Thank you all very much and thank you guys for all hanging in there for the day. I think it was a fantastic one. I'm going to keep my comments rather brief and sort of similar to the previous moderator deliver a little bit of an overall set of comments and then a few questions for each of the speakers although I'm going to go about it just slightly differently in that the kind of meat of the questions will be in this first part and then just a couple of sort of scattered questions for each of you because I see some real through lines that I feel like I can sort of throw to all of you. Before I do that I want to thank the Sackler Center, Eleanor Whitney, Sarah Giavonello, Lauren Ross, Catherine Morris, and of course Elizabeth Sackler for making these kinds of events possible. Before I get into my, as I say, my notes here I wanted to start with something that Zeta sort of ended with which is I'm extremely, I find it extremely important to always more our conversations in kind of historical context. And so when we look at an image from the 1970s and then one that looks similar that was made in 2008 to remember that they may have formal affinities and similar content but of course their operations are very different. So many of my remarks will be kind of in line with that and that said this story of Thomas looking up right after President Obama is elected and finding such overtly racist images as such an interesting and horrific truth in the same way that I recently looked up I was doing some work on utopian feminism or feminist utopia and the first thing that comes up is this neo-conservative blog about how women are trying to ruin the world. So it's not like a fantastic, the first link, the most clicked on link isn't actually about feminist utopia as a kind of progressive or even potential thing but instead is a kind of reactionary slant on it. So I think that this is important especially as we've entered new kind of political terrain and have a new sort of optimism in the air that we're also entering into deeply conservative territory and we have to think about that I think. That said I thought it was interesting that this panel of papers seemed to take as its perhaps unspoken red thread anxiety around representation or perhaps better said a new anxiety about the very modes of critique that once worked that were usually understood as deconstructive say in the 1970s and around which there were kind of hopeful rhetorics. It was interesting how often words like fragmented, dispersed, abject, negative came up. There is a sort of fear I think underlining some of the topics that came up today and I think it's interesting in that it points I think to a certain set of questions about what critical practices look like and how feminism can be thought. In point of fact for me it was interesting to think about just how feminism operated in these four papers in that in some cases there were artists or cultural producers as case studies being taken as feminists in other cases it was the mode of address or the mode of theory that was being placed upon them that seemed to be being argued as feminist. It seems that this rise in a kind of plumbing of the negative however the debased, the invisible and not necessarily in a dialectical sense is holding out new promise or at least a new kind of question about representation for everyone on the panel but I do have to say that I wonder if there is a kind of privileging or at least an interest in seeing through the ramifications of following through to the end a logic of kind of nihilism. Again I'm going to move quickly. I'm not trying to say that the folks on this panel have no hope but rather that they are tending towards objects that do have a real weight to them in a particular way and not necessarily a clear way out of the questions that are proposed which I find sort of interesting. Also as I said before if this is a kind of negativity it may not be a sort of negativity in the sense of a dialectic, a dialectical term so it's not so clear what the opposition is that's being proposed. These aren't necessarily propositions of alternative or oppositional structures that we may be used to from feminist theory from the 70s who were for instance proposing different ways of somebody earlier said. I think it was actually Ms. Sackler herself who said we won't stop fighting until the major hierarchy has taken over so perhaps this is what I'm getting at. The practices that were chosen today I think bring up questions with regard to representational and other strategies and I just want to think about this in terms of all the papers. The distinction between reflection, operations and artistic practices that reflect what's going on in culture and reflexive modes I think everyone on this panel was interested in thinking about that distinction. Is it a mirror held up to society so you just merely see those operations sort of magnified or is there a critical analysis being put forward. I think the last few papers made that extremely clear with relation to Thomas for instance this kind of question about how things are received if there can be a kind of pedagogy that allows for a feminist reception of works that might be more ambivalent in their very being. So how the word feminism operates within the case studies presented less in some ways as a weapon or even as something to be taken as content but rather as a site of ambivalence. I think is something I'd like us to discuss. The implication of which seems less secure than ever even though we use the word often enough. The implication of this as I say makes me feel as though there's a kind of productive awkwardness around feminism at the moment which nonetheless of course also worries me. It seems to be both its promise and its kind of weak point. There's a subtext that reveals that even when a text is invested in feminism it's unclear just how that investment works what it's meant to do. If the culture as many of us have just been discussing would largely claim feminism as being over as having made its mark done its political duty how do we use the word and I would just say that in those kinds of over determined statements it's made all the more clear that feminism is actually something that makes people continuously uncomfortable and I know that the word post has been brought up several times today. I just want to point out that post does not mean over so much as it means that there's a kind of unclear line drawn in the sand between what would be a certain kind of mode say with post modernism and what comes afterwards. It's arguable whether it's actually a breach or a break or whether it's a certain kind of extension that takes those terms forward. Post colonial certainly doesn't work in the same way that post feminism does and just another kind of interesting fact about the post in the concise Oxford dictionary post feminism appears I think very pointedly but post colonialism does not which is something to think about I think what is also extremely interesting about the four papers shared terrain I think is that this acknowledgement through turns to overly conflicted terrains of representation instead of superficially celebratory ones is that a feminist or a feminism riven with antinomies which is to say conflicting claims might be more true to histories of feminism and gives an active picture of an ever evolving discussion for us today whose terms will never be stable and allows this to be a live conversation one with a history a present and a future I think it's interesting that you know Marxist theorists are allowed not to get along but feminists are supposed to so I actually think this kind of antinomy with at the heart of discussions of feminism is a productive and positive thing like any and all complicated political and ideological praxis feminism should be allowed to be fragmented riven and unstable in other words theoretical it's interesting that given the longstanding debates in feminism for some there is an unspoken and unrealistic expectation for resolution or agreement understood as an integral aspect of discursive work in philosophy say in feminism such constitutive unrest is sometimes characterized as lack so I'm back to this lack question just at the heart of a number of these papers I want to remind you that the reason that painting which has been proclaimed dead so many times stays so alive is at least according to someone like Evelle Ambois that mourning allows for something that was in the past to continue forward with the history and with new conditions I also want to say that we've been banding about the word feminism again in a kind of unmoored way which I find interesting I myself often like to use Mary Kelly who's come up so many times today already with her very precise phrase that she likes to think about art and theory that is informed by feminism theory that is informed by feminism but also at a loss or perhaps acknowledging itself as a kind of loss those are my words not Kelly's but in a recent conversation with her we talked about the driving force of contemporary feminism being predicated on the fantasy of feminism this sort of way in which we consider our own links to feminism through a kind of identificatory process that's always somewhat not really there this utopian idea of a we which I think is invoked even in a panel like this one but also forcefully denied in so many ways and my question might be for some of these panelists what happens with this desire that speaks itself as already thwarted a notion of feminism as activism coalition collective building that in many ways we talk about but we're not sure what to do with in point of fact because so many of the at least second wave feminism was so clearly connected to the politics of the moment and we have a sort of question around how our politics and our feminism come together although it seems obvious in so many ways dispatched I think in the case studies by all of the panelists was this question of what feminism does whether the kind of questions of coalition building and collectives can be thought about but it was particularly interesting to me that those kind of links are made more visible in conversations around queer and transgender debates which is something that we may talk about later and interestingly though I think there was a kind of expansive notion around heterosexuality on the panel it kind of persisted as a paradigm that gets disrupted but still maintains itself in this way I would point back to somebody like a rig array who talks about feminism as jamming the machine and women having no place of their own Anna pointed to this question about place for or space for the woman she says that in point of fact what's interesting about theoretical discourse and it's writing where it is written is that women are reduced to space in which a man takes up physical and psychical occupation and I wondered particularly with your paper how you might think about the preoccupation with the man even in his displacement there is I think a reluctance