Hi everybody, my name is Megan Viscio and welcome to my art class, where today we're going to be learning how to make we people. And when I thought about the title of this class, I thought about it for two different reasons. We, meaning small, spelled differently, and we people meaning we people really have to come together. And I think art is one of the ways that brings people together. So hopefully you had a chance to pick up your bag at the library with the supplies and let's begin the tutorial. Let's just go over some of the supplies you'll need to collect from around your house before we begin. You'll need a pencil, some scissors, tape is optional. It'll just help you out a little bit and some glue. And then you're going to need something to decorate your beads with. These are just some options. Color pencils work really well. Sharpie markers, because they're permanent, they work really great. If you have paint, you can use that or crayons. These are paint markers.  So a permanent marker is better or just your colored pencils or your crayons. And here's a look at some of the things that I put together in your little paper bag that you picked up at the library. This kit is enough to make either two of the small little people or one person and a snowman. And I'll show you that in a little while.  Here's some scarves. And then in your little baggie you'll find some twine, plastic beads, that will be the feet.  Okay, so the first thing you want to do is just take your wooden dowel tool and just kind of make sure that your bead is all cleaned out. Sometimes there's little wood chips in there. That'll just make it easier to string later. So just go through, try to put the dowel all the way through to clean all your beads out. Now you may want to use, this is just kind of a natural wood color, but you might want to change the color because we all have different color skin. So you might want to customize your bead to fit the color of your skin. And I'm just going to give you a simple way that you can do that. If you have a little cup, a plastic cup, and you have a washable marker, you're just going to take it and color all inside the little cup. Just try to get as much as you can. And again, this won't work with Sharpie. It's just going to work with a water-based marker. And then you're just going to add a drop of water, just a little bit. And you're kind of making a stain, really watered down. Now you can also do this with a drop of, if you have paint at home, maybe have some acrylic paint, just a drop of paint added with a lot of water. You just want it to be nice and thin, kind of paint it right on your bead. And if you want to make it darker, I would just let this color, this layer, dry, and then I'd put on another one until you get it the color you want. Now the next thing you can do is you're just going to decorate your person. So this is going to be your head bead, the one that has no paint on it, the one that's painted white is going to be your body. And they all have a flat side. So think of that as your shoulders. So that's just going to rest along the head of your person like that. This pink right here, that's permanent Sharpie marker. This orange is colored pencil and this purple is crayon. So those are the different types of things you can use. I didn't do paint. This little person was done with those paint markers. Just take it to show you. This little dowel can also be used as a tool. I just like to put it on something so I have something to hold onto because it can be a little hard to decorate when you're just holding onto the bead. So now just take whatever you're drawing with and you can draw just a cute little face. And I'm just going to keep it really simple. Two eyes and a little smile. Now to make them look like they've been playing out in the snow, this is just a little trick that I use. This is some blush and I use this when I'm making my clay figurines out of polymer clay. But you can use it on these too. If you don't have blush at home, that's OK. All I do is take a little bit of the blush and I put it on the cheeks. You should use that pink color. You can use a q-tip and then it kind of gives them a little rosy cheeks, which looks cute. If you don't have that at home, you can also use some colored pencils. I'm going to make my mouth just a little bit more red so you can see it better. Now she has little rosy cheeks. She's been outside and all this snow sleigh riding or maybe caroling. OK, so I've got my head done. I'm going to take that off my dowel and set it aside. And now it is time to decorate our little body beads. And remember that flat edge is your shoulder, so keep that up at the top. Just go ahead and decorate your bead with some stripes. Maybe you want to do polka dots. However you want to decorate. Fill in the whole thing. If you want to get rid of all that white color at all in, make it look really nice. Here's some colored pencil, just kind of showing you what different things look like. So now that you've decorated your beads, it is time to put them together and assemble your little person.  The first thing you want to do is take whatever color yarn you want. And I just cut mine into some long lengths. Keep it long for now and then put that aside. And I mentioned that tape is handy in this. And that's the reason why is because if you tape the ends of your cord, it's going to be a lot easier to thread through the wood bead. And your cord's not going to fray as much. And it's really easy to do in any tape will work.  And very tightly just tape up the end. And if there's extra, which there probably will be, you just need a smidge. You don't want it to get too thick. Just cut off the extra and then you have the end of your cord, which is going to stay nice and stiff and be easy to thread.  Then take that jump ring and slide it through one end of the cord. So this is what you have. Once you have that, you can start by putting on your head, starting by the top.  You're going to start threading in through that. Those are like the shoulders. If you did it upside down, it's okay. Just keep on going and then you're going to put on the body. Now that we've got our beads on, we're just going to move them down just a little bit to give us room to put this hair in. So all I'm going to do is there's a loop right here. Put my yarn right through that loop, about halfway between, and then move those beads right up. So just leave your hair like it is now. Like I said, we'll trim and I'll show you how to unwind it after.  Sometimes the hole in the bottom of this bead is a little too big. So if you tie a knot, the beads will slip right through. And that's why I gave you these little spacer beads in your kit. And hopefully these will help to keep that knot from pulling through. So just take one of your strands and thread on one of those beads. And it should, might be a little tight, but it should. The bead should kind of pop right in and that'll hold everything together. What you want to do is just make sure you're really pushed up to the top. So push up and then push that in and make sure it's everything's tight. If it's tight, your hair will be nice and tight. Then you're going to take your two pieces of cord and tie two knots, pulling tight each time. You can do two knots. If you want to do three, you can do three. So now your person is on there. Everything's secure.  And this clip up here, like I said, should be really tight. Your hair shouldn't fall out. If it's falling out, your knot is not tight enough. Okay. So once I've got my knot there, it's time to put on my little shoes. And there's a lot of string right here. And that's good. You want to keep it really long. So what I want to do is down here at the end, I'm just going to cut my cord at a good angle without the tape on. We can try it without the tape at an angle. So it kind of goes in and just carefully, very gently push that through. Okay. And come on over to this one again, cut at an angle. If you push too hard, your cord is all going to spring up and it's going to be hard. Very gently just push it through. All right. So you've got your two shoes on.  So I like it about there. Now this is a little bit tricky, but you're going to want to tie a knot. Underneath that bead, that's your shoe to keep that on. So what I do is I tie a loose knot and then I kind of move my knot where I want it to be before pulling really hard. So I kind of just move it around. And then once I have it where I want it, I just go ahead and tighten it.  And then just trim off the excess. Okay.  You just wanted to make just the person. It's not going to hang from everything. It's going to be the same kind of idea. You're going to have your cord. Instead of putting the hook and the jump ring on, you're just going to put your hair at the top, thread in through your head, and then the body, starting at the shoulders. Okay.  You're not. But see, now there's no clip up there.  Now that our little people are all together, we can work on the hair. And depending on what type of yarn you chose, there's different things you can do. You can leave the yarn as it is, and it sort of looks like braids. You can braid the yarn. If you want to unravel each strand, it takes a little time. But you can do that with your hands and then brush it out. And then you sort of have more of a long kind of softer hair. You can also trim it to whatever length you want at this point. Keep it long like that. Make it really short like this guy, however you would like to customize your person. And now we can add a scarf and a hat. Let's start with the scarves. So just choose whatever one you like the best. I think I'm going to go with this straight one. And this is pretty easy. All you're going to do is take your scarf and fold it in half and then put your little person right there. So you have a loop on this side and two ends on this side. And what we're going to do is take these two raw ends and go right through the middle of that loop. And then holding your person and pull those two ends. Now there's a little scarf on there. One little reminder, when you tie that knot there, make sure that spacer bead is really pushed up and that you have a really good knot and everything's tight. It'll just help everything stay together better. OK, so moving on to a little hat, you might want to just put a little bit of glue in there, either hot glue or something that you have at home. And then just place it right on the head. And then you have a little elf hat. You can also kind of glue that part down if you want it to look like it's falling down. You just put a little glue right there and then pinch it closed. That's if you have no hook up at the top.   Now I also wanted to show you how you could make your own really quick.  