September 13th last year, a young woman by the name of Masha Amini, 22 year old from Kurdish part of Iran, was arrested in Tehran by the morality police. Imagine living in a place that have morality police for not wearing her hijab exactly right. Maybe a few strands of hair was sticking out. Maybe she was showing a little bit too much skin according to the police. Three days later she was dead. The official account where she had died of a heart attack, but it was clear that she had been beaten, beaten into a coma. And she died from that beating three days after the arrest. The next day protests started in the Kurdish parts of Iraq, protests against the morality police, against what they had done to this particular individual, to this particular young woman. But soon those protests spread and they spread all over Iran. They spread to almost every city and town in Iran, to every university. And particularly into Iran, many of the universities saw significant massive protests, some of the largest Iran has seen. And the messaging started to change. Slowly the messaging got expanded from beyond this one case to messaging around liberty messaging around freedom messaging not just around ending the morality police and allowing women to wear and indeed in the demonstrations the women were ripping apart the book is throwing them to the ground if you've seen some of the videos you can see young women. As young as 10 girls, often teenagers, taking their brokers off often with their backs to the camera so that they cannot be identified, but sometimes out in the street where their faces can be seen. And standing up to this idea up against this idea that somebody else can dictate what they can or what they cannot wear by September 20 or three days after they already clashes with police. They clashes with the military with the Republican God, Revolutionary God sorry Revolutionary God and with all the different militias and segments and Iranian society that want to oppress and suppress any form of freedom and liberty. September 28. This song went online. It was produced by a singer songwriter by the name of Shevin had you pull. Shevin was before the song was a darling of the regime. He had won a singing competition. Like on all television and want to sing in competition and the regime thought his music was wonderful. Because within a day of this song going up online and being viewed by millions of people. Shevin was arrested. Within three days the song had been viewed by 40 million people. And he was released on Corbeil primarily because I think the regime was afraid of how popular he was and the consequences of keeping him in jail, given how popular it is. The song itself, if you noticed the little tweets underneath it, the song is composed by a basically asked people, why are you protesting, what are the protests about for you. They picked and choose different sentences, different phrases from them and incorporated them into into the song. September 30th in Iran is known today as Bloody Friday, in particular in one city Zahidan and I apologize for butchering the names. The authorities there open fire, killing at least 50 people. To date, at least 500 people have been killed in demonstrations who knows how large the number really is but at least 500 have been killed. And demonstrations have continued since on and off different places, smaller places larger places. They are ongoing, they're ongoing today. Part of the problem is that the Iranian regime has cut off the internet has done everything they can to cut them off on the internet completely. So that it's very difficult to get videos out to get information out to actually know what is going on. On December 4th, the regime claimed that they were disbanding the so-called morality police as a way to appease the demonstrators, demonstrators continues because now the demonstration is not just about the morality police. It's about changing the regime, it's about death to the Ayatollah. It's about a true revolution in terms of liberty and freedom and bringing the ability to vote. And, you know, it's got to the point where I think Puyat, who is from Iran, said a few days ago told me, said, it feels like a moral revolution. This is not just about politics.  And it's not just the young anymore. It's their parents supporting them. It's of course not everybody in society, but it's a growing number of people within Iran are rising up against a theocracy that has ruled since 1979, that has ruled brutally, brutally since 1979. There have been uprisings before in terms of demonstrations and protests and so on, but usually those have been focused on a particular issue like economic stress. Never have there been so many calls, and so consistently across the board, actually replacing the regime for actually seeing the downfall of the Ayatollah. Even religious Iranians now have given up on the concept of a theocracy. Iran today, I think a majority of Iranians and overwhelming majority of Iranians are ready for something new and something different and something better. Thank you for listening or watching the Iran book show. If you'd like to support the show, we make it as easy as possible for you to trade with me. You get value from listening, you get value from watching, show your appreciation. You can do that by going to iranbrookshow.com slash support by going to Patreon, subscribe star locals and just making a appropriate contribution on any one of those, any one of those channels. Also, if you'd like to see the Iran book show grow, please consider sharing our content and of course subscribe. Press that little bell button right down there on YouTube so that you get an announcement when we go live. And for those of you who are already subscribers and those of you who are already supporters of the show, thank you. I very much appreciate it.


Shiny hunting is really cool but have you heard of mark hunting? Mark hunting is probably one of the most hardest types of hunts in the game because they are even more rare than shiny pokemon. Actually to put it better if you're able to get a shiny pokemon with a mark that's probably the best ideal scenario. The question is why would you even want marks? Getting marks to show up on pokemon are pretty much bragging rights and they allow your pokemon to be even more unique than how they already are and having a pokemon i don't know that says the chosen one on it or having a pokemon that says the thunder struck or any other cool titles when you throw them out into battle is probably a lot cooler than just throwing out a regular pokemon so when you go into a trainer battle select the trainer you throw it out you'll get something that says the valiant one or the chosen one or the thunder struck or there's just so many titles there's like over 50 of them basically we're gonna be talking about how to get these pokemon so you could brag about them and show off and be a little more unique than everybody else who is getting the exact same pokemon all right let's first talk about how to identify marks in your game you probably have marked pokemon already because you were adventuring and catching pokemon but if you're new to the game and you already started your adventure and you're catching pokemon don't worry i got you all you're gonna do is open up the summary of the pokemon you've caught and then scroll over to the memory page once you go to the memory page you're gonna see something that says title conferred if that does show up on the menu you're going to then go ahead and hit a to assign and you'll be able to see the options of the titles available to that pokemon once you do go ahead and assign that mark i was actually really surprised that when i started to go through my boxes and look at the summary and go to the memory pages i started to see a bunch of pokemon that had title conferred so basically what you have to do is you open up your pokemon boxes you're gonna start going through each of the box summaries that way you're able to quickly see the pokemon quick in each box by hitting the memory option and then you're gonna see the ones that have it once you see the ones that have it you're then going to select that pokemon and bring it over to your main box so drag them over into your main party because for some reason the game doesn't allow you to add a mark or title to your pokemon from the pokemon boxes but you can let me know if you're able to do it but i wasn't once you put them in your party you can then open up the same menu like i said go to memories and then apply the title to them once you do select the title it does give you an idea of what exactly it's going to say you usually can see these when you activate a trader battle versus just throwing them in the wild i think trader battles are a great way to test them out if you're enjoying learning about mark pokemon make sure to hit that subscribe button it helps out the channel a lot and i'm able to make more videos like this because of your support thank you now there are some marks in the game that you'll be able to achieve on your pokemon by simply doing a few tasks so if these are ones are not as hard but you can achieve these ones so let's go over them and the reason you want to try to do this is because they're able to give you some really cool titles obtainable marks and ribbons the gourmand mark this one is one of the easiest marks to get on your pokemon in the game you just have to have your pokemon in your party while you are going to go ahead make a sandwich and eat the food or you're going into a town to one of those fancy restaurants and you're eating food once you're able to consume the sandwich your pokemon then have a chance of getting this mark to show up in this example i caught a bunch of ghastly and then went to the fancy restaurant in mesagoza the sandwich shop ate a sandwich and then i checked out to see if i had any marks and before i knew it one of my ghastly's had the gourmand mark and i could assign it to it and then when i throw it into battle it's going to say exactly the title it needed to say okay this one is specifically for collector's purposes but this one is the titan mark now the titan mark only applies to five pokemon in this game can you guess it it's the titans and the question is you can catch the titans yes you actually can if you go to all the old locations where the titans are you'll actually be able to find them there and in a weird static kind of encounter which means you can't just run into them and initiates battle but you actually have to click a to start it so i was able to find cloth right above its herbomistica cave on the hill going up it was just hanging out there and i initiated into battle with it it's just quick knocked it down really quick to low health and then caught it i did the same thing as well for bombardier bombardier you can find as you're heading up that giant pathway to find it you'll just see it sitting there looking awkward it's very easy to identify these titan pokemon it's right up on the hill that's where bombardier was the great tusk or the iron treads is going to be right in the asado desert sitting in the exact same spot where you found the original one it's just standing there depending on the version of your game just click on it hit a and you'll be able to interact and battle with it tatsugiri exactly the same spot as the first tatsugiri to initiate that titan fight and orthworm will be chilling right outside of this location on your map when you see it now once you're able to catch all these pokemon i cut off five of them and throw them into your party you'll be able to then do the whole entire open up the menu the summary hit x select the titan mark on them under the memories and then all of them will say that they were former titans before and that's really cool because it is a collection to have in the game the reminder that you played pokemon scarlet and violet and years from now you'll have this mark and it'll show up in maybe gen 10 gen 11 and it's just good to collect these ones and keep them for those purposes because it is probably a flex in the future and maybe not everyone is doing it and you can do that and have that pokemon over anyone else and it's pretty cool now these next two marks are going to be really interesting we have the jumbo mark and luckily for us all the titans that we caught are programmed to be at the largest size in the game and because they're at the largest size in the game if you head over to mess up goes a west and talk to the lady by the flowers you'll see her standing there with two patrisso like you'll see a really big patrisso any small patrisso this lady is basically going to give your pokemon a free mark depending on if they're able to achieve a large size or a small size now because the titan pokemon are programmed to be at the largest size you can experiment and talk to her with the titan pokemon and be able to get the jumbo mark on every single one of those titan pokemon because i mentioned this you can get multiple marks on a pokemon especially the ones that you can mainly put on them and and expand as many as you can now forget the titan pokemon the big thing is you want to be able to get the jumbo mark on your regular pokemon so what i suggest is if you're out in the