not on this panel necessarily but just in general to speculate on what feminist representation would look like because of awareness to have a return to essentialism but I still think it would be interesting to consider this possibility in the way that someone like Diana fuss talks about motivated essentialism or Jacqueline Rose describes sexuality as a disturbance in the field of vision so not a representation per se but instead a disabling of its smooth operations and I think many of you pointed to this sort of operation yourselves today so what is recognized as feminism may not always operate as such or at least it may not look like feminism and that new ways of reimagining the context and purview are always necessary so in this way of course we usher in what could unfortunately be a total untangling of feminism and it's impossible in that way to give it a kind of identity of its own so I worry about going too far down that track and attributing a total lack of definition of relativism to how we think about feminism on the other hand if feminism is speculative urgent dialogue in which class race education and other kinds of ideas are brought in we have to allow it to have a certain porosity and finally before I give you a couple of questions yourselves I just want to think about how desire as complicated ambivalent and potentially critical maybe something to think about as well even in terms of papers that have the look or at least the feel of taking on what would seem to be lots of ideas of lack and loss again this new conservatism in which I think we reside requires how we rethink the enactment of power how it's produced what it looks like what Gramsci called a production of consent in certain kinds of work and to get to something that I think that was hinting at here how pedagogy is such an important part of feminism it's a handing off of ideas and a questioning of if we want a feminist canon or if feminism is the disrupting of the logic of cannons all together to this and I'm going to just turn quickly to Claire Grace who's very succinct and interesting paper took up questions of visibility and empowerment I think very well she points to Peggy Fallon's distinction between the marked and unmarked and I think very nicely problematizes either having ultimate potency that both have their dangers in this way I thought to have said he has heart Sadiya Hartman's refusal of visibility in her scenes of subjection which of course I'm also thinking about setter here as well but what is the politics of invisibility this is a just a kind of question how do we think and I think you began to ask this question if we understand it as reiterating a kind of invisibility that's already there how do we give it a kind of visibility counterintuitively you pointed out that interestingly we live in a moment where myths of mastery at least visual mastery are at an extremely high level even if for many of us deconstructive practices would seem to have done away with all of this and so I'm quest I'm wondering if the fragmented never complete view that mimicking that mimic surveillance taken up by Ackerman does it reveal these operations or simply reflect them again something that you started to talk about and an important element that you mentioned Claire how does this affect how does this affect art spectatorial operations differently or how do they actually operate within the gallery differently than they might in another context in addition how might we think about Ackerman's insistence on her own place within this kind of field via unstable narrative if you pause it as you do that fiction itself can take on a kind of subversive operation could you talk about how invisible protagonists as film makers or art makers as a kind of feminist refusal the gaze with no point of view no comprehensibility can still put forward a kind of tacit political thematization I'm also in terms of Patricia's paper happy to see a complication of the pleasure and repression paradigm one that we've of course thought about over the years a lot but of course insisting on explicit representation historically must be made I think very complicated in terms of how it operated before and how it operates now indeed even the assumption that all women share the common trait of a certain type of genitalia should be questioned I think masturbation also is characterized as a very heteronormative thing at least as it is put forward here one in which pleasure seeking and expansive production is put against a kind of ungenerous one that is in terms of a kind of biological paradigm conservative and heterosexual some have argued similarly in regard to homosexual sex there's a kind of ungenerosity I wanted to point to the bad girls exhibition from the early mid-1990s in terms of emin just to ask you if using the kind of recognizable and thus neutered modes of subversion as she does doesn't in fact allow us not to think difference but instead to access the very power structures by which she is trying to escape being repressed she brings up I think in her work many points about the repressive structures but also if one and this is my big question for for you and for emin if we think about emin as a feminist and she says she is one and we don't like her very much how do we think about our own position in terms of feminism and again every there may be many people here who love her but I know that there's a way in which there are kind of self-proclamations around feminism that may in fact make a kind of ambivalence within an audience and that's a question for you with Anna's paper I really responded quite a lot to this idea of the parasitical and I thought it was quite interesting I'm almost done I know that we have to hurry it along the parasitical in relationship to patriarchy but I kind of wondered along those lines if the parasitical is already patriarchal so if we could talk about that a little bit why must this I think kind of interestingly queer model that you put forward rely on heterosexual operations and a kind of romantic rejection in the way that it does isn't there more in your case studies than just a rejection of the white heterosexual man but more of a kind of rejection of the system which I think you're pointing to even Rizonte Mont in terms of kind of a Nichean philosophy has a certain heterosexuality to it as well here you point interestingly I think to self abasement and Wendy Brown's idea of the wounded attachment again all of these kind of issues of loss and sort of sadness and ripping open and you ask how do feminists recover and get a place of one's own and here again I would point back to a regret in a certain way in Virginia Wolf here I would ask about the fantasy of liberation that you're pointing us towards but wondering if it's so liberatory after all my question would be if we agree that there must be some logic of feminism to other elements and objects etc is this the only relationship that can be imagined even if it is reimagined as you do in other words the parasitical even when you turn it so precisely and again I really like it but I think even if you push the parasitical to the extreme and the parasite overcomes its host the host dies so I was curious about something that I'm interested in myself getting further inside the system while this can sound super new agey but like healing it so a notion of homeopathy for instance the wound has to stay intact yeah yeah so I'm just curious if you could talk about like a I'm gonna say words like positive and I don't I don't quite mean that moving on to Zeta this question of writing as ostensibly disembodied I think is very important you suggest that there's a way to perhaps re-embodied or perhaps even more interestingly suggest that writings always embodied and of course this has been purview of feminist theory for a very long time that the idea that writing is itself an embodied practice I think it's particularly interesting in terms of an intersection between between race and feminism because there's a sort of double indemnity at stake in this question your focus on the fear underlying your considerations of representation are interesting when I first read the paper I wasn't sure where you were going with it I thought it was sort of an interesting confession but in fact the anxiety around visibility that you confess to also seems to be a kind of methodology that there's a way in which you're saying that a kind of historicity around representation informs your current looking which is interesting and again to go back to someone like Sidiya Hartman who refuses to show images for fear that it will repeat it will not remind people will simply repeat the violence instead of asking for an analysis but this anxiety is not only I would ask you to respond to this the anxiety is not only a space of fear but also an awareness of history and a place where pedagogical and discursive stakes get played out as you yourself seem aware Audre Lorde's your silence will not protect you is particularly resonant in terms of your withholding Bartman image but she also goes on to say in another context and I think this is interesting that silence is lying it isn't just withholding it's actually a form of lying and in particular in terms of feminists she says that it's a way of withholding a kind of kinship or alliance which I find interesting in this regard and I wondered if you could talk about your anxiety about your students mixed reactions to McLean Thomas's work it seemed to me that that's what exactly you would want in a sense rather than having them all be such good students that they came up with exactly the same reaction to images that are themselves asking to be problematized in the way that you ultimately do so I guess my big question for you would be how do you maintain an anxious pedagogy and still have a little bit of pleasure too so those are my questions for you guys and I know we're past time but we started a bit late and things ran over so I'm just going to hope that folks from the audience and folks on the panel will want to have a brief conversation if that's helpful so thank you all for having me and listening to me too does anyone on on the panel want to start looks like you do those really great provocative questions can you guys hear me I can't help this is on okay the question of invisibility is one that is coming back to me and it's clearly something that's been in the history of art since I don't know at least the beginning of the 20th century and in some cases it has it's the most sort of memorable and historically significant cases Duchamp and Rodchenko it has it it eventuates their withdrawal from art world and from the practice of creating objects and I'm kind of at this place now actually in my thinking where I I'm not I'm not seeing a through line as you put it in the beginning I'm not seeing a way out necessarily and that goes for feminism and it goes for the production of objects in general and I think that's why I found this particular piece by Ackerman so compelling and I'm hoping that I find the way out at some point but I think that it is a really interesting thread that ran through most these presentations and through a lot of the scholarship that is happening right now the sense of anxiety around representation and I I'm not sure I I'm not sure where we'll be in ten years if we'll we'll still be thinking about that question or where it will take us in terms of this piece you you mentioned the condition of invisibility as it functions in art spectatorship and what what I found interesting about this piece is is the the trope of invisibility doesn't come through unless you spend three hours thinking about the piece because the 90 minute projection is so long and it takes a lot of time to to to appreciate it and so if you if you allow for that time you get to this place where not only is surveillance being resisted but also the kind of spectatorial gratification of art spectatorship is being resisted also because if we're with we're there to see the protagonist that protagonist is withdrawn from vision and we're frustrated and so that's kind of an interesting example of a kind of Rochenco-esque withdrawal on Ackerman's part and not not willing to take it to the next level but obviously grappling with that question and I know you brought up so many interesting points I'm not maybe I should let someone else pitch in.  