So what you want to do is cut out your pattern and then it's going to look like that. OK, it's going to be that shape. Take this pattern and how I got to this part, how I got this template, when I took one of these store-bought hats and I just cut it apart. I took out the seam and then I've got that shape. So then I traced that shape onto a piece of paper. That's how you make a basic pattern. So then what you're going to do is you're going to take your cutout template and a pencil will be fine and you just want to trace all around on a piece of felt. And now cut that out on the line and then you'll get something that looks like that. So what you're going to do is with your hot glue or your glue, you're going to run a thin layer right along the edge. OK, if you are not comfortable using a glue gun, please ask for help, OK? Because this is working right near the edge and it can get a little dangerous. Just seal up that edge. It's nice and neat. I didn't put a ton of glue so it's not all seeping out. Just put that aside to let it dry for a few minutes. So when it's dry, you're going to take your hat and you're going to turn it inside out. And I left that top sealed like that just because I thought it'd be easier to stick the pom-pom on.  OK, so there's a little hat now. You made your own and now you have the pattern to make more. If you want to trim it, make it just a little bit shorter. Just go like that. You have a hat. You can put another hat on the other person. I can secure this one down just to show you. So I just put a little glue in there, maybe a little dot at the front and then just kind of press it down, pulling it down onto her head. Felt stretches. So if this felt the hat doesn't seem big enough, just take your fingers and kind of stretch it and it'll stretch and get bigger. And then I'm going to make it tip to the side. So I'll just add a little glue right there and push it down and hold it in your bag. You can make two people and that's fine. Or you can make a person. You just have to use two head beads, the two wooden beads. Just decorate it the same you would with the body. It's not white, but it's fine. You can do that so you can make one person and then one snowman with your three white beads.  Pull it nice and tight. Tie two knots and then you can trim off the excess. If you want to decorate your little snowman, put the scarf on. Remember you fold the scarf in half.  Take the two ends that are loose and feed them right through that loop. And there you have a little snowman. I think that's really cute too. And this is what I was mentioning before. If you wanted to put a hat on one of your little guys that have a hook, you just would have that hole in the back. Feed your hook through the hole in the hat. And then you have a cute little snowman.  And then you can make two of them and give it away as a present. That way you guys can both each have one. And I think it would make a great gift. OK, guys, that's it for today. I really hope you enjoy this activity of making wee people. And I hope you learn something and that maybe you can share one of your creations with a friend or a parent or a grandparent or somebody that you know, maybe a neighbor. I really enjoy doing this. The thing I miss most about virtual classes, even though they're really cool to do, is that I miss seeing your smiling faces and your creations. Because I always say that is my favorite part about doing classes and doing programs at the library is seeing what you create. If you wanted to send a picture of your finished product, I would always love to see it. You can send it to me through my email address and I'll put that in at the end of the video. So thanks again for joining me. And I hope you have a great vacation and a great time home enjoying the winter and the snow and this magical time. All right, bye bye.


Hey guys, what's up? Welcome to my channel. So for today's video, I am going to be doing a review on another Nordstrom anniversary sale exclusive But this time it is for the new hourglass ambient lighting blush palette that did come out exclusively For this sale. I did just review the Charlotte Tilbury exclusive that came out for the sale So I will link that down below and up above if you're interested But anyways, that is not what this video is about. It's about this palette here. So let's just get straight into it Okay, so let's start off with the major facts about this blush palette So it is $65 which is extremely expensive for three blushes But it is hourglass and hourglass is an expensive brand and it's just it's a luxury brand It is exclusive right now and limited edition to Nordstrom for their anniversary Sale and if you worry on Nordstrom comm you do get free shipping two of the shades in this palette are some of Their best-selling shades and then one is exclusive just to this specific palette and the product itself is made in Italy And I like to mention where products are made sometimes just because it really products made in Italy tend to be amazing I'm just saying so anyways, let's start off with the packaging of this palette So when you get it comes in this cute little box here with a little bow And so the packaging is the same mirrored packaging that they had for the previous holiday collection That same color I mean all of their blush trios and lighting ambient powders come in this same packaging and on the back Of course it has the names So you open it up and it's going to reveal a mirror and the three gorgeous blush shades As you see it goes from nude peach to pink to plum the first shade in this palette Is surreal glow which is the exclusive shade in this palette It is described as a pale peony pink blush mixed with surreal light for a delicate flush It has a little bit more peachy in it than described in my opinion But as you can see it's very very close to my skin tone in the swatches So the next one we have is luminous flush, which I do have the individual color of this I love it. It's just the most gorgeous pink. It's the main color on my cheek right now It is described as a champagne rose blush fused with luminous light to evoke a candlelit glimmer I'm reading these obviously straight from the website and when it says mixed with like mixed with luminous light That is another kind of strobing powder that they have in their collection So it has that same finish the last color in here is mood exposure Which is a soft plum blush fused with mood light to brighten the complexion Now the two most recent shades that I named are part of their permanent line And they are part of their bestsellers. So formula wise hourglass has some of the best formulas for blush It's just so soft gentle and light weight on the skin What sets hourglass powders apart from any other brand is their very soft shimmer finish It's it's not shimmery. It's a sheen. They have a very unique sheen To their powder products that just feel so lightweight on the skin and blur out texture I'm honestly a true believer in hourglass Powder formulas their blush isn't too pigmented, which is great and it blends out so beautifully on the skin And with that sheen it really brings such youth to your face and brightness to your face Now the specific shades in this palette like a lot of hourglass palettes Honestly are not geared towards even medium to deep skin tones, which sucks I'm waiting for hourglass to come out with a palette that is for deeper skin tones because this really I mean, it's just not I'm going to be honest this first shade here surreal glow I didn't even really notice it on my cheek when I put it on. It's very close to my skin tone If you are extremely extremely fair, this would be a good color for you Or if you aren't so into too much colored blush Like you just want a little bit of color but like a teensy bit you will like this blush This blush is for you for me. I personally like a little bit more color So it's not for me, but what this blush lacked in color it did make up for in the finish on my skin So though it didn't show up on my skin It did give the same finish that all the blushes give which is that very gentle natural sheen The blush next to it luminous flush like I said Really pretty it's kind of on the finishing apples of my cheek right now and I love it I'm a pink blush gal. So really into that and mood exposure is a little bit more neutral It's more on the plummy side really pretty like I said, I usually prefer a more bright blush But yeah on days. I don't want to feel bright. I do like it So I would like to compare it to the two previous blush palettes The hourglass did come up with the past holidays for 2018 just so if you have them you can compare So they did come out with this other ambient strobe lighting blush palette So the top is the holiday one and the bottom is the Nordstrom one And honestly these two are very very different if you have this you definitely can get this Because the ones in the holiday palettes are much more shimmery. It's a complete different finish These aren't more matte. They just have a softer sheen to him Whereas these have more of a shimmer to them. So these are a lot more glowy and shimmery And this is more of a more soft sheen so different formula and now taking a look at the big guy Obviously, it's different in that you get strobing powders and whatnot But you will see that the shades kind of do look similar So the one over here, this is the holiday palette and this is the blush palette So the shades do kind of look similar But when they're swatch, they are different If you are not a huge makeup lover and you don't notice too much differences in tone and formula and all of that Then you probably don't need that if you have the previous holiday palette But if you're like me and you're a crazy makeup lover and you notice that any tiny difference in tone and shade and formula They're different I'm just saying So if you can't tell from this review, I do love this palette our glass blushes are top of the line luxury amazing unique Great for brides. They're just one of the best blush formulas out there. So for $65 I know it's $65 since a lot, but I truly do recommend it if you're into it So yeah, I love our glass and I love blushes. So I couldn't go wrong with this palette So with that being said, I am going to let you guys go I hope you enjoyed this review and remember to comment down below any questions comments concerns or whatever you may have I will see you guys in the next video. Oh, and if you're curious about what's on my eyes I did just play around with the norevena palette and review that so keep an eye out for this video I will link it down below. So I will see you later guys. Bye. Have a great day


