Good morning. So we've had a long gap because of Gandhi Jayanthi. So before we had a long break, we had covered the book of Job. So we started off the poetic books. So we started with Job. We have talked about that. So today we will try to cover the rest of the poetic books that would be basically from Psalms all the way up to Song of Solomon. So the goal is to try and cover these four books today. Before we get into the class as such, just to tell you that hopefully by Thursday or Friday, I will put the midterm assessment in Google. So it will be a multiple choice paper. So you would have 50 questions. So you just have to pick the correct answer and you will probably have around two or three weeks to complete it. So I mean you can take your time. It really doesn't matter to me how long you take as long as you finish it before this course gets over. So it would be a Google question paper, which is multiple choice. So there would be 50 multiple choice questions. So you would have to pick the correct answer. So 70% of those questions will be what we have covered in the class. About 30% you may have to look for the information online. So the idea is that this will be like a revision. It will help you to remember, recollect all the things that we have covered in case you do not know the answers. It will give you a chance to go back to the videos and look for the information in the videos. So this is basically a revision exercise. All right, so and I mean you can take three weeks, even four weeks, it really doesn't matter. But the point is, if you can attempt all of those 50 questions, and it's just multiple choice, you just have to click the right answer. So even for those who will be doing this question paper on the e-platform, it will be posted. So the goal is to post it by Thursday or Friday at the latest. So definitely by this weekend, your Google question paper will be in place online. So just kind of make sure that you go and check it at the end of this week. And so I have not yet decided which from Genesis, from the introduction up to which book we would have it. It will be clearly mentioned over there in the question paper. So that should not be a problem. All right. Yeah, so for those of you who have posted over here in the chat, like I said, it's going to be a Google question paper, which is basically a multiple choice paper. So you just have to take the correct answer. All right, so all right, let's get started with the book of Psalms. So we covered one poetic book last time, which was the book of Job. So this time we would be looking at the next four poetic books. So the book of Psalms, did someone ask a question? Okay. So the book of Psalms, we generally think about David when we think of the Psalms, but then there were multiple writers. It was not only David who wrote some of the Psalms. We also have other people writing the Psalms. So there are 73 Psalms for which the title is given as Psalm of David. So most probably it was those 73 Psalms that David wrote. But apart from that, you had other people also writing the Psalms. You have Psalms of Asif. You have the Psalms of Korah. There are three Psalms which have been written by King Solomon. So he too has written three of the Psalms. You have one Psalm written by somebody named Ethan and finally you have a Psalm written even by Moses. That would be Psalm 90. So because the Psalms have been written by different people, it covers different time periods. So Moses probably wrote the earliest Psalm because he lived around 1400 BC. So he wrote Psalm 90 and then many Psalms were written during the time of King David and then later during the post-exilic period also you have a few Psalms being written. So you could say that the Psalms actually covers almost 900 years. So that was the time span during which all of these Psalms were written. Now when the Israelite people, they compiled the Psalms together into one book, they actually wrote it out on five different scrolls. So the Psalms are divided into five sections and most of our Bibles, they will actually give you the section. They will say section one and then you will have the list of Psalms and then you will have section two. So section one is basically Psalm one up to Psalm 41 and then section two will be chapters 42 to 72 and then you have section three which will be chapters 73 to 89. Section four includes chapters 90 up to 106 and finally the last section begins with Psalm 107. So that goes on all the way up to Psalm 150. So when they compiled the Psalms, they wrote them out on five separate scrolls. And so you basically say, we say that the Psalms are divided into five books or five scrolls or sections. Now when we are looking at the Psalms, we see that there are basically four kinds of Psalms. The most popular are the Messianic Psalms. These are the Psalms which talk about the coming Messiah. Just from off the top of your head, would any of you know at least one Messianic Psalm? Can you name a Messianic Psalm? Those of you online, if you can post, at least an example of one Psalm which talks about the Messiah. The most popular one is actually Psalm 22, which talks in great detail about the experiences that Jesus goes through at the time of the cross. It talks about how his clothing will be divided among the people by casting lots. It talks about how he will be so thirsty that his tongue sticks to the roof of his mouth. It talks about how he would be commented upon, how people would criticize him. It talks about all those details are given in Psalm 22. In fact, Psalm 22 starts off with a wording, my God, my God, why have you forsaken me? The very words which Jesus speaks. So Psalm 22 is one of the most popular Messianic Psalms. Psalm 2 is also quite popular, very well known. That too talks about the Messiah. And then of course you have many other Messianic Psalms. These are the Psalms which talk about the Messiah. So yes, we have someone here mentioning Psalm 2. We also have Psalm 91 being mentioned by someone. Oh, Psalm 91, a Messianic Psalm. Probably I would have to look it up. I have no idea at the moment. So the first category are the Messianic Psalms. You also have something called the Pilgrim Psalms. Now these were Psalms which the people would sing during their travel to Jerusalem for the annual feasts. The three most important feasts for the Israelites were the Passover, of course. Then you have the Feast of Pentecost. You also have the Feast of Tabernacles. So people would travel from all over the nation and even from outside the nation to Jerusalem for these three feasts. And as the people are traveling along, they would sing these Psalms. So that is basically your Psalm 120 up to Psalm 134. They are called the Pilgrim Psalms because the people would come on a pilgrimage to offer their sacrifices to God. So at least three times a year they would come to Jerusalem and during that time these Psalms were sung. Another popular type