Okay okay so you asked this question about why go to the whiteheader sexual example right like why why privilege that in and giving it in 20 minutes and I think that maybe the heterosexual romance is sort of like Gabrielle's zebra dress you know in the sense that like in the sense that you I can't I can't think about like dictating any kind of moralistic like I can't think about saying that there shouldn't be X, Y, Z like I can only think about saying maybe it can't be the only thing you have in your closet it has to be something among other things that are given space and time and I think that maybe this also gets to the negativity that the question of the negativity because really what I was trying to get at is and I think that this is what's so seductive about this figure of the parasite for me maybe for you is the way in which the parasite shores up the sort of symbiosis and the possibility of thinking an ecosystem and I think it can be I think it's difficult to think about an ecosystem that is a kind of hetero ecosystem right where it's kind of to kind of based on difference but really queering the idea of a kind of symbiosis or kind of the way that we maybe have to start to think about the way that we can't escape completely like I was talking about on the you know googling utopia is interesting because it's like this you know deferral of a kind of escape that is a kind of liberatory escape that might be possible but so I'm interested in you know the way in which we maybe can start to think about not getting outside of the system but rather seeing the system as sort of complexly intertwined where there's not just negativity but there's negativity really really intertwined with positivity intertwined with and I don't also I don't want to think about it in terms of the sort of the binary that the kind of logo centric binary you never get out of but the way that these things feed each other and it's not just like women's loss women's loss women's loss but men's loss people's loss trans loss and I think this also gets to the fragmentation thing which is I think maybe it's a really beautiful thing in the sense that what you think about the alternative to fragmentation would be what a kind of that would be the real anxiety I would think of the anxiety of trying to keep the thing that's whole that's unified and it's also interesting to think the way that negativity literally is the possibility of negative space within a kind of whole that would break it apart and maybe that gets us to the reflect the reflexive reflective thing that you gave us in the way that we can begin to think about a kind of model that that where pieces can reflect off of each other rather than just being you know this or this or this heterosexual you know straight you know white you know black you know what what have you so I hope that that maybe gets a couple of your questions on those are a couple of thoughts I had great we have and we're going to open it up to you guys in just a minute I just want to hear from both patrician and Zeta if you guys want to jump in and rule in response to perhaps two of your questions if we think emin is a feminist and we don't like her what does that mean and she is quite a polarizing figure in the art world and I think all the more power to her for that matter because what that does is it creates discourse and it fosters a sense of tolerance for feminists that aren't I guess traditional and I don't want to use that word but I'm going to for lack of a better term what that will do is it will cause you know all types of feminists and I think in the third wave collective term we're now seeing that there's a lot more focus on alternative feminisms it's not white middle class anymore like it predominantly was back in second wave times so I think that's a positive contribution that her personality and her art makes to society on the whole and if you could connect that to practical sort of modes and such we enjoy discussing on a theoretical level art and that's what we're here to do today but what this ultimately should lead to is our activity outside of the lecture hall and the museum so what I think an artist like emin can do by creating controversy and sort of creating discomfort amongst feminism is truly mobilized feminists to think about re approaching old ideas and old techniques and maybe working to figure out how we can invigorate what we've come to you know to term as you know feminism in today's climate okay you hear me yeah well I have anxiety issues so I write about my anxiety pretty often but you know it's interesting that I don't I don't think my students read it as anxiety and that is one of the things that worries me because I teach a course on gender terror and trauma in African-American culture and we focus for an entire semester on representations of lynching and other forms of racial violence that there there does become a way in which particularly because my students are mostly white and most don't identify as feminist that they come to understand black feminist cultural criticism as a way of insisting upon the victimization of black people which is important but I think I want to make sure that I I teach the way that I was trained which is that you lead with what you like and I want them to make sure that they can not be ashamed of the fact that they find pleasure in Beyonce because frankly I work with elementary school and teenage girls and if I say to them you know who do you think of as a feminist they say Beyonce right she's an independent strong sort of woman etc etc so when I come in and critique her it actually defeats my intent of kind of opening up feminism feminism still a whole bunch of younger people but I had students just last week or last month rather after we watched a film on I think it was called the souls of black girls and they said well you know what if I want to go to the club and shake my you know what if I want to do that and you know are you telling me I can't do that and I said no I'm not telling you you can't do that you can do the point of feminism is that you can do what you want to do with your own body but it would be irresponsible for me as an educator not to say that there are risks out there so it really is the anxiety is about finding that balance about opening things up and not shutting things down completely in any kind of way but possibly instilling a kind of anxiety in them not hypervigilance I'm not trying to traumatize them but and some of them were deeply traumatized by the lynching course which was interesting at a women's college that I had to take so many other precautions when teaching the course but ultimately the goal is not to deny pleasure or or exactly to they're deeply yes everything's allowed would anyone out there like to ask a question of the panel and sports what do you say it loud I actually I missed the last part of your question so what would I say about her what do you think about her lesbianism and her gender play and how it operates in her work especially the recent work the recent work okay well I meet mickleene and I mickleene Thomas and I were trying to connect so that I could interview her and I sent her a long list of questions and one of the questions was around sexual orientation and then I removed it because I wasn't sure that it was appropriate for me to broach the topic and I thought well if I do go to her studio and we start having a conversation in it becomes clear what my intentions are perhaps then I can bring it up but I do find it fascinating that she she in a sense she by centering the women she doesn't even just marginalize men from her art she excludes them all together and and so it isn't appropriate or even accurate to assume that every consumer of her art is male identified which is something I found that I was doing and I had been teaching Laura Mulvey a couple of weeks ago in my film class and that idea of objectification and to be looked at Ness and isn't there a way of of negotiating your consumption of an image and I thought about Jacqueline Bobo and what she said about black women as a group being able to extract meaning from mainstream texts even when those texts aren't meant to serve them or to please them and so I think that mickleene presents us with beauty and appeal and sexuality that is really quite open there aren't any limits on it and because she isn't explicitly saying like the way that I looked at the picture and thought that's for me that speaks to a kind of openness in terms of construction so that you don't it was inaccurate or unfair for me I think to posit her images as being the same as what we see on BET or what we saw in the black exploitation films which again I assumed were for the pleasure of men but they aren't only or exclusively and I think she really empowers all kinds of consumers by by making it as open as she does and figuring herself as a as a desiring woman as in the Afro-Goddess image as well. My question is about the relationship between autobiography and feminism you know of course many of the artists that we heard about in this panel either use autobiography or at least an autobiographical an autobiographic persona in their work and I think that actually I think that distinction is important so I guess autobiography and art informed by feminism but then also autobiography and feminist discourse because something that I've also I've noticed throughout the day is that many of the panelists presenters have used you know have drawn on personal experiences or anecdotes and framing their discussions which I think is interesting just as a rhetorical strategy and I'm wondering does anyone have thoughts is that something