Item Number – SCP-4291 Object Class – Euclid Special Containment Procedures – The location and pressure associated with SCP-4291 make relocation impossible. Therefore, containment measures are to focus on mitigating the spread of SCP-4291-1 instances. Mobile Task Force Gamma 19, codenamed Scuba Cum Laude, is to be deployed during seasonal events in order to contain SCP-4291-1 instances. Description – SCP-4291 is a Russian submarine sunk off the coast of Margate in the UK. Precise identification of the Macon model is hindered by the anomalous growth coral around the base of SCP-4291 and through the hull. While superficially resembling Acropora hyacinthus, this coral appears to be endemic to cooler ambient temperatures and presents local deformation resistance equivalent to the Rockwell Sea Scale. These growths are to be considered part of SCP-4291 and have grown over the entrance hatch and torpedo bay doors. This, combined with the position of SCP-4291 being partially buried in the local rock formation – estimated 40% of the total length – makes entry to the interior of SCP-4291 impossible. The rock outcropping is likely the remnant of two larger boulders and is covered in Acropora humilus, which presents no anomalous properties other than surviving in colder ambient temperatures. The bow of SCP-4291 has been breached and lifted clear of local rocks with a yaw of approximately 40 degrees. However, it is covered entirely by coral tissue growth. It is unknown if this breach is the cause of SCP-4291's sink in or if it occurred afterwards. Sonar scans and physical probes of SCP-4291's bow port have failed due to unexpected calcification of the coral in response to stimulation. SCP-4291 undergoes a periodic effect determined by global ocean current patterns. Thermohalene circulation bringing warmer water temperatures occurs once per year in the spring and correlates strongly with these effects. During this seasonal pattern, the girth of SCP-4291 will increase 30% as it is engorged with SCP-4291-1. After this, SCP-4291 will retain its new size for one week on average, after which it will expel approximately 60 instances of SCP-4291-1 through the bow as the coral tissue growth restates temporarily. After a refractory period of two weeks, the cycle will repeat three times. SCP-4291-1 appear to be the former crew of SCP-4291. They are dressed in the standard attire issued to the Voyeno-Morskoye floating in the 1970-1971 period. While the corpses present no anomalous effects outside their relationship to SCP-4291, dental and DNA records do not match any known foundation databases. SCP-4291-1 are appropriately buoyant. After their expulsion from SCP-4291, they will float at neutral buoyancy until putrification. Addendum 4291-1 Discovery Report SCP-4291 was uncovered by Foundation dive crews after local reports from Margate, UK indicated semen washing up on shore.


Criminal law is the negative regulation of society and operates on the application of punishment to prevent unwanted behaviors. One question that provides immediate contention among people is, who is benefited by criminal law? The challenge is inherent in the high rate of recidivism with the current approach that supposedly serves society. Our centers of incarceration, where public punishment is applied, seem to serve as educational facilities for the more effective criminal. That separation of purpose and result is just the tip of the iceberg. We have challenges that go all the way back to the American Revolution from the English rule. It goes back to that great American experiment in self-governance. It is a question of whether criminal law is to serve the nation as an operating entity, or the public as represented by a sovereign government, or to serve we the people as a self-governing sovereign. We do not have ready answers. Only the vague understanding that we have a historical system that does seem to work with many limitations and exceptions. Agreement among we the people on how criminal law and punishment should work is just not there. Application of punishment is the common law technique for addressing criminal behavior. It follows from the feudal times upon the use of punishment by parents in a household, where it does seem to affect a reasonable result. What parents forbid to their children on pain of punishment is generally avoided by their children. In feudal times, with the aristocracy caring for the common people as a source of their wealth and power, there was that same family-like sense of protection and care for the commoners. But then, if a parent sees a child wandering into traffic, and in fear of plies punishment with strict admonition never to do that again, does a child learn from the punishment? It is more likely that the fear in the parent's voice and the sense of panic and reaction to their taking on such a threat is what teaches the lesson. It is the threat of causing that most unwanted attention from someone who is the source of much of what the child receives, that is, the drive to learn. Such lessons almost never need to be repeated. A single admonition, even without punishment, is wonderfully effective in promoting learning. Punishment does not work for the career criminal. Since the early decades of the 20th century, we know that punishment does not work to extinguish an established behavior. It does give rise to new behaviors to continue past actions while avoiding further punishment. Punishment also does not work for those who have no inclination to be criminals. They have no established behavior to interrupt. So who does a criminal punishment benefit? It is not a benefit to the people who are punished. It adds no benefit to we the people who are still threatened by career criminals and not threatened by those who were not inclined to crime in the first place. It is not some benefit to the judge or a prosecutor who authorized the punishment. This has been a matter of discussion for a long time, but only in terms of recidivism, increasing the impact of applied punishment through addressing some of the causes of career criminals continuing their harmful behaviors. We do not have any ready answers, but the ancient concept of criminal punishment has proven to be of questionable value. Breaking criminals away from the rest of the public they would harm has been effective during the time of incarceration, even if quite expensive. Simply destroying people as incorrigible is effective, but any mistakes are beyond recovery. It tends to offend our sense of justice. Quite simply, the variability of people is not going to be resolved, and there will always be criminals no matter what definition is used to define crime. The level of crime we act to prevent and the way we address aberrant behaviors is not going to be settled. It is going to be a question that mankind as a society is going to have to handle as it can. A best fit solution is probably as good as we are going to get. Passing criminal punishment laws to those who offend the laws is not a solution. It is an attempt at a solution that has been accepted as a basis for government action. It will have to do until we have another and better direction upon which we can come to agreement. The very concept of criminal prosecution, the us and them approach to criminal behavior, is written into our Constitution with special protection for citizens who are threatened with prosecution for crimes. It is part of our self-government experiment. It is going to be applied as best people can apply it. The basis for British law crimes is the sovereign's right to rule over people. To murder or maim another person is to lessen their value to the sovereign. To disturb the peace is to distract the common people from the productive efforts which are the source of wealth for the privileged. The sovereign protects the source of wealth and this is how much of our criminal law has been addressed in the United States that engaging in crime is an offense against the state, a violation of sovereign directives or bans. The common law basis in the American experiment would redefine crime to be an offense against other people. The rights of one citizen end only where the rights of others begin. An act that upset this are an offense to we the people. Acts against government laws that protect the benefit to people are acts against we the people in whose name these protections were put in place. Offences against the people and offenses against the state are competing approaches to criminal law. The modern approach has largely favored sovereignty in government which serves first those who are in public authority before it serves the common person. A crime is a wrongdoing recognized by government. It can be an act or a failure to act where there is a recognized public duty to act. A crime is a public offense even if perpetrated against just another person. It can include even acts of violence against a person in the privacy of the home if engaging in the act is considered so antisocial as to rise to the level of public reaction. The source of common law was feudalism, a means of keeping the peace and prosperity of common people who were the source of privilege. It was a benefit to all people recognizing and banning acts that caused public damage and avoiding personal responsibilities that would not be avoided without threatening public welfare of the common people. These have effect especially in recognition of that representative government it is to serve the people who are represented and the codification, quiet questions of what will and will not be so antisocial as to be officially banned. Justice and public welfare are served in this where such negative regulation is not handled properly where it is used to punish unwanted behaviors by some people that might be engaged in by others. This approach to criminal law can become political regulation of the public, a violation of the sovereignty of citizens. Legislation has been used to corrupt the concept of wrongdoing defining crimes in terms of popularity or special interest supports. For example, there are corporate protections for officers and investors whose dealings with government defy the concept of representation of citizens. There are laws that criminalize acts such as growing marijuana plants because others are likely to abuse themselves by smoking it. Can you imagine banning licensed raising of corn and wheat because others might use it to manufacture liquor without a license? The plants banned by these laws is also basic material for hemp rope and canvas. In the common law, the offense was government notice and the wrong accomplished through personal action. Crimes went to the individual, not to the corporate or created beings. Crimes could refer to the office holder rather than the government or corporate organization that contained the offices. Prosecution addresses the official recognition of wrongdoing. Official recognition of crime is a government action with intent of preventing further offense even to the point of assessing fines and punishments upon the perpetrator. American prosecutions are in the name of the people and under the sovereign authority of the state. The aspect of representation is generally respected but not officially required or tested during the process of prosecution. Prosecution includes an official accusation and a court taking jurisdiction over the accused for the purpose of determining whether official punishment is appropriate. The next challenge is that criminal punishment is being applied to citizens and citizens have recognized rights. Conditional rights, rights that are actually privileges rather than rights, arise when a citizen is accused of crime or subject to prosecution. These rights are commonly raised to prevent or resist prosecution. In addressing crimes we