overworld and you see large pokemon in giant groups go ahead and try to catch one of them another great way to raise your chances of getting even larger pokemon is by eating a humungo power sandwich for a specific type which you pop one of those sandwiches out and eat them it'll increase the chances of finding a very large humungo pokemon in that typing and you can keep coming over to this lady to check out if you did happen to get that large pokemon and she'll give you that mark on that pokemon and you can keep it on it another mark that we can talk about is the mini mark it's the exact same thing and i always wonder what teensy power did it teensy power basically increases the chances of getting a very tiny pokemon to show up in the world and that's the whole connection teensy power is so you can find a tiny pokemon so you can take the small pokemon and head over to lady in meso goza and get the mark so what i did was i ate a teensy power sandwich that was for ghost i found a bunch of ghastly and started catching them and then i went over to her and i kept getting these different phrases from her depending on the ghastly as i showed her some were very tiny but they weren't the tiniest so you do have to find the tiniest one so it's going to be a little bit of a challenge but if you're able to get it and you really believe you found a tiny pokemon you should be good and be able to get that mark okay these next ribbons are a little bit of a sidetrack because it involves you playing pokemon legends arceus and if you ever do want to take a tiny break from scarlet and valet and open up your pokemon legends arceus to figure out how to get these marks these ones are really cool so we have the hisui ribbon this one is interesting because all pokemon that you went to the photo booth with in hisui and took those pictures with are going to have this ribbon on it so keep that as an idea to use when you revisit the hisui region i know a lot of people don't want to it's a long game but if you do have your budget pokemon you want to get them ready to send them to home go ahead and take pictures there another one that's really cool is the alpha mark alpha mark is only going to be assigned to pokemon who are alpha pokemon in legends arceus so if you have been collecting a bunch of alpha pokemon and they are compatible with scarlet and valet i suggest you go ahead and grab those and bring them over and the cool part is you can even get an alpha pokemon to a photo shoot with that alpha pokemon that way you don't have the alpha mark and the ribbon mark and you can bring them right over to the game so a little side project for those who are interested i might actually do this after the video next up is the mightiest mark now mightest mark is a really interesting one because it has to do with only seven star rain so every time pokemon makes an event for scarlet and valet and we have a seven star terror raid as of this video the one that we're going to be first having is the seven star charizard raid that's gonna be crazy that one is going to be able to have the mightiest mark so if you are able to defeat it completely and catch it you will have the mightiest mark on that so that is something to keep in mind and pokemon is going to be coming out with even more raids so there's opportunities even if you're watching this video later to get these mighty marks so don't worry about that okay here is a really cool ribbon that is able to give you a cool title but it's very hard to get this one is called a once in a lifetime ribbon now this one is received upon surprise trade randomly that you get it the fact that it says once in a million on the ribbon it's kind of scary me because it just has a extremely rare chance or your pokemon you're surprised to randomly get it so this one you might have to keep surprise trading to make it happen i've tried it over like 200 pokemon and tried to get this but i have no luck so if you're able to get this please let me know down in the comments below or tell me in the discord server if you're part of it the poudeya champion ribbon this one's pretty cool to throw on your pokemon because obviously it is a champion ribbon this is awesome basically all you have to do is have your pokemon in your party beat the league or at the post game you can challenge the ace academy tournament people throw a very powerful pokemon at the front of your party completely spam the entire ace tournament and you can keep getting that ribbon on every single one of your pokemon i know there's some crazy completionist people out there that want to just have as many ribbons and marks as possible on their pokemon so i guess this video is really dedicated to you guys if you really want to get that all done but people would just want to get the basic stuff done and get some cool marks just to show off this is also a very great guide to do that the item finder mark this one is really hard and as of this video the entire community has not been able to figure out how this one works some people are thinking we throw out the pokemon and we just send them out to collect items but we never put that pokemon away maybe it has to work like how you do the thousand steps to evolve a pokemon you just have to keep that pokemon out get a bunch of items never put them away and then finally when you get those items you might get the mark i don't know let me know what you think if we do get an update on the item finder mark i will pin this comment very difficult one to get no one's figured it out so hopefully you can now this one is my favorite mark in the game this is the one where you get the title the chosen one it is called the destiny mark now to get the destiny mark it's really simple all you have to do is go to a pokemon center and assign your birthday to a specific date then what you're going to be doing after that is saving your game and opening up your settings on your switch and date skipping to your birthday once you are able to date skip to your birthday come back in the game you'll notice that the pokemon center it's going to look all nice with a nice happy birthday there's going to be really cool items so this is basically what happy birthday looks like you'll see the cool sign change so it's a big celebration now on your birthday in the game you have a chance of getting a pokemon to show up with the destiny mark so when you start going around and catching pokemon you might be able to pull off the destiny mark now i went around and started catching a bunch of pokemon to experiment with this destiny mark and i was actually able to get one and it's pretty cool to see so maybe you can go find your favorite pokemon in the game but a mass outbreaks and if you're really lucky you get a shiny pokemon that says the chosen one on it so go ahead and aim for that destiny mark is really cool and very simple to do and yeah just your birthday okay effort ribbon this one's pretty easy to get on your pokemon this is not a mark of course it's a ribbon but when you completely max out the eevees of a pokemon or you do effort value training i have a guide on this if you need help but you're going to then go ahead and fly over to levincia and talk to this lady if she sees that you have maximum trained your eevees on your pokemon you will then get an effort ribbon and that is another title that you could throw onto your pokemon if you need to see if you maxed out a certain stat all you have to do is just go ahead into the stat page and then view the graph feature which will show the little golden spike once you've maximized at least one eevee stat perfectly so if you trained a bunch of pokemon or battle and you got them ready for raid and you're just eevee training a bunch modest will just come here and grab the effort ribbon which will give you another title on your pokemon pretty cool stuff partner mark so if you have a pokemon and max friendship you'll see of the partner mark just show up on the pokemon a good pokemon to check this out on is probably your starter or a pokemon that you beat the whole entire game with especially if you weren't focusing on friendship and max friendship you'll be probably able to get the partner mark and see it on it i found it on my foe coco basically the third evolution of it it was just sitting on it and i was like oh this is really cool i have this mark on it how did i get it and then you find out that it has to do with max friendship so you could get this on a pokemon you could stack actually a lot of these marks on your pokemon for the best friends ribbon you have to head over to a girl in khaskarafa you talk to her and if you have friendship very high in your pokemon and maxed out you'll be able to get the best friends ribbon so you could stack ribbons and stack them with the marks on your pokemon and get some really cool stuff to show up when you're picking the title under the memory section now there are a lot of other very cool marks in the game that are random and they just aren't going to be on the pokemon depending on if it's random weather sometimes it's a one out of one thousand chance to get a rare pokemon mark on your pokemon that that one's tough i actually asked my discord to post a bunch of marked pokemon and they found a lot of different ones uh so these chances are completely random so what you want to do is essentially just find a food or item that has something called title power boosting basically getting a title power is going to increase the chances of these titles just showing up on the pokemon now i ate one of these sandwiches and i caught a bunch of cloth and because it was raining and it was a thunderstorm i had a bunch of thunder marks on some of these cloth that i encountered and that was not what i really wanted i wanted some more unique ones but depending on the weather or the scenario if it's foggy you'll get different marks on your pokemon and this is a feature they've actually had since sword and shield and all these marks from sword and shield have come back to the game so you can try to mark hunt these pokemon so yeah marks have really low chances of showing up on pokemon if you're able to pair them up with a shiny pokemon and get that lucky that is really awesome if you have really cool pokemon and they don't have marks you now know how to also grab these marks by doing the manual ones and also you know you could cheat and do some ribbon stuff too even though ribbons are not the same as marks they still give you titles so i did want to mention them in this video so good luck everyone on your mark hunting share this with somebody who has no idea what the heck mark hunting is and maybe you can be lucky let me know down in the comments below if you found any really cool marked pokemon i'm really curious i love marked hunting i think it's really awesome and check the links down below to see the cerebellist for the marked pokemon and if you're interested in shiny hunting check out this video over here


Just five years ago, the oldest farm still in existence in Boston was in disrepair. The Epstein estate, who owned the property, was in a legal battle with the city over demolition by neglect. A designated Boston landmark, the farm is a unique property that expresses the demographic and social evolution of the neighborhood of Maddenpan over the course of 400 years. Fighting hard to keep the property, Historic Boston Incorporated acquired it in 2015. The newly named Fowler-Clark Epstein Farm underwent an extensive restoration, which transformed the farm set into a 21st century urban farm, now managed by the Urban Farming Institute. Using demonstration farm beds, classroom spaces, a teaching kitchen and processing facilities, the Fowler-Clark Epstein Farm is working with the Maddenpan community, a largely African-American and immigrant neighborhood with one of the highest rates of poverty and unemployment in the city, to improve food access and turn this space into an urban farming training center. With the support of over 500 community members and friends, in 2018, the farm celebrated its dedication with a mission to end the so-called food desert by training new farmers, expanding the number of small farms and offering access to fresh produce for years to come. Greetings from the Fowler-Clark Epstein Farm in the Boston neighborhood of Maddenpan. On behalf of Historic Boston Inc., the Urban Farming Institute of Boston, the Trust for Public Land and North Bennett Street School, I'm excited to accept this honor that celebrates a wonderful renewal of an important historic place. At the Fowler-Clark Epstein Farm, hundreds of people will be obtaining access to fresh food, learning how to cultivate food, and seeing their neighborhood and their community in a completely new way. And for the rest of us, this is really a great model for how to bring people and resources together to achieve the impossible. Historic Boston and our partners are grateful to the Dree House Foundation, to the National Trust, and to many leaders here in Boston, including our mayor, Martin Walsh. Last but not least, we thank the neighborhood of Maddenpan, a spirited group of residents who kept up their hopes for this place. On behalf of the entire team working on this project, we're very grateful for this honor. Thank you.