to do specifically with the topic that we're all here to think about. Okay I'll jump in. Well in my particular paper I think I go to performance as a way to sort of deal with the reading the sort of pitfalls of reading autobiography is authentic and yeah I definitely and I'd love to hear what you have to say Patricia just in terms of the relationship between the autobiographical and the autoerotic and in the way and maybe I'll maybe I'll make this about you and maybe if I can add to your question maybe I don't want to change your question but I would add the way that maybe maybe there's something to be asked about pleasure and autobiography and in the way that masturbation kind of complicates all of these all these questions that we're already asking when we're trying to talk about self-pleasure and and performing self-pleasure and how that maybe changes things and also maybe the way that masturbation isn't whether you can kind of clear that through performance I don't know do you have thoughts? I do maybe not necessarily about masturbation anymore but certainly autobiography and confessionalism I'm first and foremost a literature scholar so I work in modes of poetry confessional poetry which is a plot problematic term personally but I think one that is helpful when you read these sort of you know Sylvia Plath and Sexton Robert Lowell type poems with the I it's very seductive right it sucks you in because it's it's a very personal motive discourse it feels like you're being directly addressed like you're part of the work and I feel that with feminism in particular with female artists there is that sort of level and mode of identification that occurs I think especially if you're searching for different ways to express yourself or different ways to assert complicated identities it's really I feel liberating in a way to be confronted with this type of art and to sort of understand that there is space for you out there and there's space for you to sort of indulge yourself right we're often told that the too much information keep it to yourself and I think that it's actually liberating powerful to understand that using the eye and being personal confessing transgressions can be a political act I think but it's also interesting how that gets racialized right like in your paper the way that white women seem to be moving in a direction of like exposure exposure exposure in sort of performance practices and then the way that you are kind of posing I think certain questions about anxiety is about that I think you were talking about with Gabrielle again you are worried because there was so much exposure mm-hmm well there's a way in which if it is Joanna was saying if it's not self-reflexive then it's simply narcissistic and we really that doesn't help anybody and when you belong to a dominant group and you're dominating space taking up I I I talking about your experience I think it's necessary to also reflect and say who am I excluding by running my mouth so much you know whose voice is not being heard do we have time for one last question going back to the sir Bartman issue friend of mine does a lot of work on sir Bartman and one of the things she did is went back and asked some Koisang people what the historical understanding the sir Bartman was next and went to a professor whose Koisang which is the group that sir Bartman comes to sort of wrote the first dissertation on sir Bartman from the Koisang perspective and from the Koisang perspective one of the things that they found is the same friend was actually my wife wrote she wrote an essay on Susan Lloyd Park's understanding of sir Bartman and one of the things having studied the Koisang understanding one of the things that she came to find is that a lot of the African-American perception of sir Bartman re-inscribed the same Western racism that was already there in other words things like her being a prostitute were not real at all things like her having signed a contract to go do this work in London was not real at all things like her having the extended labia were not real at all because that particular group doesn't practice any of these things so the thing that was interesting in hearing the discussion is that you had mentioned sir Bartman but when it came back to the discussion of bodies it came to African-American women and kind of skipped all the other women of color who sort of no matter what kind of are left with whatever happens under the table after these presentations in America in other words it's very easy to present a leopard skin as an or a zebra skin as an intellectual here who can then jump off the table and go back into being a professor etc but there's another woman who's bearing the brunt of that gaze somewhere else without a PhD without an education and it's still being that's reinscribing that for her in what's quote called the third world and I just want you to speak to if that complexity is something that you're thinking about because I fully understand your need to be very selective about that exposure partially because we're referring to things that we haven't even studied completely yet we're looking at sir Bartman but we haven't even come to a complete understanding of what that episode was or even gone back as black people to the black people who went through that experience and asked them what it meant to them yeah well I think there are different projects I don't think Susan Laurie Parks was trying to represent historical truth I think she was actually toying with and complicating that idea that there is no way really to go back and ascertain absolutely for certain what happens because we would have to have had Sarah Bartman speaking in her own voice and I would just say that having a PhD doesn't protect me from anything it is certainly a privilege and I have access to certain spaces but I mean we could have a whole panel on what it's like to be a black woman in the academy there was just a conference last month on what that's like so I don't purport to speak for all black women everywhere and certainly diaspora is complicated there are continuities there are competing conflicting experiences I was speaking to the ways in which I would agree with you in that Sarah Bartman has become a kind of symbol for African American feminists that sometimes is not complicated enough because she is symbolic and then she therefore loses some of her own specificity but again it's hard to access that it's great that your wife went and talked to the Khoisan but I'm not sure that even in her research she would be able to know exactly what it was like for Sarah Bartman in the moment of her existence in the late 18th and early 19th century so what I thought Susan Lori Parks was trying to do why I teach her play is that she's complicating first of all she's presenting it as a fictional narrative she's telling it she's playing with time and linearity by telling it backwards and she makes the Venus into a figure that is not wholly likable or sympathetic and that to me is extraordinarily daring because the ways in which Sarah Bartman has been used by many African American feminists or scholars or intellectuals is that she is figured as the ultimate victim and to say that it's possible that this woman similar to Josephine Baker had choices demonstrated her own agency for Susan Lori Parks potentially participated in her own exploitation those are really complicated ideas that ultimately I think assert the humanity of the person rather than this overriding objection or victimization so I don't purport to speak for all black women everywhere I think you're right that the discourse around Sarah Bartman and the spectacularization of the black female body impacts different people in different ways but that's what it is it is complicated so thank you for pointing out that it is complicated I agree maybe as one last expansion on this point because I think it's interesting who's called upon who to in terms of representation as though I mean this question brings up this this question that I think has been kind of hovering throughout these papers and even earlier that that when you tell one story there's an expectation for a kind of fidelity to a history and every one of the papers here has problematized that and asked for certain attention to be paid to the kind of theoretical or speculative work that actually happens and think about it as a place where thinking happens and I wondered if you could talk just for a second about Chantal Uckerman in this way which is to say that she's precisely not trying to speak for the subjects that she's keeping sort of out of the frame as it were so could you just say what it is you think you know the kinds of misinterpretations of her work are kind of interesting in this respect as well perhaps I'm just thinking of somebody who's who's spent so many decades thinking about a kind of identificatory strategies and this particular project that you talk about operates somewhat differently from some of the earlier ones and I thought maybe you'd have something to say about that or anything else I just want to I want to get you to say one more thing I'm just gonna be transparent about it I really want to hear one more time from Claire nothing is coming up directly in terms of Chantal Uckerman's work or this piece in particular I mean I think it's it's a withdrawal to represent a subject that interests her but that is obviously extremely complicated for her and she's not willing to lapse into kind of representational mode that she has such questions about so her strategy for doing that is to show a blank screen and I don't know where that takes us but it's it's something that that she's left us with and maybe it's pre-feminism yeah maybe interestingly the work that she made most recently since this project is it's called Seven Women in Antwerp I think and it's a gigantic screen so sensual beautiful incredible close-up portrait of these seven women standing on the street corner in various in various ways in various modes of experience daily experience and there's no dialogue or anything and it's it's sort of the inverse of this project and that it it fills the screen with a sensual display of women and I'm not sure what what her steps were between the two projects but it's interesting so I guess with that we should close thank you all so much thank you panelists I also just wanted to thank everyone who presented today and to all of you who came the museum remains open until six o'clock so please it doesn't give you a lot of time but please stay and enjoy the rest of the day thanks


Paul models the practice of narrating his own life into the ongoing story of God's salvation of the world. He teaches the Philippians to do the same, and through these examples, we learn how to apply the same pattern of thinking to our own lives. Paul's good news in his letter to the church in Philippi is that what the world sees as setbacks are actually part of God's work. No experience is wasted. Nothing is lost. No matter the circumstances, love remains.


