than mine only because he has such a larger tortilla. And then we are going to take just the little piece off of another shell and cover the top here and then we'll get these into the pan.  I did go ahead and add a little bit more to the top layer. We're gonna let this cook until it seals the shell and then we're gonna flip it and let it grill this side as well. So I'm gonna do that with mine. This is my husband so that I can show you what it looks like with the lettuce and tomato but I am gonna go ahead and grill mine closed and then I'll just pop it open to add my lettuce and tomato when I get to work. So this is definitely now that I think about it maybe a better dinner recipe than a meal prep recipe only because it is really hard to add your cold ingredients to a hot taco and then reheat that but I'm gonna give it a try. It sounds good, it looks good. It probably will be just fine but just heads up to you it may be better served as a dinner or if you have the opportunity to eat directly once it's done at home. So I just flipped over my husband's creme trap. You can see here that I just used an extra corn tortilla to fill the gap and then once this is done I'll go ahead and get it on the plate. We'll cut into it and I'll show you what it looks like with the lettuce and everything in there. You can add the sour cream to the middle or you can top it with sour cream.  So here is my husband's creme trap. Look at how good that looks. So you're gonna get the crunch of the lettuce, crunch of the corn tortilla. So this is his, I'm gonna go ahead and pop it in the fridge. Like I said, he'll eat his cold most likely in the morning so he's weird. He likes regular food for breakfast so I usually try to have leftovers but this is what his looks like. I'll finish grilling mine and I'll show you my completed lunch. So here are my completed lunches for the week. I cannot wait for lunch. I wish it was seriously lunch right now because these look so good. So let me show you what I decided to have. So I have my crunch wrap supreme here. So what's in there is the meat, the corn tortilla, queso and regular cheese. It is sealed but I can still get it open to add in my lettuce and tomato. One tablespoon or one smart point worth of sour cream. Here is my tomato and lettuce mixture and then I'm going to be having some strawberries and also a serving of the candy apple salad. It is zero smart points for one cup. This is not even quite one cup. So that is going to make my lunch only seven points. It is seven points for the crunch wrap supreme including the sour cream. So this here is a seven point lunch. That is fruit, a dessert and a copycat Taco Bell crunch wrap supreme. So this is going to be what I'm having for lunches this week. And again, it is a total of seven smart points. For a sweet treat this week, I'm going to be making a chocolate chip blondie drizzled with caramel sauce. You heard me correctly, a blondie with caramel sauce on WW. So let me show you what is in my recipe. So you're going to need a box of the Kodiak cakes, chocolate chip, a blondie, brownie mix, non-fat Greek yogurt, sugar-free caramel sauce, apple sauce, eggs and then a little bit of water. So let's make some brownies. So to get started on our brownies, I've went ahead in my bowl here and put in my Kodiak cake, chocolate chip blondie mix. It has chocolate chips and yumminess in there. To that I am going to go ahead and add two eggs. Everything is mixed in one bowl so it makes it super easy. I'm also subbing the oil for unsweetened apple sauce. So I need two tablespoons of unsweetened apple sauce. So there's one and two. And then I also need one half of a cup of non-fat Greek yogurt. So we're going to add that. And that is going to substitute oil and things as well as butter. So this will lower the points of our brownies and they should still be just as delicious because the yogurt and the apple sauce will make them just as moist as butter and oil. So then we're going to get this all nice and stirred in together. We'll get this ready to go into our pan and pop in the oven. So this is very, very simple. I love the Kodiak mixes. They have fantastic ingredients. They are chocked full of protein. Each one of these brownies has 14 grams of protein. Oh, I'm sorry. Eight grams of protein as prepared with the eggs. I was thinking of my pancake that I ate this morning. So the brownies, eight grams of protein, including the protein that comes from the eggs. So I'm going to get this all nice and combined together and we'll get this into our pan. But look at these blondies. Once you get everything all mixed together, I went ahead and lined my pan. This is an eight by eight brownie pan with a sheet of parchment paper. I'm also going to give it a nice coat of nonstick cooking spray because nothing is worse than your brownies sticking to your pan. Here is my mixed together brownies. I'm going to go ahead and just scoop them into my pan here. Get them spread out nice and even. These are going to cook in an oven at 350 degrees until they are cooked through. From there, I will go ahead and add my drizzled caramel sauce to the top. So we have not quite added that to our brownies. Get those spread out as even as you can in the bottom of your pan. I always like to give my pan a nice tap on my counter and that makes our brownies nice and even. So I'm going to get these in the oven and I'll see you in a second. I just pulled our blondies out of the oven. Yum, look at these. So I'm going to let these cool and then I do want to drizzle some caramel sauce and I'm going to add a little bit of Lily's chocolate chips. So as soon as these are cooled, I'll take them out of the pan, we'll cut them up, drizzle some caramel sauce and some Lily's and then I'll give you the smart points for our brownies. So here are our completed blondies. These look so good. I am going to go ahead and drizzle a little bit of the smuckers. This is the sugar-free caramel sauce over the top of our brownies. It will add zero additional points because I'm really