An important strategy for doing mathematics, generalize. In the 1840s, William R. Hamilton considered the problem of generalizing the complex numbers. So just to refresh your under-complex numbers themselves, if a and b are real numbers, then a plus bi is a complex number where i squared is equal to negative 1. Now we add complex numbers component-wise where we treat i as a variable like x. So for example, if we add 3 plus 5x and 2 plus 3x, we get 5 plus 8x. And similarly, if we add 3 plus 5i and 2 plus 3i, we get 5 plus 8i. We can also multiply complex numbers with the added simplification that i squared is equal to negative 1. And so if we multiply 3 plus 5x by 2 plus 3x, we get. But if we multiply the complex numbers, 3 plus 5i times 2 plus 3i, we get. And since i squared is equal to negative 1, we can go one step further and get. Now let's talk about William R. Hamilton. By the age of 9, the Irish mathematician William Rowan Hamilton could speak French, Italian, Latin, Greek, Hebrew, Persian, Arabic, Sanskrit, Caldian, Syriac, Hindustani, Malay, Maratha, Bengali, and others. Hamilton was on track to study linguistics, but then he encountered another prodigy. Sarah Colburn of Vermont was a calculating prodigy whose father took him on tour. People paid to see him answer questions like what is the cube root of 268,336,125? Or factor 247,483?  After touring the eastern states, the Colburns made their way to Europe, and in September 1813 they arrived in Dublin. Now Colburn and Hamilton were both around 9 at the time and both had a reputation for a computational facility, and so in September 1813 they fought a computational duel, which Hamilton lost, and decided to put more effort into studying mathematics. Colburn on the other hand eventually returned to the states and would become a professor of languages at Dartmouth College. In the 1840s, Hamilton tackled the problem of generalizing complex numbers. That useful property of complex numbers involves modulus. The modulus of the complex number a plus bi, written this way, is the square root of a squared plus b squared. Now remember a and b are both real numbers, so this is always going to be the square root of a non-negative numbers. Now complex numbers satisfy what's known as the modulus rule, and we'll express it this way, if I find the product of the moduli of two complex numbers, what I get is the modulus of the product of the two complex numbers. And so the question is, could we make a hypercomplex number a plus bi plus cj that satisfies the modulus rule as well? So let's consider a hypercomplex number a plus bi plus cj, where a, b, and c are real numbers, and i squared and j squared are both equal to negative one, and we'll assume that plus or minus one, plus or minus i, plus or minus j are all different. Now if we want to make sure the modulus rule holds for these hypercomplex numbers, then we have to extend our definition of the modulus, and the natural way to do that is to define the modulus of a plus bi plus cj to be the square root of a squared plus b squared plus c squared. So we want to preserve the modulus rule. So let's consider the square of a hypercomplex number. Preserving the modulus rule is going to require that the square of the modulus be the modulus of the square. Now since the left-hand side is the square of a modulus, we can calculate the modulus and square it, and we get, meanwhile the right-hand side requires us to perform the multiplication first. So let's expand this in the way that we might do so, and so we get, and the thing to notice here is that if I take the modulus of everything except for the last term, I get, and we simplify, we find that the modulus is, and what this means is that if we ignore this last term, the modulus rule holds. But how can we ignore that last term? This seems to require that this product ij has to be equal to zero. Hamilton wrestled with this problem for a long time, and it became something of an obsession with him. It occupied all of his waking hours, and when they came down in the morning, his sons would ask him, have you learned how to multiply triples yet? And Hamilton replied, sadly, I can only add or subtract them. And so he struggled with finding a solution until one day on October 16, 1843, Hamilton took a walk with his wife along the Royal Canal in Dublin. As they approached the Broom Bridge, this is how it's spelled, Hamilton realized he could save the modulus rule if he made an unintuitive choice. If ij was equal to negative ji, in that case, if ij was negative ji, then when we expanded a plus bi plus ej squared, then the bcij and the bcji terms would cancel. Our last term would drop out, and the modulus rule would be saved. Hamilton was so impressed with his discovery that he carved the fundamental rule of multiplication into the Broom Bridge. Now while to save the modulus rule, it did raise a new question, what was ij? To determine that, we note that if we look at the product one plus i times one plus j, we get one plus i plus j plus ij. So if ij is equal to one, then the product one plus i times one plus j will be two plus i plus j. And since we want to preserve the modulus rule, we must have the product of the moduli equal the modulus of the product. But if we actually calculate these moduli we get, and that says ij can't be equal to one. And by a similar argument, ij can't be negative one or i or negative i or j or negative j. In fact, ij can't be any number of the form a plus bi plus cj for any real numbers a, b, and c. ij must be a new imaginary k. And the result of all of this is a new type of mathematical object. The only way to form hyper complex numbers that satisfied the modulus rule was to take three imaginaries, i, j, and k, where i squared, j squared, k squared, and the product ijk are all equal to negative one. Hamilton referred to a hyper complex number of this form as a quaternion after a Roman infantry unit of four soldiers.


A limited enter into a contract to build a warehouse for 1 million rupee with the performance bonus of 100,000 that will be paid based on the timing of completion. Basic agreement is of 1 million but you will be given 1,100,000 bonus if you complete in time. So, this is the conditions agreement. The amount of performance bonus decreased by 10% per month for every month beyond the agreed upon completion date. The contract requirements are similar to contract of A limited as performed previously and management believes that such experience is predictive for this contract. They normally do this type of contract. Management estimate that there is a 60% probability that the contract will be completed by the agreed upon completion date. 60% chance you have time to complete Karde or 30% chance that you may delay for 1 month and 10% chance that there is you can delay for 2 months. Now the question arise here how to record the revenue. See the answer. Management has conducted the probability weighted method in most predictive approach. 60% chance total is how much you are going to receive if you complete in time 1.1 million. So, 60% chance is that you can complete in time. So, 60% of 1.1 million 660, 30% chance is of 10, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000, 10,000. So, 327 and 10% chance, 2 months after you complete. So, 108 total is 1095,000. Most likely outcome if management believe that they will meet the deadline and receive 100,000 rupees bonus the total transaction price will be 1.1 million, the outcome is only 60%. So, it is not that that you simply state a record revenue under the 1.1 million, no, you must make sure what is the probability of you are completing the job in time. Thank you very much.