On-skin electrodes have been developed over the last decade to provide a comfortable and reliable platform for electrophysiology studies. These devices offer many advantages including stretchability, biocompatibility and wearable comfort. Recent developments have focused on improving the performance of these devices through material selection, integration of sensors and strategies to increase adhesion and breathability. Integrated systems have also been developed which combine multiple sensors into one device. This review provides an overview of the current state of research and development in on-skin electrodes and their integrated systems. This article was authored by Hao Wu, Guan Guangyang, Khan Hao Zhu and others.


Civil service examination, the role of Shankar IA's academy, myself Dharunkumar is, yes I have cleared the exam 413 rank, I am very happy about it and Civil service examination knowledge, we have a very important guidance and the Shankar IA's academy, Yadimitriyama Vandana and the staff role played by Arundhsa, I know the optional public administration, sir's contribution, Rajitha ma'am, confidence building, we all know about the exam, we have to participate for 24 hours, we have to update, we will be working hard, 3 stages of exam will be completed in a year, so we are working hard in any way, there will be confidence in any way, that is very important, so the role played by the academy understanding exam, what is an exam, what should be studied, what should not be studied, what should be known, how to write, how to write, how to speak, and the Vishnana, I have gained a lot from Shankar IA's academy, especially friends, friends I got from Shankar IA's academy, played a major role, Nallai environment, exposure and the role played by Shankar sir, Varamudu Shankar sir, he is everything for us and he is the guidance maker and now I am very proud, I am able to do and with his blessings and what I can, what I want to tell to everyone is, if we can do, we can also do with hard work, persistence, Nallai work Panegina, Uggulalvi Mudiyu and Kanteepa Mudiyu, this exam is very difficult, do not think initially, come and talk, many of you talk to the passman, talk to the passman, talk to the staff, then finish it, this exam with good guidance and hard work, anyone can do it, anyone can do it, Uggulalvi Mudiyu, thank you.


We are live and not early, not yet Should be live Quickly share this. I don't know how to do it prior starting the stream Which is unfortunate did you learn? Okay So jump straight into it or any intros Later especially if anyone else what is it you are doing more than happy to go over it continue the ECG feature extraction web application Let's see. So it should look something like this But we're where the different ECG waveform components are being labeled Hopefully as accurately as possible There would be more inputs to play around with So you can see if you can Improve performance on a specific ECG signal. So that's generally what we are trying to do so We had that code Generated by chgpt We've been testing it quite a bit modifying it quite a lot So that works yeah, we don't like any magic numbers so these numbers will be inputs In the web application, but some other numbers like this one here Essentially any magic numbers in there It would be Yeah, I don't know why this hundred fifty is just not a variable Should be a variable really It's actually get Let's see. Yeah, I'll do it on our actual application so we did get the bot To turn this into a web application And this is what it looks like some reason Yes, obviously this button needs to be pressed every time This value is not changing that so there's a lot of fake things to fix Let's do them quickly So you see here it's talking to the server. Let's see the any errors Yeah, the favicon sort out latents That's okay There are no errors which is good doing this literature little review Using this plug-in in chgpt What's called something that this be a scholar AI Yeah, whatever the name is it wasn't great when I previously checked it hopefully it's improved by now and gave me and Overview of about eight different papers From various years. Obviously no one has time to Read all papers the original topic is How did you know filtering of ECG signals can cause means diagnosis? so it found a bunch of papers on the topic Which has essentially ECG filtering a Rhythmia techniques power line interference removal So I thought to continue to find some more Comparison of ECG so those papers actually Legit you can actually go and find them. It's not like GPT used to just make up References This Eddon is actually searching Google scholar now. How good is the summary is still to be discovered These are the fractional filters New time varying adaptive filter system Not sure what's that about real-time filtering and ECG signal processing based on dual core digital signal controllers Yeah, anyway, now it's a supposedly summarizing The eight papers so you can write the lead review for you But yes, you have to Digital filtering methods and charging adaptive algorithms and compression compression You think you will not need a compression for one or two ECG channels at whatever Sampling rate they're coming through and by the way, this sampling rate is too high Yeah, we don't need it to be a thousand especially not more than a thousand could be around It to 50 And they have a good thing now with a change in PT is that it was able I was able to just upload the image of what it self created and it's giving you So now it knows what the web interface Looks like and it's giving more suggestions. So it's it's picked up on the legend repetition Which is correct and it's trying to fix it over here And we'll see how does it in a second Changing the JavaScript So we're right. Well, it's already created a web application for us. It's a flask Application using New York it to choose open source on github and numpy math just for the ceiling function and It's actually kind of forced us to do it because Jason file It needs that kind of thing Yeah, the other thing in the code so should have another file which is a Prompt oh Yeah, call it info or whatever. So we want What do we want? Yes, so we have this Python cause working okay, but it's not a web application just to stand alone Python script Then we have this fast application But it's improved improving some improving quite a bit of improving in the app So say yeah this hundred fifteen needs to be turned into a variable Obviously, I don't know why didn't Just do it turn them to a variable every Where you get a piece six times So, please do that. What else do we have should have other thresholds and time Essentially, we're looking at Yeah, these timings for the detection This one by the way would not go below to give an error That the segment is too small, I think four is actually the minimum for the analysis to work So the what's the signal oops and K Yeah, we're using the New rocket Several times. Yeah for this to work for this to work There is a minimum signal duration Of I think it's all that here because We actually need it in For it's the previous thing. Yeah, this bit should be turned Turned into a variable Right, we still so when we're loading the page instead of let's use the Right and this one is the repeated Yeah, you get the the caption what's called not caption Individual scatter plots Instead you can collect all qrs So we'll have ensuring the disable appears only once in the legend. So the legend Fixed the legend always have to kind of ask it to Generate by the way, yes, you can make spelling mistakes with a judge, but it will get you anyway I think Okay, I don't actually need to monitor my son Which is good with all So fix the legend Should we turn it available? And what else do we need to do? So the other question is how come? The main question actually It's only does q s peaks Is it because the our ones are being ignored Yeah, we only have negative peaks So they're working. Okay And there's no fix the legend The peaks And the other peaks There are peaks negative peaks positive peaks for What's called pq rst, isn't it a p? q rst So we got the qrs We need p and t p and t waves Fixing the legend can go Down the priority list And we also Make sure the Shut loads When loading the page first time with Labels Okay, what else do we need to do? A sampling rate Sampling can be fixed at 250 Perts No need So hopefully it will just keep the variable for it, but it will just remain the same No constant can make it constant Don't Right, so we have that And okay HTML So these are new prompts Spelling mistakes are okay Why do I have a delay? OBS as well Choose segment range variable to replace the hardcoded 150 Choose logic for p and t identification and fix the legend Display the chart with labels upon initial page load Set fixed sampling rate of 250 What's my OBS like delayed by A second or so And the stream I think the stream is okay. I'm not sure to check the stream this. Is there something wrong with the stream? sort of that Way obviously this will be edited out Yes, and you don't have the logic for The wave-indentification Why still generating stuff Didn't actually generate all the code right and forget to ask to Generate the whole code Okay, let's stop generating this for a second I forgot to And indicate another important thing And we Want instead of the generate button We want this Chart to get updated