not going to put very much on top. I'm literally just going to drizzle just a tiny bit. I did put it on a cutting board here to avoid making an even bigger mess but I am just going to drizzle a little bit of the caramel sauce over the top of our brownies and then we will go ahead and add just a few Lily's chocolate chips and again, we won't be adding enough to add any additional points. So these here are the Lily's chips. So I'm literally going to just take a couple and just kind of sprinkle them on top where we added caramel sauce and then I will get these cut up and I will show you the different options for your serving sizes. But yum, these look so good. So here are our brownies with the caramel sauce and chocolate chips. So if you cut this into 12 servings, they are six points apiece. If you cut this into 24 servings, they are three points. Now 24 servings is going to be basically a bite size, maybe a one to two bite brownie but a brownie for three smart points is not bad. So it's up to you the number of serving sizes that you cut these into but these look so good. I'm going to do the 24 servings so that I can have the smaller bite size pieces. So here's cutting our brownies into 24 servings. This is the size of your brownie. So really not bad and that is only three points. Look at how thick that is. Filled with chocolate chips, caramel sauce, yum. So if you're looking for a really delicious three smart point brownie, I highly recommend the Kodiak cake chocolate chip blondies. Here's what I'm going to be taking for snacks throughout this next week. So for some reason I'm feeling some cottage cheese.  I'll probably do half of a cup and I'm going to top it with a little bit of the everything but the bagel seasoning. So this will be a total of two smart points. This seasoning is so delicious on cottage cheese. I'm also going to be bringing one of my two good yogurts. These are two grams of sugar, three grams of carbs. And these are made by Dan in light and fit. This is the vanilla. I am going to top it with a tablespoon of my Julian Bakery Pro Granola. This is the espresso cluster. I love this flavor. You can have one half of a cup of this granola for only two smart points. This granola is paleo and keto friendly, low carb, high protein, gluten and grain free, nothing artificial, soy free, non GMO, no preservatives and has prebiotics and probiotics. Love the Julian Bakery Pro Granola. You can eat this with milk or almond milk. You can top this on granola or on yogurt like I'm going to do. You can also take a half of a cup and add it to some non-fat Greek yogurt and it would be a two smart point, huge, deliciously filling snack. You can add this to muffins. You name it, it is so versatile. I do have a 10% discount code. That will save you 10% and give you free shipping. There are several flavors of the granola, espresso, vanilla, vanilla cinnamon blueberry, peanut butter and they just came out with chocolate. So make sure that you hop on to julianbakery.com, order yourself some pro granola. It is seriously a game changer. As you know, I eat it pretty much every single day in some fashion. I love it.  Again, this is the only thing that keeps me full between breakfast and lunch. You can see here that I do have the banana chocolate cream. You can still get this. Oh, actually no, you cannot still get this. I apologize, this ended May 3rd. This was a promotional flavor. So you can no longer get the banana chocolate cream.  So there is other flavors though. There's coconut, orange, vanilla, mint, strawberry, raspberry, salted caramel, chocolate, you name it, delicious. This is a three smart point protein bar that literally you guys taste like a candy bar. It keeps you full because it does have 15 grams of protein and four grams of, or six grams of fiber. So it is a nice filling treat. My code for these is here on the screen. It will get you 10% off forever and ever and ever. And belt bar always has free shipping. So if you haven't tried them, I encourage you to get the sample box. Once you try them and love them, which I'm sure that you will, you can save 10% off of the full box. You can do a mix box, a box of a single flavor, and they also have build your own box where you can add whatever flavors you want to your box. So definitely score yourself some belt bars. So these are going to be my snacks for this week. Thank you for joining me on another weekly WW meal prep. I hope you enjoyed seeing all four of the recipes that I shared with you today. Everything looks so good. That candy apple salad, those brownies, crunch wraps. Did you ever think that you could have an extremely high point taco bell crunch wrap WW friendly? And of course that breakfast bake, yum, yum. Cannot wait for my meals this week. Meal prep being definitely helps me stay on track. I hope that you can use my recipes and make sure that you mail prep and stay on track as well. So if you're new to my channel, make sure you subscribe. I do a meal prep Monday every single week. Hit the little notification bell that way YouTube will notify you each and every time that I upload a new video. I love it if you give this one a thumbs up. Comment down below. Let me know what you think of this week's meal prep and I'll see all of you in the next video. Bye guys.


Hello. What are the main linguistics parameters to classify the world's languages and how are they realized? These questions constitute the central goals of this introductory unit to language typology. As usual we start with the virtual session and optionally use the question sheet as a default guidance to understand the central typological parameters phonology, structural typology and word order. This unit's Masui worksheets involves 20 questions on two levels with 10 questions each. Perhaps the most challenging part of this unit is its practical sheet, where you have to add examples of the main typological parameters of PDE and also if you wish of your mother tongue. A quite enjoyable task we hope. So we are sure you will enjoy this unit and good luck.