have the concept of men's ray or guilty mind. The concept is built on the capacity of a citizen who engages in crime to understand or prevent the results of the actions they take or duties they avoid. Infants, for example, cannot be prosecuted for criminal offense as they lack capacity. A person who throws up their supper in public, potentially spreading disease, is not to be prosecuted for that threat as it was not by their own choice that they did so. Mentally deficient people may be excused for what they do as lacking capacity to decide on their own actions. It is not some excuse for engaging in crime as the crime is still the same in either case. The excuse of incompetence in mental state is a protection for the perpetrator of the crime from criminal prosecution and punishment. Even where there is recognized act or failure of duty that was intentional, prosecution and punishment can be denied due to incompetence of the accused to understand the error or to accept the duty that was the basis for prosecution. We have a foundation for criminal law in recognition of common law systems, but crimes were more a matter of governmental authority over the person than of right and wrong. With the rejection of government sovereignty, we had the challenge of personal sovereignty over the law and how to apply criminal concepts of we the people acting as sovereign towards sovereign citizens. The change was never really made in the court and they continued enforcing legislation as the basis for criminal law but accepted enhancements to jury applications as a matter of process rather than legal necessity. Over the many decades, this has allowed the government to declare that common law was no longer to be followed as it had been effectively replaced by legislated criminal codes. Instead of personal justice, the driver was justice in a bottle that arose from good legislation. The courts with their disrespect for the sovereignty of citizens just implemented.


to the second part of the first unit of the course Organizational Change and Development. My name is Chainika Senapati and I am from Maniram Devan School of Management in Krishna Kanta Hondiko State Open University. So the learners, in the first part of the video, if you have gone through the first part of the video, you have come across the concepts of organization development, its meaning and definition, the history of organization development and the relevance of organizational development. So in this video, what we are going to discuss is about the characteristic of organizational development and few assumptions of organizational development. So when we talk about characteristic of organizational development, a number of special characteristics you know its distinguishes organizational development from other approaches to you know manage and improve the organizational functioning and effectiveness. So the first one would be, organizational development is a long term effort, you know. Organization development cannot be completed in a short span of time. It was stated by French Anne Cécile that it is not a quick fix. It takes several years or even decades to achieve a change. A manager or a leader must you know set very high goals and then achieve them in stages through proper planning process. Number two is organization development involves a collaborative approach to change. So in organizational development, the consultant seeks and maintains a collaborative relationship of you know relative quality with the organizational members. Collaboration by collaboration we mean to work together. Essentially it means that both the consultant and the client system you know works together on the problems. They try to solve the problem and bring effective change in the organization. Another characteristic would be it is a planned approach as we have discussed. Organization development programs are planned and not accidental. They you know they represent a deliberate entry of either an organization development consultant or organization development activities into the client system that is the organization to bring about the organizational change. The fourth characteristic is that this program emphasizes on the ways to enhance performances. Organization development programs and the efforts are you know designed to produce organizational effectiveness and you know better system functioning you know greater ability to achieve objectives and the basic aim of organization development is to enhance congruence between the organizational structure, the processes, the strategies and the people working in the organization. Then you know developing new and creative organization solutions then also developing the organization's self-renewing capacity. The fifth characteristic would be it is based upon scientific approach to increase organizational effectiveness. It is an applied field in which the theory is the concept, the practices from you know sociology, social psychology, psychology education, management economics are you know brought together and deal with the real organizational problems. Then number six would be it is a learning process, yes it is a learning process. A learning organization is one where people continually expand their capacity to create the results that they desire, where new and expansive you know patterns of thinking are nurtured and where the people are continually learning how to learn together to achieve the organizational goal. Then it represents a systems approach, although organization development practitioners may concentrate on one or other aspect or you know unit of a group organization, there is a implicit you know recognition of the systematic nature of the organization. Then organization consists of different subsystems like task, structure, technology and people they are interlinked by various processes and the organization has a whole interact with the external environment including the society as well and change in one part or the process of the organization will definitely bring changes in the other parts. Again organization development needs an ideal culture. So an ideal culture is always a mandate for organization development to be successful. So organization culture includes the basic assumptions, the values, the norms, the behavior which are you know perceived as correct by the members of the organization. So culture is the bedrock of organizational behavior and the culture of an organization is passed on to the new employees and the culture is also important for the organization development as well. So by far we have discussed about the characteristic of organization development. Now let us discuss some assumptions of organization development. So by assumptions what do we mean? These are you know these are the beliefs that are regarded as so valuable and you know correct that they are taken for granted and rarely examined or questioned. So basic of some organization development activities there are a set of assumption or you may can say set of beliefs which are related to number one people as individuals, number two to people as group members and leaders and to people as members of the total organizational system. So now let us discuss this one by one. The first is the assumptions about people as individuals. So organization development effort makes two assumptions about people as individuals. One is the most individuals have drive towards personal growth and development. So in support and in this challenging environment most individuals want to become what they are capable of becoming and secondly most people are capable of making higher level of contribution to the organizational goals. The second assumption is about people in groups and about leadership. So under this the most physiologically relevant reference groups for most people in the work group. It is basically implies that what goes into teamwork especially at the informal level as great significance for feelings of satisfaction and competence you know in this assumption. And most people wish to be accepted by at least one small reference group. So this helps them to greatly increase their effectiveness as they can you know take help of their reference group to solve problems. Again group members must assist each other with effective leadership and member behavior. Now for a group to increase its effectiveness the formal leader cannot you know perform all the leadership and maintenance functions in all the circumstances at all the times and you know therefore assistance in leadership is required. So group leader you know group members must assist the leader with multiple roles required for group effectiveness like group problem solving and also in the process of decision making and conflict management and many other aspects like this. Again you know suppress feelings and attitudes you know they adversely affect problem solving then personal growth and job satisfaction. Then the level of interpersonal trust support cooperation is much lower in most of the groups and organizations than is either desirable or necessary. Typically number of forces contribute to such situations like lack of considering feelings of each other as important lack of you know group problem solving schemes and leadership style that reinforce you know dysfunctional competitions. So these are some of the assumptions that are related to you know people in groups and about leadership. Now let us discuss about assumptions about people in organization system as a whole. So here in this assumption there are you know some assumptions about the people in organization system that also underlie organization development efforts. So first is the win-loss conflict strategies are dysfunctional over the long run a win-win attitude should be encouraged always in an organization then a developmental set of assumption about people will lead to organizational development the belief that people are important and can grow and develop personally and help in developing organizational competency is likely to know reap rewards beneficial to both organization and its member. The third assumption would be you know the possible to create human as well as profitable organizations. So it is possible to create organization that on one hand are the human developmental and empowering and you know on the other hand are the high performing in terms of productivity quality of output and profitability. So the implication is that people are an organization's most important resource that we all know and they are the source of you know productivity and should be treated with care. So dear learners with this we have come to the end of the second part of the video session on the unit which is organization development of the course organization change and development. So in this video session we discuss about the characteristics of organization development and also a few assumptions of organization development. So thank you for watching this video we will be coming up with different videos with different aspects related to organization development in on your future videos thank you.