Mynd i ddallu'n amser ac efallai llawer y pwynghbeth. Mae'n bod i'n cydweithio sut yng nghymru, ond wrth gwrs, dwi'n gwybod i ddweithio â'r analogyau cynarynau. Mae gwybod, pwynghbeth yn cyd-wyrsiau i'r cymraeg. Bydd y gallai y gwirio drosau i ddweithio. Mae'n ddiwedd i'ch chymru yn y lleol. Ym 2003 a yn ei gwrs ac yn ychydig ochr â'r unig newid strictio rwy'n fydda i'ch ymddangos â'r arweith. Felly, esbryd mewn amser. If you could actually explain to the people what an arm drowned actually does... ...you have a great service to them. So when I became European Armoured when I realized my task was even greater... ...because it is a small institution which has a vision against it and others... ...just 70 people. And it's quite a young institution as well. It merged out of my strict breeding. The first armoured was pointed in there to the Gulf of Soto. Yn 1996, ydych chi'n gweithio ar y dweud, yw'r amlwg. Yn ymdweud yw'r amlwg, yw'r amlwg, yw'r amlwg, yw'r amlwg, yw'r amlwg, yw'r amlwg, ac mae'n gweld i'n parlynt yn 2013, yn ymddangos 2013, ac mae'n gweithio ar y dweud. Yn ymddangos 2013, yw'n parlynt yn y parlynt, yw'r newid parlynt yn 2014, i wedi ei wneud o'r gweithio ar y diwedd. Er, mae'n gweld i'n parlynt i'w pryd, mae'n cwylogion, ac mae'n sg unaill kwych, ond ychydig yn ei wneud i'r cwylogion. Felly, mae gennym ni am wrth i du. Yn ymddangos, mae'n cyrau'n cydweithio ar gyfer gwaith hwnnw, ac mae'n cyfrifiad agor nhw, i fi yw'r crinod. Yn ymddangos, yw'n cyfrifiad yw'r newid yw'r newid. Mae sut yw wedi'i'n ei wneud, a'i ei dwyddi o'r ein cyfaint o'r scherfod y gallwn yn ymgyrch. Mae'n argymellio'r cyfrifonau ar y ffrifonau, mae'n bod yn ystafell yn gweithio'r ymgyrch. Yn ymgyrch, mae'n yn ei ddefnyddio'r cyfrifonau a'r cyfrifonau ar y gweithredu. Ystyried bod ychwanegwch â'r tylch yn yr Unedig Ieolyddion Ieolwyrdig yw'r eistedd, byddwn yn yn bynnag followers wedi'u tympennu. Mae'r ddigonig nid i'w rhai o'n atweud bod tynnu a'r ddod i ddod i ddod i'w rhai morfyrdd sydd wedi'i dod amser ar ddod i ddod y ac yn ddod i ddod i ddod Ieolwyrdig yw'r ddod i ddod yn drosu. Yew hwnnw, rydw i wedi broeddau'n gweld, os ydydd i am y Rwy'n credu bod y byddai'n gyfaradau ymlaen, yna ble cyntaf ar adrodau gyda hwnnw i'r cyflaen, byddai'n cyfeu'r hunain ar syniadol, a maen nhw'n ddiwedd y ddweud o'n gyflaen i'r ddweud o hyd yn cymhag gweithio, ac'u byddai'n bwysig o hynny wedi gwneud o gael eu ddim yn cyflaenau mewn cyflaen i ddweud. Rwy'n dechrau fe ddim o'r cyflawn o wybodau. Rydyn ni'n gyrfa swyddfa sydd gyrfa, na siwd gyntafol, cyflawn fy modd, gyda chyflwyniadau, oeddech chi'n gwheiddiwch a'i gilydd. Rydyn ni wedi ar gyfer am wneud mosfadau newydd, efallai y cerddau yn yr hyn ardal gydag yma, a allan eu sylwg, mae'n ymddangos eich cyflawn o'r cyflawn i'r lle hwnnw sydd. Rydyn ni wedi ei feddwl ar gyfer am y rhwng yn y cyflwyddol, ac mae'n gyrfa'r cyfleu Many of them are based on hustles who are watching governance issues, watching transparency issues, on the right, etc. Some of them are very good, but do an aimless to do as a significant support of the NGOs and that would not be the case in other countries where you have to be personally affected by something, directly affected by something, in order to bring a complaint. Yn spectu'r gwelun o'r hyffordi eich byddai'r ysgol iawn, a dweud i gael 12% sy'n gweld yn lleolol ar gyfalu'r cymdeithas .. .. rydym yn viola pelunau. Rydyn nhw yw'r clywbeth i'r cyffinch yw Gweithliau Bryrygiau Bryrygiau Amla. Ieitha gyd yn gyfindebeth? Fy gen i nid yw yw'r parwyr sydd y gallu gwlad i amser. Mae'r hanes gan gynhyrch mewn byddai'r llwysod yn y gyda'r maeth, ac mae'r llwysod yn byw mwy i'w pwysig. Mae gennym. Mae'r look wedi cael ei ddweud y bydd oedd. Mae'n siŵr oherwydd mae'r newid nhw wedi ddweud i'r waziannod cyfael y cydwyd. a'r myfnwysgfaith ydw i gael'n rhywbeth a'u cyfle cerddorol. Dwi'n wneud i ddau'r adael o Gwyneth Ymbr i DVD-ymy o ddweudio'n Llineidol i Gwyneth Mhontoryn, ac mae'r cyfyrdd o'r du achos ddull ffodol. Mae'r effaith ymddangos Eurau Llyfrgellur oedd yn unrhyw meddwl ac mae'r barhau meddwl yma'n unrhyw meddwl. Rwy'n fyddwch i'n meddwl. Mae'r gefnogaeth ymddangos ymlaen i'r cyffredinol felly mae'n ddayl o'r dweud, mae'n ei wneud ddim yn ddim yn mynd i'r defnyddio, a'r ddechrau i'r ddod i mi o'r hwn. Felly, o draw, mae'r ddithatos yn ei hyn ac mae'r ddod i'r inghul iawn ei wneud i y ddod i'r Ffaint.  Twun yw ymdrygu'r cyfnodd ac yw'r ad gan yw'r edrych yn blaen i. Ond rydyn ni'n uwch i ddechrau'r cyäd, yn unrhyw'n rysyn. Ychydig yw yma y pethau yn ystod o'r cyffredin. mae'n hynny i'w gwybod i'n ffagoriaeth y ddechrau'r cynddoedd, yn gyfrifiad yw y White House i yw. Y cyfiwn cynnwch pa y gallwn, mae'n cyfifiriaid, mae'r cyfifiriaid o'r cyfan, ac mae'r cyfifiriaid eraill soldiers. mae'r EU yn ysgolwyr yn bwysig o'i rhan o gyfnodol yn ysgolwyr. Rhydwch sy'n dweud o gyfnodol o'r gweithio, cymryd, IET, Cevindus, Pharmaceuticals, Fynatio Services, ac mae'r broslwyr yn cael ei gweithio ffordd o'r gweithio a fyddai'r Lobbys. Roeddwn i'n gweithio'r Lobbys, Mae ei gallwn ar y cyflawn bwysigio'r cynliadau yma i gyflawni'r gyflawni arall yn y gyfle gyda'r gwaith. A would that revolve doors, when people who've worked very actively at a higher level in the Commission on a particular file have moved across the world to work with a co-operation and have a greater interest in what was in those particular files. The issue for me is how not what the individuals do because they have the opportunity to, if they still wish to but it's what the Commission does and what the institutions do of making sure that the topics of interest are at our level, and taking interest, if that's possible. So, other examples in the visual complaints, lots of, say, small companies, who would be very dependent, perhaps, on a contract from the commissioner and other institution that run into trouble in relation to late payments or non-payments or a dispute over certain matters in connection with that. They can come to us, we can look at the entire file, and then we can make a recommendation. 90% of the recommendations now would be accepted, which is a reasonably good operating average. Another language policy for EU websites and public consultations, that tends to be a very big issue. Recently, as you know, when this has become the language, it's overtaken with French in terms of the normal language of the administration. And then, very often, agencies and institutions just think they just need to translate their particular records and documents into the English, French and German, or maybe one other language, so it's a constant factor to have them see that actually. They are not being very inclusive of important documents, whether it's public consultations or tenders for contract or whatever are not available in all of the languages. And then you hear that it's a constant interpreter, a constant translation and so on, but you know, we hardly believe that at all. How the EU money is spent, that would be in relation to, for example, for EU funds, how the commission checks that the money is being spent appropriately, and that it is, for example, human rights proofed when it is being used within a member state. We get about 20,000 complaints every year, a lot of them we send right back to the member states. We try and help everybody who comes with us, so a lot of the complaints that I was Irish on and I would get complaints from, I don't know if you know them as well, but we always try and help everybody who comes to us. We direct them to where their complaint can be best dealt with. So we open roughly around 300 investigations once we see that the complaint is within our remit and so on. Most of them would be against the European Commission, not that it's any better at work than any other institution. In fact, there's very high standards of administration in many of the areas, but it's just the big beast on the general seat would expect that to happen. EU agencies, EXO, the European Personnel Selection Office, obviously they're the gatekeeper when it comes to accessing employment in the EU, so many of you who might have children who have applied for positions probably would have gone through EXO, so we would get complaints very often from candidates who have failed, particular exam who failed to get a job, and we would just simply look at the process and to make recommendations for the group. The European External Action Service, sometimes we get complaints in relation to things that have happened in delegations, for example. Transparency complaints at the European Parliament, we don't deal with the political piece, we just deal with the administration and so on. Oh, that would be a lot of transparency issues around. So you can see there are 300 in the regional work, given that there are 500 million people in the EU, so when I came in and indeed during my election campaign I had to think about whether I'm going to bring this office into the next stage in terms of its development, its visibility and its usefulness to the institutions and to the citizens. I was very familiar with the office because as I've never studied office women, I've been part of the network, so I knew the things I did, I knew the things that I thought I didn't do so well. And I suppose everybody who takes up an office brings their own particular sensibility to it. My immediate predecessor, Llywodraeth Llywodraeth, he was a political science professor. So when he came into office, it was just when we'd had the new countries, all the accession states, and he had specialised in Eastern and Central Europeans, so his focus was very much on that, a more of the external piece, if you like, and helping you all in some of his offices and all of that. Because of my background as a journalist and so on, I was more interested, I suppose, in the internal piece, but also in looking for cases that were current, that were current relevance, and that had a significant public interest piece. And that my idea was that I would either use my power of initiative, which means that I don't actually have to have a complaint to open an inquiry, but also the complaints that we did get to try and attract complaints. So once you mind them, I mean, that you could achieve something quite significant. So that's the route I decided to follow. So my criteria is that they are in the public interest. And but also that they're capable of a good outcome. I mean, you know, I could do something incredibly work, and everybody would say that's a great issue to get involved in, but if I have zero chance of getting it across the line, then it's not worth it. I don't mean that I go for a low hanging proof, but you know, you have to have, in a small office with very limited resources, you have to really optimise those resources and make sure that you have a good chance of getting a good outcome. So co-operation of the European Network of Alms, and what I decided to do instead of endlessly going around to each other's conferences, I set up what I call parallel investigations with the network. So I would do the European piece, the piece that I wanted in the agency, and they would do their piece within their own member states. So one of the very first ones I did, related to the EU border agency context, so I looked at how it was dealing with the returns operations. These were the operations that it administers in conjunction with member state authorities, when the member states are seeking to return people who have failed the asylum test and who have returned to their country, perhaps Nigeria, or other countries like that. So I did my piece in relation to how context deals were about to make sure that those flights are alive, with the appropriate human rights standards, and then about 15 to 17 of the member state colleagues did their piece, so together we were getting an operator traction. So this was one of the big talks when I came in, was the transatlantic trade investment partnership, and at the time I came in, certainly in 2014, there was a lot of parliamentary, EU parliamentary and obviously member state partners as well, a lot of civil society agitation around the lack of transparency of these negotiations. So I decided the first big initiative investigation was into the transparency of this particular process. So apart from just, you know, questioning the commission and the relevant commissioner and DG in relation to what they were doing, what was visible and what wasn't visible, we also did a public consultation. But I asked people to define their terms. I didn't want that they say they're not transparent enough. Okay, well, what does that mean? What is the transparent? What do you think should be more transparent? If possible, harms emerge, if everything is too transparent on top of that, everyone to help them. So that was it, but I suppose I was helped by the guy in the picture on the right, he's one of the US negotiators that you may have mentioned before, Rani, if you can imagine it. So I was actually enabled in this because the new commission that came in, had transparency.  