when you change any Of the input parameters chart when any Input changed By the user Okay This Whilst let's try To Generate Code this The same do not generate any code Yes spelling mistakes are okay Let's see if it actually follows that last prompt Minimum signal duration yes to get meaningful value should have minimum duration of this cheat signal if you haven't modified that it's for and then Identify that it's four seconds and show you don't allow variable loader. Okay replace 150 variable Yes, we'll code segment range Find positive peaks for p and t You already have some code it takes p and t very sure I used to have it but it got a removed There's only q and s There's no t fix the legend You can trigger a form submit in the JavaScript right after the page loads The sample rate fixed at 250 Yeah, remove the ui element here. We don't need to adjust Um To adjust the sampling rate just fix it at 250 to fix What is that adaptive algorithm? No, so that's the wrong wrong window Sampling fixed up to 50 and then the chance then input changes you can add eventlessness Okay Okay, so it's actually not generating any code. That's great Index html update ajax Okay To do do this three prompts She Wait Criptures index html hopefully We want run out of prompt limit Just currently at the think 50 pay three hours or something So hopefully it will soon appear On the page You want to check any of the our tools? Put the link in the description The last one was the ccg synthetic A signal generator So this one the one we're working on today will look kind of similar That's many focusing on the options to label the signal so it should Be finding all the Different the cg waveform components That's why it doesn't change That's not 25 Remember this bug Okay, so generated the whole yeah sampling rate fixed to 50 segment range 150 by the way that Yeah, that segment rate should be a obviously automated somehow it should be just 150 all the time because it would not work a for all waveforms modified generate cg data function to use this constant made Generate make sure the generate cg function returns data points that Serializable How come There's nothing on Positive peaks That's something about you already have some code that detects these positive peak pnt waves detection in that in this grid things Yeah, you have to kind of it Kind of tells you what it doesn't want to do for whatever reason So you have to nudge it In the right direction of actually doing what you want Yeah, let's see So we have all the imports no ceiling for example Why was that gone? I don't think we actually need it. That's the same index. We have the variables now. That's great Have to generate a cg data the function called differently That should be okay as long as the Index the JavaScript is modified as well. Okay, so we have negative Where is that positive? We have positive peak Yeah, q s negative peaks they work okay. I don't know why they're combined together But it should be fine This code should be roughly the same length Yes, it is obviously Let's just stop it for a sec. We'll always be having all sorts of errors If we run it now Let's generate the whole A JavaScript first we can try running it We show we're getting all sorts of Errors. Yes, for example the generate dcg A function have changed. It's now called generate dcg data That's why this one Yeah, that one work close this for a sec. Just so we have Let's say window jumping We currently generating the JavaScript code And then we do index html I just generate dcg. That's Is that wrong? I think that's wrong It's not called Why is it calling a different URL? Okay, whatever works Yes, it's also got the 150 As a magic number. Why? That's something I don't understand Plotly I mean if it works it works The script listens for both form submission and any changes to the input sliders And it updates the ecg plus accordingly And that's okay. I still didn't get why it has the 150s everywhere Why this magic number Is so many Times presents the number of samples around Our peak where the ecg waveform will be segmented to detect and plot other peaks like qrstp qspd In essence, it's Defining the window around the epic In some sense before epic Yeah, but why is it not available? It makes calls less maintainable Yeah, no suggesting Because I asked the question. It's already knows what the problem is Beginning of the call you can define Segment window 150 Um Okay, surely it can do that for me So the code is more maintainable as You are suggesting Wait, this is important. Do we have it in python? I think it's got confused there. All right, and We already Have Segment range 150 Okay, let's just go with this one for now Lots of improvements anyway, it's currently 75 lines Oh, this is a whopping 109 You already have the fine should replace every magic number I'm feeling segment range I'm really doing it. I was asking about the JavaScript Hey, Anton, how are you? You have different names everywhere, don't you? They recognize your um um icon photo That seems like But not the name Have a great straight head thanks Can bring um Can bring people live by the way. I used to do it. I did do it a couple times Is it for you keep changing names for privacy reasons? I assume Kind of trying to do the same thing, but it's getting harder and harder I am boy from linked. That's right. Yeah, remember the icon photo if we didn't have that photo, I would not remember the Um, that you are a regular on this stream Very many if you ever want to join live as well that is possible. We can set you up Uh, so you can also tell about your work if you if you wish You can do like a zoom thing and yeah, I did it before Mixed mix success a technical some technical issues like microphones and the line, but it is possible I'm trying to get This thing to work and Need to regenerate the html code I wouldn't mention It's getting confused here I'll just go back So the chow screen we have the chow screen pressure copy pasting is a Is a skill, isn't it? Which you must have these days Right and we we have all those prompts We were using today stuff that we're trying to fix I think indeed most of the stuff correctly But now we're struggling to actually generate the whole code with all the necessary changes Sometimes we'll only give you bits And I don't actually know javascript html or python. So I'm having trouble integrating The the whole lot the html should be fairly short Yes, we're using jQuery and Plotly, I don't know if we have to download those javascripts to to the server. So I don't just in case this CDN that content delivery network, isn't it? It stops working all of a sudden probably need those files as backup or the code Why the html? The code getting longer should have something working It doesn't work generate acg because it's not called generate acg. It's called generate acg data This thing 404 because I'm pretty sure that post Requests that function is not called generate acg anymore. It's modified other stuff Yes, the root is wrong because it's called generate acg data Okay, we can change it back. Okay, just stop generating rubbish It's Generate acg data. I don't want to change it manually because It will stuff other things up It's not called generate acg data If the endpoint is not called then we need to make sure that yeah, you do But why change in Python if they will change in the javascript, right? So there are ajax ajax call and this one cg data If you have any other references, well, I don't know you tell me You modified the code Why am I talking to a bot? Generate acg data still getting a 404 y now called index html And what's the problem now? We call the same name 404 So we started for a sec We'll see close that Now we still get it get twice actually acg data Generated acg data 404 Now we got it twice because we opened we clicked on the link twice Okay, this is super weird What am I doing wrong? No idea It's a post request to generate acg data. I'm getting a 404 Have you know I will tell me to start troubleshooting I think I need troubleshooting because this should be a simple fix First because it was working a second ago last code Okay, let's forget method post Okay Why did that go pressure ahead? before Okay, let's copy this quickly Stop generating So you need the method post html html form id acg form generate acg data JavaScript To read the home response, don't you post generate acg data index By the way, the span should be changing And should be displaying what the selection was Same in a other tool here like when you change here Yes, you will expect the span value to change as well That's not happening at the moment I'm pretty sure it was doing it Surfer Hoopda Hopefully announcing the name correctly. Yeah, we're having a problem that the arguments of generate acg data Are not being passed on Change gpt solve it for us By the way, if you haven't subscribed yet announce it as Why do I have the love heart over the text in obs So I can't read the full A message Ah, okay now You pronounce it as Saar FAC I won't be able to pronounce it. Sorry So why the current application Is not working as well as this one All it needs to do is have the same display same everything But the focus is on Labeling the signal So let's see Whatever you're seeing generate acg data 100% it doesn't provide those arguments to fix this you should Okay in python In the uproar generate acg data post Method post, okay, I already have it Dev generate