He tells me that two former police was going to Mr. Liner where he came back, saying that he owed them some money when they worked there for a while, and he had failed to pay them. He says that he was a soldier during this time, and he states that Mr. Liner's had grabbed the cash register, slain people, pulled the bus, and there was some money taken from him as they left.


Ladies and gentlemen, man, today we're talking about my favorite lift. I think one of the best overall athletic movements. I think one of the best general movements for health, strength, and even hypertrophy. Despite what they may tell you, we're going to dive in how to deadlift healthy with good form and build some strength over time. Tap in. Let's see if this thing can get a thousand likes. Share it with your friends. Appreciate you. I'm Solid Mike. Let's deadlift. So in the sport of powerlifting, or even strongman, deadlifts are one of the big staples to train your entire posterior. That means that it trains multiple muscles. We're talking basically anything from the back of my heel to the back of my neck. It trains all of those muscles. And I get it. That's one of the knocks on hypertrophy, bodybuilders, building muscles, is that you're training so many muscles. Which one are you targeting and which one's going to grow from that? My argument would be if you're training hard enough, big enough weights, closest to failure, we're going to fatigue all of those muscle fibers and we can still hit what we need to target a certain muscle group afterwards. So if it's a glute day, there's no reason why we can't. Deadlift real heavy, it's a great hinge movement. Then go into hip thrust, then go into kick backs, lunges, step ups, etc. And work our way towards isolation like we would anything else. It is for the vast majority of people the lift that you can handle the most amount of weight from. So I think having that general strength actually transfers all the way down to allow you just to move more weight, which again will build more strength and muscle over time. Step number one, foot stance. We're going to go over the conventionals today, although a lot of these rules still apply to the sumo and we'll show you what a good sumo looks like with our one beautiful, strong, talented example, obi-loo. But I'm going to go over my ugly, weak, not so talented conventional. For most folks, we're going to start with slightly narrower than shoulder width. A lot of people talk about a shoulder width or wider, although that is a good athletic position when we're jumping, it might be wider than our shoulder width. But when we're talking about a deadlift and moving weight, range of motion matters and also where our hands go. So I'm going to suggest most folks go an inch or two within your hips, within your shoulders. To start for most people, it will depend on your length of your femurs, shins, and mobility, but a good place to start is chopping about two thirds or about half of your foot in half when you look straight down. So that bar with my vision, I've got about maybe three inches between my shins and the bar. That's going to leave enough room for me to drive my knees forward, get in contact with the bar, and still use knees and hamstrings to build. The first motion I like to set up is I like to start tension from the ground up. So all we're going to do is relax. We're going to bend over at the hips with a very slight knee bend. From here, we're going to grab the bar just outside, almost making contact with our legs. We're going to have our forearms and biceps just on the outside of our knee. We don't want to go too far in. It's going to cause too much resistance and mess up our bar path. You don't want to go too far out because that's going to take away some of our lats and also make that range of motion greater, make it harder to lift. So just on the inside of my legs, or excuse me, just on the outside of my legs. From here, I'm going to use the barbell. You can hear that tension in the barbell.  We're going to keep our hips below our shoulders. Now, that's going to look different depending on how long your arms are, how long your torso is, and how long your legs are. But every single person can get their hips from a horizontal view or a side view lower than your shoulders. That's going to allow me to push my knees just slightly forward, making contact with the bar. Big breath and brace, flatten that back. I'm going to push my hips back towards that room. Whatever's behind you, I think about pushing my hips backwards, not downwards. Knees slightly forward, get contact with the bar with your shins, and then remain with that contact through the entire lift. Similar to the squat, we're going to have tension through our entire foot. There's a lot of old school that keeps talking about your heels, your heels, your heels. But I want my entire foot, each pad on my toes, the pad on my foot, and my heels pushing those toes across, getting as much surface area as I can with my feet on the ground, feeling that ground, and then getting my body weight slightly back. Again, just like the bench, I think there's a lot of misnomers and miscues about what you do with your scapula. A lot of people tend to squeeze their back tight. They don't know what to do, maybe they're shrugging up. Some people will shrug at the top. The truth is, even in standing, I like to think about having my arms as long as possible. You're almost doing a pec flex. You can flex your lats. If you're a newbie, it's a little bit harder, or even an intermediate, to feel your lats. But the biggest thing is I think about having my arms long like ropes. I even flex my tricep to keep safety from my bicep and bending your arms at all. You want the long straight arms, flex my tricep, flex my trap, and then I'm doing an old school pull down. I'm actually pulling that bar towards my body as I pull.  Grab that bar just on the outside. We're going to get our hips below our shoulders from the start. A little bit of tension in your hamstrings. If there is no barbell, there should almost be enough tension that you would fall backwards. From there, long arms, flex my trice, and I pull that barbell into my body like that old school pull down. Then, with that tension, I think about going from zero to maybe 20, and then I floor it. Big mistake is I see a lot of people going zero to 100, and just like a powerful car, you're going to peel out and you're going to miss heavier weights. Latter weights might not make a difference, but a heavier weight to will. Now, last but not least for my hypertrophy, bros. Everyone's saying that RDL may be better because of the eccentric. There is no rule, there is no God-Jim-God telling us that we can't lower a deadlift with a slow concentric, or sorry, a slow eccentric. So, loading up the barbell, controlling it all the way, even tempoed, great for strength and working on your bar path, also great for time under tension if that's something you want to follow. And then same thing with the concentric. I turn it more into an RDL, I get some weight in my hammies, some tension. As I lower that thing, controlling the weight both ways. Abby is an elite, elite sumo deadlifter, so don't be frustrated if your lifts don't look the exact same as her. But when we're talking about the sumo, there's just a few changes. The obvious ones, our stance width is going to be outside of our hands now, our hands are going to go straight down. The goal of our width of our stance is to keep our knee over