So that was very nice for me because I could almost say to the lady, I'm delighted with what I'm doing and what I'm recommending because I absolutely think it's your agenda. So a lot of the recommendations that I made that might not have gone across the line in a different commission or a few years ago, are getting across the line. And it's commissioner Maelstrom who is the trade commissioner and her old pieces is a rather transparency of background as an MVP and she was involved in the transparency regulation 1049 and so on. So that was quite a successful investigation that wasn't just my doing and the result of, I suppose, united efforts are different and it's coming together. A lot of the documents in relation to TTIP are now, a lot of documents in relation to TTIP are now online. So the difficulty, the tricky one was around the U.S. because the EU, like a union of these negotiations, has actually given a veto to the U.S. and said, if you don't want these documents released or they won't release them. But I've made a point to the commissioner and to the commission that if it is an EU document then it is amenable to the transparency regulation to 1049 and it has to be examined in that light and yes, of course you can consult with the U.S. and there may be many other reasons that you may accept by the U.S. doesn't want these documents to be released but if they are released then you have to release them. So, transparency of the ECB. Yes, this was kind of in between a complaint on the ECB and some of you may have followed the story last year when I remember the executive board of the ECB, the French guy I think, he was at a private dinner in the University of London, I think, maybe in London, I'm not sure. But it was a particular school within this college that had been sponsored by HFM and Co-operation since private dinner, Chathamhouse Rules and he gave a speech and he slipped a particular piece of information which would not be formally released by the ECB until the following morning apparently the two speeches were supposed to be released at the same time when he was speaking about it and so there's a tiny little market in relation to this. So it was a bit of an idea right about this so I wrote to Maria Draghi and I suggested to him that I should have this was a good administration to give me the importance of the ECB that there should be no perception that certain people are being given privileged access and that whatever it was at it should be available to all. So as a result of that they did change their processes and they've also also changed their rules of engagement in that they now are observing a period, a period of silence before some of their monthly meetings and monthly announcements and that's what a lot of the comparable of them institutions do. So a small intervention like that was able to yield a result. Yes, that's it. I mean this is speaking of engagement publication of calendars of governing board members of essential client areas in the week when you have to monitor your policy meetings. So again it's all around transparency and that and I think also I think what enabled you know me to to get certain things across the line and that is that as we all know it seems to be much of a very obscure institution a few years ago home citizens would be aware of it and certainly people who were and welcome to the Troika across their borders would be very aware of it so the public consciousness of these institutions these financial institutions are much much stronger than it was a few years ago and I've said to BCB and the ERB is one of the they have a duty to respond to it but it also makes good business sense because they are going to be over the years increasingly hit with transparency requests so they have to get their act together or else they don't spend their life explaining to press conferences why something has been lacked out or why they are making available and so on so you know it's a new era and new expectations and behind I noticed that myself as information commissioner here during the boom times you know hardly an apple line request crossed the department of the Taoiseach's desk or very few the Department of Finance because everything is going fine and nobody was was rooting around too much and then once the the collapse happens there's a huge 200, 300% increase and that's so you know equally easy all these have to be aware of that transparency around the stage of the time yeah this is one that I haven't got across the line yet in that the commission has started a recommendation down but I don't think the play is completely over yet so some of you will have been aware of the big tobacco directive that went through I think in 2013 or 2014 I think finally went through and it was called the most heavily lobbied dossier in the line of the EU because the tobacco industry just went full set and it's quite extraordinary awful about down there this is a complaint that came to me from one of the more active NGOs in terms of transparency it's called CEO or Corporate or Observatory and they alleged that the commission had not disclosed certain meetings that they'd had the tobacco industry and if that was the case it would have not been confined with the with the tobacco there with the UN tobacco convention which basically tries to restrict the space in which the tobacco companies can operate of government or administrative levy so these are the complaints to us we looked at the fires and we discovered that it wasn't about the that the meetings have been given as such but it was that you had to go looking to see whether they had happened that was the case so in other words you had to make a transparency a request you had to make a network request so there were not being the details of these meetings were not being released proactively so I took the view that this was my administration because it breached if not absolutely the legal letter of the law in relation to the UN framework convention on tobacco but it certainly breached the spirit of it because even within the convention the idea is that you are proactive about this you're not passive proactive pathways of which you can you can do this so I made recommendations to the so these are the obligations that commission should proactively publish all the meetings of tobacco lobbyists and of leaders and that the lawyers representing the tobacco industry are also lobbyists because my colleagues who looked at the files discovered that the commission officials were noting down certain meetings because they did not recognise that the lawyers were lobbyists and in fact they can act as we know of the ways they can act if there is a piece of litigation entirely correct if that should be kept private but if you look if you just if you deny the moment Google you know lobbying firms in Brussels and then look at the law firms that come up and then look to see who their cast of characters are very often they are people who work in the legal services of the council and the commission and they are seen as as big catches and there's absolutely nothing wrong with that but it's important that the commission sees them in that role and not just in their purely purely legal role so the commission decided not to follow the recommendations I spoke to vice president him a few times in relation to this and he took the view that that he took the view of what he took the view that oh yes the one commissioner the one DG that does proactively put out his meetings is DG Health and he says well DG Health and that is not going to dictate the transparency policies for the rest of the DGs no I don't accept that and I particularly don't accept it because again if you look at the transparency register and you look at the tobacco lobbyists and you look at the files that they lobby someone don't even bother lobbying DG Health because they are the gatekeepers it would be DG trade or DG energy or DG anything because it's an industry it's not just about public health so to my mind it's important so that was that hasn't been accepted yet but I and then there was a meeting subsequently it would be an anti-tobacco group in honour of the invitation of the MP so I happened to sit beside the health commissioner and he hadn't been made aware of this particular case so I'm going to be meeting with him and he would be very proactive on that into this so I'm hoping that if I I might have lost the battle that I may have I may not be using it I hope that we shall see those were the joint return operations that I was talking about earlier then I had been pushing well my predecessor had pushed and eventually over time I got it across the line and I made a report the European Parliament that Frontex should have a complaints mechanism so that people could feel that the rights have been not safe or abused but whatever not have held by Frontex can make a complaint they had resisted this for several years because they said that if there is a human rights abuse it is the fault or the responsibility of the member state and not Frontex and I took the view that this was not the case because even if the border guards come from a member state they're operating very often under the authority of Frontex and they have the Frontex badge on that but they make the EU logo quite commonly displayed so obviously people sometimes it may be a Frontex guard the first person they need so obviously they're going to make the connection now obviously many of the complaints would not be as a result of Frontex actually the Frontex product is the sort of the clearing place for those complaints appropriately so when I made a presentator when I made a report to the European Parliament they all found the and voted to support that recommendation so that is going to be accepted against trilogs trilogs when I went over to Europe possibly to my chamber I had never heard that it would know what trilogs were but every MP I met were talking about trilogs they were either running to a trilog or they would be up to a 4 o'clock in the morning no way to laugh around a 4 o'clock in the morning at a trilog or couldn't do this because there were whatever trial so what is clearly all known the deal