acg data, so it doesn't need Do you have super chat? No, I do not have super chat because this channel is not monetized Sorry for that Not thank you for asking So doesn't suggest I don't need arguments in the In the post request That's a bit odd Go with it And in arguments Okay, let's save that we're so python inside the function Inside the function get the values duration hundred from request form Assume this can be done next Like this So your function will look like that rest of the logic. Okay, let's save that I must Okay So now we have the variables. However We have another problem With neurokit which I'm pretty sure we solved previously But now we have to do it again And it's the fact that The variables are not correct Not correct the type I don't know. I'm not getting any single thing either. That's what we have a ggpt for To explain Everything to us So the error I'm seeing is originated from neurokit to library When calling the Simulate function So over here It suggests that there might be an issue with the length of the signal being passed for slicing So in a sec I increase the signal and that's not the problem It's somehow not an integer Yeah, why is it not an integer? Right, we need to run that so in duration Um, so instead of that We do this Have something working attributes strip numpy Keep getting more and more errors Big one Do I have that many lines? In It's no way But okay I think this is solvable as well message If shit indicates that there is an attempt to set the flask response times I am from australia australia You shared indicates that there is an attempt to set the flask response times using the value That's not the string or integer but the numpy numpy array This typically happens when return value from flask root is not appropriate for forming a hgp response Pretty sure we addressed this before Yeah, that's exactly what we did before and for some reason that code just disappeared So we need to turn the numpy arrays into lists Or that for our thing to work Thank you for dropping by Don't forget to check out biotechcares.com That website by the way is monetized If you were wondering Hopefully the ads are not too intrusive Only a single banner at the moment. So it shouldn't be Too much in your face Yeah, that's also should have explanations to each thing Each tool and a bunch of tools some of them do not work would try to bring them back My server was hacked into so the back end for all the tools It doesn't work anymore. So we actually had already a seizure extraction tool before Running on the side. It was an old video Describing how it all works And it was working pretty well. It was done using lab view But yes, that's not working anymore. All I left is this video this description And the empty not working Web application That gives you all these errors that I wouldn't worry about it because we now redoing it in python Neurokit numpy and flask So hopefully it should work sometime soon and I might just continue with this A bit later because we are over the one hour And I kind of promise not to have Long super long streams. So I'll see you back here in a bit just after a break


Hello there everyone and welcome. This is Melissa Arma with the Stockswas Show. I'm reviewing BA. This was the Stockswas Show option of the day here. I called just perfect, perfect, perfect timing here. We captured this at the moment that it started to drop. I did the 195 putts that actually expired next week. I could have done the ones that expired tomorrow.  But anyways, this definitely, definitely was the play of the day here. It's bouncing in the clothes. I think anyone should have been out of it already because it was up so much, so quick, so fast, which we don't get every time we do a trade. That's an option. I mean the day trains them in and out quick, but the options, sometimes I do hold them overnight because they haven't gone yet. This was one of these ones that I just grabbed it at the timing. Then it fell, then it fell off a cliff and it was just perfect. Again, looking in the morning, seeing the gap. That's what I focus on. That's what I do. So let's take a look at the gap today in BA. And you could have day traded this today too. We didn't, but you could have. We closed at 293, opened then at 265 and fell off a planet, ran out of the way down 193, would have gone to 192, 191, 190, could have gone farther, but then the markets started bouncing, which I would just want to show you here. So the market fell today and we're going to close red. Like no matter what here, we're going to close red. Apple's out tonight, which is the big one. Apple's out actually in the next hour. So we'll see where that goes. But long story short, a lot of things fell today. We happened to capture the things that we captured, lickety split, just to get the move as fast as we could. And BA was an alert for me and was something that I was watching for a bit. So it just all ended up working out. And it's been a while since we've played this, but if you're someone that's interested in trading options with me, you would be on the alert, you would be on the newsletters, you would get the trades in real time and you get it, you do it. You get it, you do it. Again, you could have got out of this today like that. And that is not always the case with the options. Sometimes they take a day or two to go, but in this case here, it went right of ways. It was perfect. It was exactly what we needed here in a Thursday. Exactly. So for those of you that are interested in signing up for the gap options newsletter, email me at Melissa, the stockswish.com. There are no prerequisites for the newsletter. It is 69.99 a year and the half annual subscription, which is six months, which is the smallest subscription price that I offer or period is 49.99 for six months. So nice, nice calls here lately. I feel like I'm back on point. Things are rolling, rolling, rolling. We're taking trades. They're working. We're getting in. We're getting out. We're chunking it out. And it all looks good. So I'll be watching Apple here in a few minutes. Good luck.


It was then about 11 o'clock and very pleasant in Medford. I awakened the captain of the Minutemen After that alarmed almost every house till I got to Lexington. Here is 1775 The English colonies in America are a stir with thoughts of rebellion Relations with Britain are strained to the point of breaking 700 British troops are on their way to Concord to seize and destroy American military supply But last night Paul Revere gave no sleep to the citizenry along the way from Boston to Lexington Now at daybreak the Minutemen wait These are farmers merchants craftsmen and lawyers all volunteers trained to become soldiers upon a moment's notice Not a formal army. These men supply much of their own equipment Buried in age background armament and clothing, but united in purpose. They face a professional British army American's lose their lives with others of both sides being wounded The British proceed on to Concord and destroy what supplies they find But by now the alarm is out and an aroused citizenry closes in on the invaders From all directions shots are fired at the British troops Their hurried retreat toward Boston becomes a bloody affair with the persistent Americans sniping from behind stone walls along the road The war has begun and America is without an army Here are 13 colonial settlements more or less united by the common need for survival For years they had found it necessary to require every able-bodied man to own a serviceable musket and to spend some time training in the local militia This provided the bare minimum of protection be it from bandits or wild animals But now the newly formed minute companies have appeared marking a new step toward preparedness King George III declares the colonies to be in a state of rebellion Full-scale war is ordered to bring the Americans into subjection But freedom-minded leaders speak out Is life so dear or peace so sweet as To be purchased at a price of chains and slavery Forbid it almighty God. I know not what course others may take But as for me Give me liberty or Give me death While the British build up their forces at Boston the Continental Congress votes to raise 10 companies of riflemen in Maryland Pennsylvania and Virginia George Washington is appointed as general commander-in-chief of the developing Continental Army And a strange army it is that besieges the British at Boston Farm boys and great-grandfathers joined the disorganized mob of alarm companies men and men and other involved citizens The chaos is only to cease after Washington arrives takes command and begins to organize a truly national army The Continental Army never had enough men all through the war an uncertain supply of manpower plagued the Americans It was a volunteer army and men came or left as their terms expired Enlistment bounties were offered gifts of money land or a new suit and The budding Continental Navy was no better off Against the vastly superior forces of the Royal Navy the Americans could only hope to disrupt shipping and perhaps capture some supplies John Adams had expressed interest in building a small naval force that could do something Largely through the efforts of John Adams Congress formally established the Continental Navy in the latter part of 1775 Olesic Hopkins became the first commander and it said that he looked much like an angel only he swore now and