our mid-foot, which she does beautifully, allows us to use our quads slightly better. With your hands, depending on how you're built, you actually just want your hands to be in straight line to your shoulders. So your arms would make a straight line from the front, shoulders to the bar. The hinging, the bracing, where your hips are is all the same. Depending on how you're built, your hips may be a little bit lower than your shoulders than your conventional pull. But again, a lot of that depends on how you are built. Don't over force it. We call that wedging. Finding the tension in your hamstrings and glutes as we pull our torso towards the bar and set ourselves before the initial raise is we call wedging. And something that's the most common mistake is people over-wedging. And what they tend to do is they tend to actually just have a pelvic tilt, which actually isn't wedging. Cause one of the cues that's overused is getting your hips close to the bar. And if you don't have the proper body mechanics or body control, you'll try to get your hips underneath you. And now when I'm trying to unlock under heavy load, I'll have to curl my body. What we want to do is have again, just like our squat, we want to breathe in brace to be as rigid as we can, a straight tuna can from our hips to our shoulders. And when I wedge, it's simply wedging it all at once. It's not over-wedging. Over-wedging, good position. From there, same idea. Even more so, we don't want to go zero to 100 on a sumo. We now have a lot of patience off the ground. It is the least point of leverage to get the weight moving on a sumo. So typically a sumo deadlift will move slower off the ground, but it's all right. Get to 20, get to 30, get to 40 on your accelerator. Then you're going to hit the gas, lean back, keep that weight on your body and follow through. Now gripping the bar is a big piece, right? Because a lot of times our body is going to be stronger than what we can hold on to, especially if you're going double overhand. This is a very difficult grip the bar tends to roll. So you have two options. One, I actually think is highly overrated. It is very useful, but it's equal to the other. Both of these grips have a time and place, and depending on your comfortability and your overall grip strength, you can have success with either. There's been big, big weights pulled with both grips. The first one is a simple over-under or mixed grip. So you choose one hand, you're going to go underneath the barbell, and the other over. Same with the conventional, you're going to have it close to your body. Same with the sumo, you're going to have a straight line to the bar. Nothing else changes, except one's going to rotate inward. The second is called hook grip, where you're literally going to use your thumb as an anchor, and you're going to grab around the bar, and you're going to squeeze your thumb into that barbell. So you're not only grabbing the bar itself, but you're grabbing your thumb and almost using that as a mini strap tied into that bar. Depending on hand size, depending on finger length, mitts you got, hook may feel better for some than others. It is slightly painful, and it will take practice and time to get better at. What we're trying to get into is in this crevice, you can obviously see the calluses are going to lay in between these knuckles and these knuckles. So I want that bar to sit right in that crevice, and that both mixed grip, both straps, and both hook grip, that's going to allow you to actually grip the bar best. Our palms tend to be a little too meaty, so if we grab them in there, one, the vertical force will make it roll, and it has nothing to catch it now, and any wiggle, once you're near a max, if that bar wiggles a little bit in your hand, it's going to be very difficult to hold onto. Ladies and gentlemen, I know that's a basic overview, and sometimes people overcomplicate what it looks like. If you follow those rules, then we have to put in the reps, we have to put in the time, we have to put in the years, not weeks, not sessions, years to perfect our own form. Taking video, taking critique, and making small changes over a long period of time, your deadlift will be nice and smooth. Again, I think it's a great piece to build general strength, maybe the best. I think it's amazing for powerlifting. It builds your forearms, traps, erectors, back, lats, glutes, hands, everything you want. If I had to choose one piece to make it a hypertrophy piece, it'd probably be a great glute and hamstring movement. RDLs are also great, but that limits the amount of weight you can pull. Deadlifts you can pull the most amount of weight and we can control that eccentric and really overload our glutes and hands, as well as forearms. Appreciate you guys for checking in, man. New videos weekly, reels and shorts daily. Check it out, 3sb.co for all your apparel needs, caps, tees, some of the highest quality gym gear you can find. Goodcompanydiscord.com, I'm Solid Mike, man. We over me, be a part of something big in yourself, appreciate y'all.


If you have trouble drawing long and smooth lines on your inking or painting, you can get help from the stabilizer. To activate it, select the freehand brush tool, go to the tool option docker, expand the menu to see and select the stabilizer, disable the delay option checkbox, and then experiment with the sample count, the strength of the stabilization. And it's done. Now let me explain a little bit more about this. Any stabilization will always introduce a delay between the tip of your pen and what Krita traces. And this artificial lag is how Krita can process and smooth the information. The higher you set the sample count, the more delay and also the more effect of smoothing you will get. And in reverse, the lower the sample count and the lower the delay so more freedom of movement but also less smoothing. Unfortunately, by default, this artificial lag will directly affect the brush outline you see on the canvas. It will be very difficult to paint this way, you won't have any feedback on your movement. To restore proper feedback, go to setting, configure Krita, general, and in cursor tab, select the small circle or the cursor of your choice. Brush Cursors aren't affected by this artificial lag. So now you can see your movement with the brush cursor and how the brush outline tries to catch up with it. As for the options, we uncheck a delay because in my opinion, it's mostly a useful option when using a mouse. I skipped showing you weighted because it was the only smoothing option in Krita 10 years ago, and stabilizer is a better alternative in my opinion. It's still here for legacy, but this option has a lot of trouble ending lines correctly and the smoothing is a bit difficult to manage. Other smoothing options like Norn and BASIC both have no options. The first one is just the raw input of your tablet, and the second one is some basic filtering that Krita does automatically. It's always on by default. To make your life a little better, if you use the stabilizer often, go to settings, configure toolbar, expand the top menu and select the brush and stuff toolbar, and look for smoothing in the search field, and use the little arrow to plug a BASIC and a stabilizer in your toolbar, and you can arrange them using the up and down arrow. But be careful because these two new icons in your toolbar will have no feedback at all. But at least you will be able to quickly toggle them on or off during long hours of work.