making between the commission the council and the and the Parliament and it has been very effective something like I think 85% of all legislative proposals get through the first reading instead of having to go through second third consideration of the commission or council and but there have been on these expressed to me not formally but informally from NGOs from parliamentarians themselves from lots of actors the working stage and thought that this process wasn't transparent enough but I met a few academic thesis on trilogs to punish myself for not having known there were a vision and what came up was that trilogs were seen as a trade off between efficiency and transparency so the issue for that I want to look at was where this trade off is appropriate at what point do you think it's okay now to go cover a moderate to a dark room and power this out but before that you have to be transparent about what you do so when I started this and actually of all of the ones I started this one generated the most reaction from the institutions initially and they initially questioned whether I have a mandate of doing this because they thought as a political piece on the life of no business dealing with the political workings of the Parliament Council of Commission which is absolutely true but where I come in is the transparency of these and other the treaties that you were making was supposed to be conducted as a public and so on and I felt and they agreed how better it was within my rights to look at that narrow piece of the process which is the transparency please so I talked about it as a mapping exercise so I went about going about mapping it so my colleagues went into the various institutions and looked at what is publicly available what you need to do a 1049 freedom of information requests in relation to what what you would never see so they did that and then I put a series of questions to the three institutions in relation to those sort of issues and that and I got their responses and then I have a yes a public consultation open for another week and a half any of you care to join me and I looked at two closed files I decided I wouldn't look at an ongoing director or a piece of lobby because that just didn't seem appropriate so it was better to actually look and see what happened in two closed files I didn't choose that for any particular reason other than they had kind of a public interest by about them so then at the end of that I would make suggestions as to how these could be made more transparent but what was interesting I remember talking at a Parliament committee about this and I was asked by an MEP from Denmark who would be very, very pro-transparency and she had concerns that if you open it up any more than it has currently opened up then you're going to allow the lobbyists to get in and to get access to the MEPs and others will come under even greater pressure other people put forward the view that it would be obvious because they are well-resourced among them because companies that are loyal have a lot of light on it already have access that other players don't because either they're NGOs and the tight budgets and they can't spread themselves across everything or for other reasons so but anyway we'll see what the public consultation throws up yeah so this is my latest one it's not an only list it's just a letter to that gentleman this kind of thing is a letter to that gentleman and I have a Dutch assistant who keeps telling me how to relax his name in Dutch but I'm not going to pain you with it so again you know a lot of people that my friends are here and others because the Troika was still a pressure on people's minds a lot of people would come to me informally maybe at meetings or after a meeting and ask about how to make the Troika accountable and who can I blame for the collapse of the public health service in my country or who can I blame for this and how do I make a complaint against the Troika and of course you can't because it's not a new institution you know and obviously with your group Dan and other will know what you put on the matter it becomes such a big player politically and economically every which way there have been questions about its its transparency its accountability because it doesn't exist in the institutional sense and it isn't accountable to a it's not accountable to the European Parliament and whatever individual ministers of course are accountable to their governments but not as an institution and I know Mr Barathak has made a big play of this of course he was his own transparency machine and and that and that a lot of it so I think this gentleman Mr Lee has and also because the Dutch presidency obviously as well the Dutch presidency of the council has made transparency a big part of its peace so he's obviously sniffing the wind and he some in early March he announced some new transparency measures I think the gender might be published now in advance and um yeah there's a there's a yes a detailed meeting Jen's Europe summing up letter program country related documents and so on so it is a start of course a lot of people want to know it's about the individual contributions of individual member states at these meetings I'd rather be I'd rather be a very high self so I wrote in just last week to encourage this um this initiative um and um raised a few issues because a lot of the preparatory work that is done for the group is done by the commissioners and council officials and a lot of those documents are actually council and position documents and therefore they are come under the 1049 regime so I think this is the beginning as they say of a conversation with the Europe group but I think increasingly especially with what's happening politically and the people are talking about too and through speed Europe and you know the role of the Europe group and its importance and all of that I think just like the ECB and the United Nations come under greater pressure to be a lot more


After all, moon is a satellite for this planet and helplessly strong to this planet and making its rounds. So what is the significance?  Probably many of you know that you may not know, I hope you do not know this by experience.  You're aware of this, hmm? Happens to you? So yourself, you just be with me, don't worry about the camera. So, it doesn't happen to you, but it does happen to somebody. So it is not that moon instigates madness. It is just that when the moon takes certain positions, it heightens whatever you are. If you are loving, you become more loving. If you're joyful, you become more joyful. If you're blissful, you become much more blissful. If you're little insane, you become much more insane. If you're meditative, you become far more meditative. It just enhances everything that you are. So we consider these days important, so that you consciously create the right kind of quality in you, so that it gets enhanced. Today is Bhavnamen, in the morning you get up and you've been a certain way. You create a certain quality in you, so that by evening that quality is enhanced.  So the moon is not, does not make you mad or meditative, it just enhances whatever you are.   But something is happening. The very ocean is trying to rise. When the very ocean is trying to rise, the situation may be conducive for you also to rise, probably, if you are willing to make use of it. And moon's influence on human life is far more than that. To do anything with yourself, to be aware where the moon is could be useful, because it creates different types of qualities and energies in the system. If one is aware, he could make use of it. In English language, moon is lunar.  So generally the influence of the moon is considered illogical. Anything illogical, generally in the West got labeled as madness or insanity. But here we always saw the limitations of logic. Logic is very useful to conduct the material aspect of your life.  There is no other way to conduct it. This is the problem with us. To conduct the outside, we call the divine. To conduct the inward, we try to go at it logically. It both won't work for us. So when it comes to subjective dimensions of life, if you are not willing to step beyond the limitations of your logic, then nothing ever will happen.   Everything is logically correct but you have a long face because everything is correct with you. You're correct but life doesn't work like that. If you wake up in the morning, tomorrow morning when you wake up, lying down in your bed, think 100% logically. Do not think of all those beautiful moments in your life. Do not go back to any experience which matters to you. Do not think of the birds in the sky, the sunrise, the flowers in your garden, your child's face or a loving moment in your life. Don't look at any of that. Just think logically.  That's not a small feat. Is it a small feat? It's not a small feat. And then you have to go to the toilet. Then you have to eat, work, eat, work, eat, go to sleep. Again tomorrow morning same thing. Cut out the experiential aspect. Think of your life 100% logically and see. You have to do the same damn things for the next 30, 40, 50 years. And if you do yoga it gets elongated. It gets stretched further, you know?  Just think logically. Is it worth it? Is it worthwhile? Is it worthwhile? No. Moments of extreme logic or moments of suicide and all of you have been committing suicide like this but you don't do anything these days in one shot. You do everything in installments. You're committing suicide also in installments. I want you to just look back.  It was like this. No, it's getting longer and longer. So if you have to step out of your logic unless you do it in a certain way, it sounds senseless because right now your idea of sense is only logical, isn't it? But please see the most beautiful moments in your life have happened to you only when you kept your logic aside a little bit.  Really? Yes or no? Maybe it's the most beautiful thing in your life but logically dissect your love affair and look at it.   So in yoga, we look at you as two aspects, the sun and the moon. You have seen the symbolism? You've heard of the word hatha, hatha yoga? Hatha means ha, means santha, means moon. So these are the two dimensions. The various symbolisms for this you have seen Shiva being represented as half-man, half-woman, all these things to suggest there is a logical dimension to you and there's a dimension beyond that.  So when we say a spiritual process or yoga or whatever, what we're looking at is how to become a full-fledged life process. Not a half-life process, just the body is alive. That's not good enough. Everything in you should be aflame. Only then you will see whether something is happening or nothing is happening, it's worth being here. If you sit here, it's worth being here. If you open your eyes, it's worth being here. If you close your eyes, it's worth being here. Otherwise whatever is happening, it's not worth being here simply because only a part of you is alive. The other part is, is yet to come alive. So the moon, today being a full moon, the clouds are hiring it but don't worry, whether you can see it or not, the influence of the moon is very much there because on a no moon day or a new moon day, the influence of the moon is far more than on the full moon day. So whether you perceive something or do not perceive something is not the issue, the influence is anyway there. There is a logical element to you, which helps you to handle the material well. There's a dimension beyond logic, without it the subjective dimensions can never be accessed. The moon is a symbolic representation of that dimension.