then The first important naval prize was the capture of the British ordnance ship Nancy And eyewitness describes her unloading As the men went about this hurried task Every lift from the hold of the Nancy seemed to bring a military treasure into daylight When he saw her papers Horatio Gates exclaimed that he couldn't have made out a better invoice if he had tried It's been observed that 18 months would have been needed to manufacture in America the materials taken from the Nancy But the American Navy was never to become substantial during the revolution Any gentlemen volunteers who have a mind to take an agreeable voyage in this pleasant season of the year May by entering on board meet with every civility they can possibly expect commanded by John Paul Jones Hmm, why should I join the regular Navy with its discipline and it's poor food and pay When I can share the spoils by privateeering Congress authorized the arming of over 2,000 private vessels to assist the Continental Navy which had less than 50 ships of its own This proved to be a mixed blessing Sailors were attracted to service on the private vessels rather than in the regular Navy because they could personally share the spoils of captured British ships Said Robert Morris the spirit of privateeering as prevailed so eminently that they have Sacrificed every other pursuit to it But behind it all the Americans had a weapon of supreme value a Stand for national independence had been taken and there was no turning back Thomas Payne spoke for many and inspired others when he wrote These are times that try men souls The summer soldier and the sunshine Patriot will in this crisis shrink from service of his country But he that stands it now Deserves the love and thanks of men and women Tyranny like hell is not easily conquered yet We have this consolation with us that the harder the conflict the more Glorious the triumph What we obtain too cheap we esteem too lightly Tis dearness only that gives everything its value Heaven knows how to put a proper price upon its goods and it would be strange indeed if so Celestial and article-less freedom Should not be highly rated Many Britishers recognized and sympathized with the American situation Late in 1777 William Pitt Earl of Chatham expressed it this way You cannot conquer America if I were an American as I am an Englishman While a foreign troop will landed in my country. I would never lay down my arms never never never And indeed the Americans determination was put to the test the war was to drag on for four more years With the British occupying the colonial capital at Philadelphia the American troops spend the hard winter at Valley Forge But nonetheless the army was becoming more professional Under the stern prodding of the self-titled Baron von Steuben the army learned fighting in the best European tradition They learned to meet the British on their own terms with drawn-up battle lines and bayonet charges Who is your fire locks? cock your fire locks Reveal tef cock your fire locks handle your cartridge prime shot your pans charge with cartridge Throw your rammas Ram down your cartridge Recon your rammers shoulder your fire locks The army became proficient but never independent of the need for help from local militia to bolster its thin ranks Then finally with the aid of France and later Spain and Holland the Americans secured their prized independence The climax was Yorktown Most statesmen feared the possible evils of having a large army and Navy in peacetime So Congress made no provision for a permanent military establishment Immediately after hostilities the army was disbanded with a total of 87 men retained to guard military property In 1785 Congress sold the last warship only the small local militia units continued to function But then the following year Congress set up a three-year enlistment program Shays rebellion in which a disgruntled mob attacked the arsenal at Springfield, Massachusetts Proved the wisdom of having some form of continuing military force available In 1787 the Constitutional Convention met in Philadelphia to form a stronger government The subject of a military establishment was hotly debated James Madison acknowledged that while a standing force was dangerous it may at the same time be a necessary provision George Washington who presided at the convention said after our experience I believe that we should all see a need for a professional army The jealousies and evils of a standing army to be feared are I believe remote But the consequence of wanting one is ruin Two years later in 1789 Congress established the War Department and strengthened the army the revival of the Navy however was slower With no force to oppose them. It wasn't long before pirates renewed their attacks upon American shipping In 1794 the US authorized the construction of six frigates to fight the pirates Notable among them was the 44 gun Constitution with its hull of rugged oak timber. It fared well in battle The incredible sight of cannon shot bouncing off its hull soon prompted the famous nickname old Ironside By 1798 we almost went to war again This time with the French who had seized over 300 of our merchant ships That year Congress created a permanent Navy Department under a secretary of the Navy The words of Washington quoted from an earlier letter to Elbridge Jerry were proved valid There is nothing so likely to produce peace As to be well prepared to meet an enemy


Hello and welcome to the session. In this session we will discuss polynomials in one variable. A polynomial Px in one variable x is an algebraic expression in x of the form Px equal to an into x to the power n plus an minus 1 into x to the power n minus 1 plus and so on up to a2 x square plus a1x plus a0 that is this Px is a polynomial in one variable that is x. Where we have these a0 a1 a2 and so on up to an are the constants and we have an is not equal to 0 then these a0 a1 a2 and so on up to an are respectively the coefficients of x0 xx square and so on up to x to the power n and switch off an into x to the power n an minus 1 into x to the power n minus 1 and so on up to a0 where we have an is not equal to 0 is called the term of the polynomial Px. The constant polynomial 0 is called the 0 polynomial. Now let's define the degree of the polynomial highest power of the variable in a polynomial is called the degree of the polynomial. Now the degree for this polynomial Px is given by n that is we say that degree of Px is equal to n and also degree of a nonzero constant polynomial is 0. Consider a polynomial 2 this is a nonzero constant polynomial so degree for this polynomial would be 0. Let's consider a polynomial Px equal to 5x cube plus 4x square plus 7x then we have degree of Px is equal to 3 since 3 is the highest power of the variable of the polynomial. Then we have a polynomial with one term is called a monomial like for example we have 3x this is a monomial since it has only one term then a polynomial with two terms is called a binomial for example 2 plus 3x this expression has two terms that is 2 and 3x and therefore it's a binomial then a polynomial with three terms is called a trinomial for example we have 2 plus 3x plus 6x square this expression has three terms 2, 3x and 6x square so it is a trinomial. Next we have polynomial of degree 1 is called a linear polynomial it is generally of the form ax plus b where we have a and b are the constants and a is not equal to 0 so this is a linear polynomial in variable x like for example we have 2x plus 3 this is a linear polynomial since we have degree for this polynomial is 1 then next we have a polynomial of degree 2 is called a quadratic polynomial and a quadratic polynomial in x is of the form ax square plus bx plus c where we have a b c are the constants and a is not equal to 0 an example of quadratic polynomial can be taken as 6x square plus 2x plus 3 then next we have a polynomial of degree 3 is called a cubic polynomial this can be generally written in the form ax cube plus vx square plus cx plus d where we have a b c and b are the constants and a is not equal to 0 an example for cubic polynomial can be taken as 3x cube plus 6x square plus 2x plus 3 as you can see a linear polynomial in x can have at most two terms then a quadratic polynomial in x can have at most three terms and the cubic polynomial in x can have at most four terms we know that a zero polynomial is denoted by zero and also degree of the zero polynomial is not defined next we discuss zeroes of a polynomial a real number a zero of a polynomial if we have pa is equal to zero and in this case this a is also called the root of the equation px equal to zero also a non-zero constant polynomial has no zero also we have that every real number a zero of the zero polynomial then we have some observations related to zero of the polynomial like we say that a zero of a polynomial need not be zero then zero maybe zero of a polynomial also we have that every linear polynomial one and only one zero and a polynomial can have more than one zero in a polynomial px equal to x minus three let's try and find out the zero of this polynomial for this we put px equal to zero that is we have x minus three is equal to zero which gives x equal to three so we say that three is the zero of the polynomial px this completes a session hope you have understood the concept of polynomials in one variable and how we find the zeroes of a polynomial