Looking at serial formats of the last decades, we can find certain recurring types of serial structures. Two very common structures in Western TV are the serial and the procedural, both weekly one hour broadcasted formats, at least in US TV. One hour in this case means that most shows last about 45 to 50 minutes without commercial breaks as compared to half-hour shows, mostly comedy formats, that usually last about 22 minutes per episode without the commercial breaks. The length of typical episodes usually stays stable in the whole series, however it can vary from one country's TV regulations to another. The serial, as a very common one-hour series type, tells an ongoing story episode by episode. Although some story arcs might only spend one single episode or maybe one season of several episodes, the major focus of the series lies on continuously developing characters, arcs and dramatic plots, and thereby keeping the audience's attention to what will happen next. This might mean that a character falls in love, marries and finally gets a divorce or dies, like maybe in Grey's Anatomy, Desperate Housewives or Gilmore Girls, which is often called daily struggle. Depending on the setting, it could also include coronations, wars and game-changing killings, like the ones HBO's Game of Thrones or the Tudors tell of. One kind of serial that differs slightly from the daily struggle and rather feel-good formats like the WB's Gilmore Girls is the mega-movie. Winston Canby used the term mega-movie in a New York Times article in 1999 to describe HBO's then-new show, The Sopranos. As packed with characters and events of decensin dimension and color, as in Charles Dickens, their time and place observed with satiric exactitude. Each has the kind of cohesive dramatic arc that defines a work complete unto itself. This of course rings true with many of HBO's epic-scale drama series like Madman, Boardwalk Empire, Game of Thrones or of course ABC's Lost or AMC's Breaking Bad. A second classic series type, with one-hour episodes, is the Procedural. A Procedural is in its core a series of standalone episodes that is premised on a so-called case of the week, a form of quest that has to be solved every week. These cases usually tend to be crimes to be solved, however, law cases, the investigation and cure of an illness or even the search for and defeat of a monster can also be a case to be solved. A typical procedural episode centers around a workplace environment, often high-tech labs, and might start with a murder and a murder scene to be investigated and ends with the murderer convicted and in jail. Newer series oftentimes show story arcs spanning more than one episode or season. What's most important in any case is the mystery that triggers each episode's plot. Famous procedural crime formats are for example Monk or CSI. Also, Castle, The Mentalist, House and Bones present their case of the week in nearly every episode. Each episode contains several plot or storylines or story arcs, as they are also called. One, the A plot mostly revolves around the case that has to be solved. Possible B and C plots deal with the investigator's personal life, relations to the workplace people or else. No procedural, however, can exist without a good case to be solved by the end of the episode. Let's dig a bit deeper and look at how writers create such a case or a mystery. In a film analysis in their book Film Art, Baudwell and Thompson offer the following insight. Often, a mystery in a narrative occurs when the plot withholds important events from our knowledge, delaying the information about X until Z learns of it. In their text, the writers discuss the movie The Man Who Knew Too Much from 1934. However, the exact same retardation technique, as Baudwell calls it, can be seen as a standard of nearly any mystery story, be it in a novel, a film, a series, game or else. The exposition, the events that actually form the beginning of the story, for example the events and characters involved leading to the murder, are not presented to us until much later in the plot. This forms the basic premise for nearly every single episode of a procedural like CSI and also The Mentalist. These firstly left out story parts are offered, for example, in the interview room in the end of each episode. There, the criminal recounts the exact events that led to the murder, for example, often times in a rather artificial, not at all realistic manner. Sometimes this confession is triggered by the detective, or in the Mentalist case, consultant Patrick Jains, actions and monologue about what had happened. Most famously, this quite classic monologue technique has always been used by Agatha Christie and her characters Miss Marple and Erkul Poirot. To use Baudwell's words, we would hereby find a delayed but rather concentrated exposition. The teen detective series Veronica Mas offers a similar technique for their case of the week plots. However, again adapting Baudwell's theory, the show also offers a rather continuous and delayed, not at all concentrated exposition to the main season story arcs like, for example, Veronica's investigation into her best friend Lily's murder and Veronica's search for her mother. To present the viewer with these story bits of the past, the show mostly uses regular flashbacks and Veronica's voiceovers that are often times triggered by past-themed dialogue when Veronica, for example, talks to her dad Keith Mas about earlier events. To sum up Baudwell's retardation principle, whether an exposition is designed in a continuous or concentrated way, only by delaying the revelation of some information can the plot, arouse anticipation, curiosity, suspense and surprise. So keep that in mind.


I'd like you to start by imagining that this humble device was harnessing quantum mechanics to monitor your state of health and then to securely communicate with your doctor also harnessing quantum physics and that your doctor would then prescribe you a new drug that has been designed on a quantum simulator and that his diagnosis was informed by a quantum computer. Now that future and a whole lot more is potentially soon possible so as bizarre as quantum physics is it turns out to be the basis of some incredibly disruptive quantum technologies and what I'd really like to emphasize today is that these technologies are emerging from the research lab so at the University of Bristol we're working with a large range of organizations to develop these quantum technologies that will have profound impacts on all of our lives societies and economies. These will occur in four main areas the first is in security so probably all of you have wondered about how secure your mobile phone is when you log into your bank or you buy something online with it. Well working with our colleagues at Nokia we've developed a secure communication system that would allow your handheld device to communicate with your bank telemachine and the way that works is that you and your bank encode your information in single particles of light single photons and the laws of physics demand that if anyone extract some information from that transition that will disturb those single photons and you and your bank can detect that. The second area is in sensors which are becoming ubiquitous in transport environmental monitoring security and healthcare and it turns out that if you want those sensors to be as precise as they possibly can to make their measurements most precisely then you need to harness this bizarre properties of quantum physics. Already we have been able to measure the concentration of a blood protein using this bizarre state of entangled photons and that's a really key step to making this into a practical technology. And so the third area is in designing new materials new clean energy devices and new pharmaceuticals so probably many of you are aware that it takes of order a billion dollars in 10 years to bring just a single new drug to market and a big part of the reason for that is that it's impossible on a normal supercomputer to be able to simulate the molecules at the heart of that. So working with our colleagues at Harvard we've developed a new very efficient quantum algorithm for doing such a simulation and we've been able to simulate the helium hydride molecule to within chemical precision so that's the precision that you need if you're able to do something useful with that knowledge. And the final area is in quantum computers that offer exponentially greater power for some important tasks. For example quantum machine learning would use artificial intelligence type approaches to address what would otherwise be impossibly large datasets and this has applications across all sorts of things ranging from email filters through to online shopping, face recognition, training driverless cars and the list goes on. We've developed a technique at the University of Bristol for using photons in waveguides on a chip and the important point here is that we're guiding those photons around in silicon waveguides on the nanometer scale and this is precisely the same architecture that the conventional computer chip industry is using so they have ambitions to replace all of the copper wires that we currently have in computer chips with these sort of photonic wires. Now apparently Seymour Cray when he was told that Apple had bought a Cray supercomputer to design the next Apple said that's funny I'm using an Apple to design the next Cray and perhaps you would all like to think about how you might use a quantum computer to design the next Apple to design some new medicine etc. Now the really good news here is that you can start you can start trying your hand at this already so just just last week we've made one of one of these devices available online on the quantum cloud and if you log into that email address there you can start programming a small scale photonic quantum processor and I encourage you to have a look at doing that and there's some tutorials along with it that should explain how you can go about doing that. So finally I'd like to acknowledge the European Research Council who've made all of this possible and leave you with a message that quantum technologies are arriving now and my question for you is what you know what would you like to use these technologies for I really want to hear what your problems are because that's that's my main reason for being at this at this forum here is to find out amongst all the applications that I've just touched on and there are more where do you see your business being affected how would you like to apply these things thank you.