Good afternoon, everyone, and welcome to the year's last lunch ponds. It's amazingly, it's flown past. Thank you all for making it. And we hope to preemptively see you in the fall again. But, you know, it's your participation, your attendance has made it a remarkable season. Thank you for your forbearance and being here and supporting us. We're very lucky today to welcome Ishan Hutchinson to close us out. Before we get going, I'll ask you to silence your cell phones if they're not. And I want to extend our thanks, as always, to the Berkeley Library, whose support makes this all possible, especially Amber and our student workers, to Callie from Pegasus Books, who has Ishan's most recent collection for sale over there. Also, thank you Callie, support the poet, support the bookstore. And two poets and writers, who is in part cosponsoring this event today. For me, to read Ishan Hutchinson's poems is to wonder through a text whose intricacies may at first elude me, to snag on an edge of beauty, to read again. It is to let my ear be guided by the rise and fall of meters before the eye catches up, and so to hear the formal dignity of sense made before I am able to quite parse the syntax. Hearing the poems aloud, I seem to enter as an active participant into the sensory welter of Jamaican place, the pain of serious thought, and the shattered forest of elegy. What Hutchinson has said of Milton, Milton's restless, serious grammar, applies beautifully to his own verse. Hutchinson wrote, Instead of finding yourself outside, you find yourself within the language in a rousing wave that riles and delivers on a layered plateau. You're never safely one place or the other. When he speaks about being between places, I hear an echo of what I understand to be Hutchinson's own position. A quote such as this helps me see the instability that backdrops the masterful solidity of Hutchinson's formal music. Both that flux and solidity come through in the title poem of his forthcoming collection, The Mariner's Progress, which stages a journey through the alien grandeur of the English tradition, a journey as charmed and surreal as the ancient mariners to which it eludes. In the poem, bladed lines of Jamaican sugarcane blur into the lines of poetry that define the speaker so entirely that he, quote, seems to himself a broad antelion echo lost in the marrow wings of a pelican or an albatross cloud remnant tassled low flyer beneath the radar of the wind. I hear how the anxiety in echo or remnant, how the bird seen morphs into the literary bird, the albatross, and yet how the speaker's sheer eloquence keeps at once dispelling these concerns, even as each new word remembers other's speech. It may be that in poetry we can, unlike in life, choose to a degree our ancestors. If so, Hutchinson carries forward voices from Homer to Homeros that sing of underworld descents, forsaken armies, homeless mariners. Commanding that deracinated tradition so powerfully, he makes of its weightless materials a sturdy home. But one can't live only among shadows, the opposite. I find Hutchinson's work so powerful because of the webs of literary reference, which lead the poems abroad, are balanced by the deep gravity of the home one can't choose or make, the Jamaican lives and landscape that are his recurrent subjects. And it seems to me that the gap between these culturally disenfranchised subjects and the high style Hutchinson so often elevates them into is the source of much of his poetry's pathos. I hear this in the title, for instance, of House of Lords and Commons, not Houses of Lords and Commons, a singular, which collapses the two distinct hierarchies, Lords, Commons into one. It doesn't refuse the binary, it doesn't deny that Lords and Commons, but rather erasing a single letter, twist the language to bring the two terms into close destabilizing proximity. In Hutchinson's hands, the spirit of inclusion and the ennoblement that comes from intoning common lives in the language of Lords is a twilight gesture. This book is a work of almost universal elegy, and its acts of naming are also acts of interment. Fitzie, J. Maxwell, Beryl Mouth, Aunt May, Pierre Powell, Principal William, Miss Rose, Pete, Mr. Kildear, Leopold Dice, Isabel Garcia, Sweet May. Sometimes we know these people's life stories, but more often we don't. Just as sometimes Hutchinson's winding syntax guides us and sometimes evades. In both cases, the linguistic sharpness and the tonal tenderness reassure us even when we can't follow, and we recognize at the border of sound and sense what we can know and what we don't need to. We mourn these people even as we respect their privacy, their right to opacity. Ishten Hutchinson is the author of four books of poetry and a forthcoming book of prose, all from FSG and Faber. He is the recipient of the Brodsky Rome Prize, of the Wintem Campbell Award, and the National Books Critics Circle Award. Fourth coming most soonest, our School of Instruction this fall, Fugitive Tilts, The Year After, Book of Prose, and Mariners Progress 25, I believe. An honor to welcome Ishten Hutchinson. Good afternoon. Can you hear me? Thank you, Noah. It's actually weird to say good afternoon. Now I see it. You do come to a lunchtime to listen to poems. You have to see it to believe it. Thank you for that very generous introduction, Noah. I was listening and sinking more and more into my sofa chair because it sounds like a very grave and serious young man. I'm trying to recognize him, but I believe it is certainly the case that I take this voyage into poetry very seriously and take none of it for granted because of the weight of history, both growing up in Jamaica and knowing the violent history that comes with that, but also the violence too of canon. And seeing that my work as a poet in part is to figure out what sort of emancipatory forces I should summon. Luckily, I stand in great shoulders within the Caribbean tradition of many poets and writers that I admire and envy and wish they hadn't been born. Don't tell them that. This isn't recorded, of course. I will read the title poem of the collection House of Lords in Common. And the poem is titled The Lords and Commons of Summer. I should tell you that a summer here should be a pun on summer, Babylonian city and civilization. When I told a friend of mine that that's where, you know, that's what I was thinking about, he outright laughed at me and we're no longer friends. I thought it was such a nice play on summer, summer. I circled half mad a dead azalea scent that framed my room. I licked anointed oil off a sardine tin, opened bean and thyme, perplexed myself. Then picked up and blew a claybird whistle. Silence came scratching the same way it did at the funeral of Heidegger when no silence came. When my boy self played seance in the Spanish needles, havoc in the bees, their bronze staining my shanks, rain pistils sprung out of the earth and buried glass splinters under my clothed line. Vivaldi and Tangerine below the early winter moon minting its double over the city axled down in the buried seas lilac silver trimming my windows wick with the fierce, fast and low rustle of lions out of a russeted ice flow, a furnace in my father's voice. I prayed for the cold stove's roses, a cruise ship lit like a castle on fire in the harbor we never walked. Father and son, father drifting down the ferned hell is shanty shun, where inside in my head the lamp was the lamp, the market, the park, the library, not a soul but grandmother's morning wash lifting towards heaven, her flapping winding sheets, the barrister son punished my sister. I stared at my hand in a book, the horizon declined in my mouth, a hawk's scream tied all the hills together. My little earth shaker visored in placenta, wonder of wonders, tremulous in aminotic shield and sold already, father in the veritable night without house or harbor, soon see in a voice will harrow a scorpion's blaze in me to the marrow. At night, birds hammered my unborn child's heart. Each strike bringing bones and spine to glow, her lungs pestled loud as the sea I was raised as sea and nominee. Among women who cursed their hearts out, soured themselves, never brides into veranda shades, talcum and tea moistened their quivering jaws, prophetic without prophecy, anvil black, gleaming garlic nubs, the pageant arrived with sails unfurled from colchis, and I rejoiced like a broken asylum to see burning sand grains, skittering ice, shekels clapped in my chest. I smashed my head against a light bulb and light sprinkled my hair. I rejoiced, a poetry hit by the sun in the room. A man, a man, the sky is loaded with ore. The mountains, the mountains are lingering on the threshold, luminous with the valley's pollution. A late transport shimmers and I shimmer too. This is one of the holy cities of America. Holy banks, mortuaries, holy cafes, a golden angel descends in the middle of three javelin spires. Then I see poised, rife-like in the snow on the sifted avenue, muscles released from chair scurril. A herd of darkness gathers the passage onto Shiloh, where the lord of summer lives, kindling a cold fire. And now for something light-hearted. I promise that will never happen. This is called the garden. And in some ways it is an invocation of something that happened in Jamaica in 2008, I think, if I'm remembering correctly, where police forces went down into a community called Tivoli Gardens to extradite a criminal or alleged criminal that the U.S. wanted to have extradited to the States. And for that reason the community was shut down and became, in a sense, a police state within Jamaica. But what the poem is really after is trying to get as much of the names of plants from the botanical garden in Kingston. So one of the things that the colonial forces did when they would come to places and take over, that they would create gardens in cities, botanical gardens. And as if it wasn't enough to settle one place, that they had to bring stuff from other plants from other places and create these gardens. And I think those plants themselves have great significance to understanding the history of colonialism, but also speaks to the present. Whatever that might mean, now or the recent past. The garden. The streetlights shed pearls that night. Stray dogs ran but did not bark at the strange shadows. The minister of all could not sleep. Mosquito swarmed around his net, his portrait, and his pitcher and drinking glass. The flags stiffened on the embassy building, but did not fall when the machine guns flared and reminded that stars were inside the decrypt towns in shanty zinc holes staring at the fixed constellation. Another asthmatic whirl of pistons passed. The chandelier fell. The carpet sparkled. Flames burst into the lantern bushes. The stone horse, winnied by the bank's marble entrance. Three large cranes with search lights lit the poncianas. A quiet flamboyant struck with the fever of children's laughter. Then, all at once, the cabbage palms and the bull hoof trees shot their fans. The harbor grew empty and heavy. The sea was sick and exhausted. The royal palms did not salute when the jeeps roamed up the driveway and circled the fountain. The blue moho did not bow and the lignum vitae shed purple bugles but did not surrender. The homeless did not run, but the dead flew in a silver stream that night. Their silk hair thundered and their heels crushed the busy nuts and ceramic roofs. The night had the scent of cut grass sprayed with poison. The night smelled of bullets. The moon did not hide. The prisoners prayed in their bunkers. The baby drank milk while its mother slept and by the window, its father could not part the curtains. After the hurricane, after the hurricane walks a silence, deranged, white as the white helmets of government surveyors looking into ruthless shacks, assessing stunt falls, noting inquiries into the logic of feathers, reversed like gullies still retching. They scribble facts about fallen cedars spread out like dead generals on leaf medallions. They draw tables to show the shore as rearrange its idea of beauty for the resort villas miraculously not rattled by the hurricanes, call it cyclops, passage through the lives of children and pigs. The one eye that unhooked banjos from the hills smashed them in Rio Valley. They record how it howled off to that dark parish St. Thomas, stumping drunk with wire lashes and cramps, paralyzing electric poles and coconut trees, dishing discard among neighbors exposed, standing among their flattened scattered lives for the first time. It passed through Aunt May's head, upsetting the furniture, left her chattering something across between a fowl and a child.  The first time I visited Florence, just as a student, I was studying in America and went as a student and just had no money to go into the museums and so on, but just to be outside the building felt like it was enough. And so this poem begins with that sort of meditation, then circles back to Jamaica. And it's called Bicycle Eclog. You know it is in Italy, if you park an old bicycle on a wall, it suddenly becomes art, right? So Bicycle Eclog. That red bicycle left in an alley near the Ponte Vecchio, I claim. I claim it's elongated shadow, ship crested on stacked crates. I claim the sourmouth Arnold and the stone arch bending sunlight on a vanished medieval fares. But mostly, I claim this two-wheel chariot, stretching on the wall. It's sickle fenders reaping dust and pollen off the heat-congested city, coiled to a halt in traffic. And I, without enough for the great museums, I'm struck by the red under-weathered brick, new tires on cobble, the bronze tulip bell smaller than Venus' nose, turned up against the river, completely itself for itself. The scar in my palm throbs, recalling a tiny stone one stuck there after I fell off the district's iron mule, well-dead by the local artisan Beryl Mouth, no relation of butter-chelly. The summer of my first long pants. The doctor's scissors probing my flesh didn't hurt, nor the lifeline bust open when the stone was plucked out. What I wailed for that afternoon was the anger in my mother's face when she found out I had disobeyed her simple wish to remain indoors until she returned from kneeling in the harvested cane, tearing out the charred roots from the earth after cane cutters had slashed the burnt field. It was her first day and her last, bowing so low to pull enough for my school fee. For again, the promised money didn't fall from my father's cold heaven in England. As we walked to the clinic on a rabble of hog plums, her mouth trembled in her soot frock, my palm reddened in her grip, plum scent taking us through the lane. By the time we saw the hospital's rusty gate, her fist was stained to my finger's curl, and when I unfastened my eyes from the ground to her face, gazing ahead, terribly calm in the hail of sunlight, a yellow shawl around her head, something of shame became clear, and if I had more sense as my blood darkened to sorrow at the age of 12 or 13, I would have forgotten the sting and ride it tighter my hold before letting her go. And now, as I raised my camera, bells charged the pigeon's sky braced by the Duomo, a shell falling from the sun. I kneel, snap the cycle, rise, hurry away. Maybe we should stick with Italy. It's very pleasant there. Noah mentioned that I have a book coming out, a book of poems coming out in November. November is the date, you know, put it in your calendar. It's not the mariners' progress. Well, you did say it was a school of instructions. That's the name of that book. And it's a book mostly memorizing West Indian soldiers who fought in British regiments during World War I. They were all volunteers. They went to fight for Mother England in hopes that Mother England would have recognized them as human beings. We know how that turned out. So this poem, the soldiers who went from Jamaica, St. Lucia, Trinidad and so on, they weren't allowed to bear arms. They were mostly there to dig the trenches and to carry the weapons. Though they did briefly see combat in the Middle East. But this section, this is just a section invoking the experience that they underwent in Europe, mostly in France. As we know, one of the tropes of war poetry, particularly British World War I poetry, is mud. The image of mud shows up a lot. So I wanted to sort of bring that trope and somewhat a cliche at this point into this atmosphere of these West Indian soldiers who haven't really had their own cells recognized in British poetry. They shoveled the long trenches day and night. Frostbitten mud. Shellshock mud. Dungheap mud. Imperial mud. Venereal mud. Malaria mud. Humbait mud. Maitin mud. 1655 mud. White flashes of sharks. Golgotha mud. Chillblane mud. Caliban mud. Cannibal mud.  Driptomania mud. Lice mud. Pyrexia mud. Exposure mud. Aphasia mud. No man's lands, every man's mud. And the smoking flax mud. Decentry mud. Septixore mud. Hogpen mud. Neferitis mud. Constipated mud. Fate mud. Sandfly fever mud. Rat mud. Shell mud. Erha shares mud. Og mud. Asquit mud. Parade mud. Skaibis mud. Mums mud. Memra mud. Pneumonia mud. Menemenetakelaparsin mud. Civil war mud. And darkness and worms will be their dwelling place mud. Yars mud. Gog mud. Magog mud. God mud. Canondiansine, as promised, saw mud. They shoveled along trenches day and night. They resurrected new counter-kindoms by the arbitrement of the sword mud. How much time do I have? Five minutes? Are you okay? All right. So for something very happy. Here is a poem in the voice of Lee Scratch Perry, who I'm sure most of you might know, one of the great architects of Jamaican music. You know, through all phases of Jamaican popular music, from ska right up to dance hall. But I'm most interested in Lee Scratch Perry's work in the late 60s and up to the mid-70s when this other form of reggae started to emerge called dub, which is a studio music, really. So the musicians would record the rhythm and then the producer Scratch would mix the sounds on the console. And what he had to do, sort of deconstruct the original form and make it into something new, something other. And part of doing that was to take away a lot of the instruments around the bass and drums. So you would remove the horns, remove the piano, and so on. And usually one of the methods is to front load the heavy bass rhythm with a strong drum kick. And he built a studio in Kingston called the Black Ark Studio. And it's a studio with many rooms. Scratch was a, he died last year, was a very enigmatic figure to put it lightly. So he painted the studio with many, you know, just painted it in wild colors. All of the rooms were covered over with collage. And in no way that describes how his music worked. It was a sort of collage music. And so the studio was very successful. It's where Bob Marley, Peter Tosh, some of the great names, recorded some of their most well-known work. Scratch was a mentor of Marley. But one day, all of a sudden Scratch burnt the studio down. Never explained why to anybody. So this poem is sort of engaging with that history. But so he called the studio the Black Ark Studio, the Black Ark.  And when you think of that in the context of Jamaican history, or at least how I think of it, it is a sort of space in which he was collecting the remnants of the survival methods of being Jamaican. Going through all of that pain and violence of history, he wanted to harbor it there, both the pain and the joy. So he called the studio the Black Ark by Scratch. The genius says, Biller Studio. I Biller Studio from Ash. I make it out of peril and slum things.  When the equator is confused and coke to cemented wreath, I built it. A conga drum so hollowed through the future, pyramids up long before CDs, spinaway roots man knocking down by the seaside like captives wheeling by the Kaba River. The genius says, Biller Studio. But don't take any foul in it. Just electric. So I make it my echo chamber with shock rooms of rainbow King Arthur's sword keep in and one for the Maccabees alone, for covenant is born between man and worm. Next room is Stone Age after that iron and one I name Freeze for too much ice downtown in the brains of all them crossing Duke Street, holy like Parsons.  So if US, Russia, China, Israel talk, missiles talk, I talk that switch I call Melchizedek. I build a closet for the waterfalls, one for the rivers, another for oceans, next for secrets. The genius says, Biller Studio. I built it without go for wood. Now, consider the nest of bees in the cranium of the gong. Consider the nest of wasps in the heart of the bush doctor. Consider the nest of locusts in the gut of the black heart man. I put them there and the others that vibrate at the feast of the Passover when the Kaliweed is passed over the roast fish and cornbread. I upset her. I jangle on the black wax, the super ape, ET. I cleared the wave. Again, consider the burning bush in the ears of Kalanji and the burning sword in the mouth of the fireman and the burning pillars in the eyes of the gargamel. I put them there to outlast earth as I navigate on one of Saturn's rings. I mitre solid shadow setting fire to snow in my ark. I credit not the genie but the coral rock. I man, I'm stone. I am perfect. Myself is a vanishing conch shell speeding around a discotheque. At the embassy of angels, skeletons ramble to check out my creation dub.  And dub is the heart breaking the torso to spring olive beaked to be eaten up by sunlight. I think that I will end with one poem from, you know, Noah makes it sound like I've just been in some cave writing poems and no. But I have been busy and I am very grateful for the chance to read from some of these poems to you. Thank you for your attention. I will end with one of the poems from The Mariners Progress which is a series of sonnets. I think eight of them. And I will end with this one. And implicitly, maybe explicitly, it's an allergy for the poem as a whole. The Mariners Progress is a poem of an allergy for the great Saint Lucian poet, Derek Walcott. I don't think he needs any introduction. So to his memory to evening air I add blown cane blown cane blown cane and stepped into outside the library by the pair all is changed blown I am a broad antelion echo lost in the marrow wings of a pelican or an albatross cloud remnant tassled low flyer below the radar of the wind trade winds traveled not traveled shit blooded a million blades choir and collapse on repeat their absolute surgeon pledged picked up by the potholes which I jump to reach home blown canes singed from the African Holocaust dark breaks in me carrying your line lucid sunglass seething uphill mine to keep and give. Thank you. That was a privilege, a lesson. I feel like my ear has been re-arranged. I hope not. And thank you all. As noted, books are for sale with Cali over there. This is our last lunch poems of the season. You can sign up on our mailing list at the counter there. If you have the courage, please we appreciate help with the chairs afterwards but no need. Thank you all for coming.