Professor Ram, it's really wonderful to have you here today and we really are grateful for the time that you're spending with us talking about challenges of transformation and as you well know lots and lots of organizations are undergoing transformation today in many many different ways and driving innovation in order to foster growth and in some of the work that you've done you're talking about ways that we need to speak differently about what transformation means and how to do that so can you tell us a little bit about some of the transformation challenges you've seen in organizations today? I think one of the problems we have when we start talking about transformation is that we still because I think this is how human minds work we kind of assume what the end result will be there is in management thinking and has always been historically a tremendous drive to control that we want to kind of have a we're prepared to kind of talk about risk-taking or prepare to think about talk about creativity but we still kind of nurture that little desire that I just hope it doesn't go off the rails and if I had a pound for every time a CEO said was just as long as it doesn't go off the rails I'd be a very wealthy man by now and I think that is our challenge how do we actually nurture that courage in organizations to kind of push just not just beyond the comfort zone but beyond the plan the transformation zone and kind of encourage true experimentation I mean we'll listen to Alexander Rosterwalder speaking earlier and he is he's done a lot to trying to kind of tie people up to a notion of innovation cultures where there is all the things we've been talking about for such a long time an acceptance of failure daring to take risks letting kind of experimentation drive us but still we have a long way to go. How would you speak to CEOs and organizations about how to build courage within the group of employees who are most likely to be disrupted by change? I think I kind of I always kind of talk to them about the fact that we we talk so much about learning particularly I can have academics with tendons to always learning and knowledge stuff like that but the late great Peter Drucker of course reminded us that one of the most important things is not learning but unlearning and we often have strategies for learning we have HR processes in which we get more and more competencies and so on but we have very little strategic processes to unlearn and to kind of tell people that listen you will become irrelevant here is how we can guide you through this irrelevancy back to a new kind of relevance and I think that the transition between different kind of competencies is grossly under managed in many organizations today because frankly let's face it who among us wants to go you know what I really want to become in two years is irrelevant I think that all that stuff I've done for years and years and I think that's going to be worthless we have such strong kind of boundaries inside that we absolutely do not want to engage in that discourse but we forget it and we're going to pretend that no no I'm I'm not protecting my own identity I'm striking a blow for the learning organizations and for our core competencies one of the things that I think is really fascinating kind of within the transformation framework is that I think project managers of the future and wherever they fit whatever you call them are people that are going to need to look at what the challenge is and be able to curate all of the different types of tools and approaches that are necessary in order to drive that to a successful resolution and it's not about one or the other it's actually about having a multiplicity of tools available to you that you can wrap around a problem rather than any one particular approach how important do you think that is in terms of the future of the workforce being able to do that I would take it a lot bigger I think that is incredibly critical even to not just transformations in workforces or the future of the workforce but literally the future of society itself that is we have to accept that the problems we're seeing right now in society be climate change be changes in demographics we're aging far too rapidly to be really truly for this to be sustainable be it social inequality be it global inequality we need the kind of mega projects we need the kind of truly kind of transformative projects that can address things that have remained unaddressed or kind of remained under addressed for decades but which will need actually very rapid results and there the transformative logics that we can learn be it from Silicon Valley be it from a clean tech company in in the kind of Southern Africa be it from some weird nowhere country like Finland that we can take all of this skills and start saying no we need project managers that truly just don't want just transform project management don't just want to transform a singular company but transform an entire area of society


Okay, you ready Whitney what am I I could do it too with can do you didn't know that but Whitney You've lived a sheltered life. Oh, I can't really zoom in out a little bit Max is like me I'm like Look at him Max introduce the video Okay, and he's gone. Okay. Well, thank you, Max. Oh, he's gone. That is back What I'm brightening it well now we can't even see how bright that is because you're not even sitting in the chair This is how we end all the unboxings because I don't break my back Another unboxing electric book a little video today We're covering a new dinosaur for the entire toyline. I think of the Jurassic franchise Something that has been one of those indie dinosaurs that I think a lot of kids growing up in the The early 2000s or maybe even 2010s. I don't know Lord knows that as a teenager was a new cool thing That'll spine a source go if you get to choose by of course the one and only the beautiful assistant Give me a give me a Max let's get it Now we haven't had too many herbivores in the Jurassic franchise that can fight back to try Saratops and stegosaurus to name a few and that's pretty much it maybe there is in a source was on these weird dinosaurs Well, we didn't know whether it was carnivorous or not and had huge as you can see big Actually, they're not meaty This is the Jurassic World dominion there is in a source and one of the few dinosaurs that at the moment in the UK Has came out to be the kind of like, you know the normal Size scale that you play with action figures, you know, we've had the Giga Which was the colossal version, but it didn't you know, I mean you can't really do much else with that I didn't even have its toenails painted and on the back of the box You can see all the different kind of actions it has it has a bitey action a swipy action So as we've come to expect from a lot of the Jurassic World dominion line We've got the same sort of t-rex chased by the helicopter and a lovely amber on the bottom So without further ado, let's get it out of the box. Shall we? There is an a source Give me strength the ferris anisaurus Out of the box.  Um, so if we have a look here, yeah, there you go You get ferris anisaurus and you're parked today Yeah So it's really wobbly actually like I can just tilt it a little bit and you can see you've got like an article you got one two three four five Six and that's just like from the head to the tail like slits in the body to allow it to probably more unique kind of Movements, so if we push down on the tail You get like a bitey bite although Yeah, it's a bit It's it's weird. It's like a little bit of a stiffness to it left and right. Oh, it is literally left and right Okay, so apparently you got your up and down or at least this is up and down It makes lots of noises and then you've got your side-to-side Is that how it does it? It looks like the arms the arms themselves? I guess our pose was like just Hello, my baby So you've got some airbrushing For the eyes and then on the actual eyes themselves They've like painted this little ice it there looks pretty decent actually. It's not too bad It doesn't feel like the motions Supposed to happen. It's kind of just like well if you shake it it kind of just does the thing do that It just feels like a wobbling it's not like an action feature like this where you press it's kind of like Although it does seem to work now you got articulation the bottom of the feet as well to help it stand and any Peculiar way you'd see fit loads of articulation in the arms as well I was thinking that the arms would be connected to like the tail so that they would just move and then Or at least the body would stay still and the arms would be able to move But it seems like they've opted for just having the head and the neck as that and then I know You just sort of do that. You don't even need to shake the tail, which I guess is kind of what a kid would do anyway You're not gonna be like Like that are you?  Oh, yeah, there you go. That's a realistic now. It's like a proper goose I mean we haven't really seen too much of the pherosinosaurus in the actual movie But what I can say is that it looks already, you know, we've seen a little bit of it But it does seem the colorings are the same. This is even more egregious Because the arms as you can see quite clearly here have not only been painted But have been airbrushed because if you look towards the base of the claws It goes from a gray to then this weird purpley maroon color But saying that they haven't just left the toenails again. Why?  Let's see how they compare to each other All right, there you go what we got so far.  I feel like everything's just gonna take on the giga I think was the giga a lot of indominus Rex was used a lot for that Does it want this out where it's fighting sort of instinct and need for a bloodshed comes into it? Possibly maybe the pherosinosaurus is gonna help out rexie when it comes up against it in the final movie. I don't know old speculation Now that feels like a way better and smoother like mechanic than this Like if you look at the spot here to press the button I can put like my whole thumb on that and press down There's some sort of spring mechanism built in there to just like with that mouth back Like as soon as I let go bam, however, if we look at the pherosinosaurus as you can see quite clearly If you look at the tail my thumb doesn't fit all the way on that and then if I press it I can only go halfway It's it is because I got big fingers. Yes, it is but also I don't care. I don't know unpolished like this like Feel that like oh that feels good. You want to press it. You feel like it's slow You see that you see the difference see the difference there with me. What do you think? Yeah, there is a big difference between the two of them Well, the tail for the rexie is a lot bigger space for the mechanics to work Especially if they just put it all in the body whereas with pherosinosaurus You're putting in like the tiniest bit of the tail. So I've spoken enough about that. Let's move on to something else Shall we? Above the chaotic noise that is, you know, these two Nothing's broken so far. So that's very good. We'll move on to something else. How about a little raptor? Beautiful. All right, so let's have a look against this. I'm really the answer We all want to know is are you able to capture the pherosinosaurus and the devour and crush and drush and whatever it is? A trick we have here. All right. So what you want to do is you want to clip on the head? Yeah, and then you want to lift it up or almost There you have it kind of a It's kind of like a quick review of the pherosinosaurus. Is it a good toy? Objectively, yes It has a lot of action features the paint scheme on it's very good the sculpt as we always see with matel and these things Always looks good Articulation you've got loads of it for the claws there so you can have it swipe different directions And the other action feature however this one Doesn't doesn't feel that good. It feels like I'm really having to exert some kind of a force A lot of force in order to you know make it do that head thing So a lot of kids are literally just going to grab it and just but There you go slash it around again. No painted toes Don't know why but because this is like kind of a short review and it's not like a big thing I'm not gonna bother painting it Matel You send me if you send me another one better be painted watch this there'll be collectors It'll be like version 2.0 has painted toenails and this one's like the super rare on before they fixed it or something But everybody guys enjoyed this video and leave a like and until next time I see you goodies later Very intimidating with those big meaty claws big meaty