of Psalm is what you call the Acrostic Psalms. Now these are Psalms which were arranged alphabetically according to their alphabet. Not according to the English alphabet but according to the Hebrew alphabet. So the first alphabet in their language was the alphabet Aleph, the sound R. So you would have some certain Psalms. The first verse will be written starting with the alphabet R which is Aleph. Then you would have the second one Berb, the second verse would start with the alphabet Berb. And then you have the third alphabet for them in their language is Gimel. So with the sound Ger the third verse will begin. So in that way they had Acrostic Psalms. There are many many Acrostic Psalms, Psalm 9, Psalm 10, Psalm 25, Psalm 34. But the most well-known Acrostic Psalm, would you be familiar with that? Anyone knows they can post over here online or here in the class if anyone knows. The most popular Acrostic Psalm which was written alphabetically. That actually would be your Psalm 119. I think it has 176 verses. So that is divided into many sections. Psalm 119 is divided into many sections. The first section would be verses 1 to 8. So the first 8 verses they all begin with the alphabet Aleph. Then you have the next verses 9 to 16. They all begin with Berb. So in that way right up to the last alphabet in their language which would be Taub. So the last section of that all the verses in the last section begin with the alphabet. So these are Acrostic Psalms. Why did the Psalmist write this kind of a Psalm? Basically because in those days the people would memorize the Psalms and they would sing them. So when you have it in an alphabetical order it's easier to buy heart. It's easier to remember the Psalms. And that is basically why the Psalms were written in this alphabetical manner. Now there is another, someone has mentioned over here Psalm 119. It's the most well-known popular Acrostic Psalm. The fourth kind of Psalm which has generated a lot of debate is what they call the imprecatory Psalms. These are basically Psalms in which the Psalmist cries out to God to take vengeance. So the word imprecation basically is talking about curses. So the Psalmist cries out to God and say Lord bring down judgment, bring down your curses upon these enemies of ours. So those are the imprecatory Psalms. And so the debate basically is should we in the New Testament times read Psalms like that where the Psalmist is crying out for judgment. Shouldn't we be very forgiving because Jesus taught us to love one another. We are supposed to love our enemies. So is it really correct for us to be reading imprecatory Psalms today? It's the question which is generally asked. But if you notice in the imprecatory Psalms, you will notice that these Psalmists are not speaking against somebody due to personal reasons. All the imprecatory Psalms that we find in the Psalms, they all are talking about enemies who have done something to dishonour God. And so the Psalmist is saying Lord these people have dishonoured your name. So therefore, oh God bring judgment upon them. Or in some of the imprecatory Psalms, the Psalmist says Lord look at the way the wicked are oppressing the poor. Look at the injustice that is being done. Therefore, oh God in your righteousness bring judgment upon them. So the imprecatory Psalms are not just people randomly speaking curses upon someone whom they don't like. That is not what the imprecatory Psalms are about. The imprecatory Psalms are clearly meant for one purpose where the Psalmist has the same heart which God has. He is angered when he sees the injustice which is being done. He is angered when he sees people mocking the name of the living God. And so expressing the heart of God this Psalmist writes the Psalm and cries out and says Lord because your name is being dishonoured. Because injustice is being celebrated. Therefore, oh Lord, you bring judgment upon these people. So in that sense, imprecatory Psalms are expressing the heart of God against wickedness. These are not just Psalms where the Psalmist is bringing curses upon people. So yes, even in the Old Testament times and in the New Testament times, we are not supposed to hate our enemies. So if somebody is being persecuted, we cannot speak an imprecatory Psalm against them. All we can say is Lord, in your time, if it is possible for this person to repent, may they come to you and may they repent. On the other hand, if they have hardened their heart like the Pharisees and there is no turning back for them, then no Lord in your time let judgment come upon them. So we adopt the same attitude which the Psalmists did in the Old Testament time. We do not speak curses upon people who are harming us. We do not speak curses upon those who are persecuting us. Rather, just like the Psalmists, we say Lord, your name is being dishonoured. Your kingdom purposes are being harmed by these people. So oh Lord, if you could bring them into your kingdom, if you could help them to repent, that would be perfect. On the other hand, if they have made up their minds that they are going to stand against the living God, then Lord, in your time may judgment come upon them. So we adopt that kind of an attitude. We are not permitted to ever speak curses upon people. This one point which some people raise, they say Paul in his epistles, he spoke curses against people. So they say, in that sense, he also spoke imprecatory words against the enemies of God, but that's not really true. Let's look at one example, one imprecatory verse which they say that Paul has spoken out against the enemies of God, but actually that is not true. Let's look at the wording that is used over there. Galatians 1, 8 to 9. If somebody could read out for us either online or here in the class, if someone could read out for us Galatians 1 verses 8 and 9 please. Galatians 1, 8 and 9.   The wording that Paul uses over here regarding the enemies of the gospel, the ones who are preaching a false gospel and drawing people away from the kingdom of God. He says, let such people be accursed. The term over there accursed is talking about let them come under God's curse, which is why in the NIV, you know, it clearly, it tries to translate that word accursed in that way. It says, let these people come under God's curse. So it's not a postal Paul who is speaking a curse upon them. It is, he's all he's saying is let these people come under God's curse under God's judgment. So even a postal Paul, he never teaches that we are supposed to curse our enemies. In fact, he says in Romans 12 19 to 20 that this should be our attitude towards our enemies. So if you could have someone read out for us Romans 12 verses 19 to 20. Beloved, never avenge your slaves, but leave it to the wrath of God. For it is written, fangus is mine, I will repay, says the Lord. To the contrary, if your enemy is hungry, feed him. If he is thirsty, give him something to drink. For by so doing, you will hear burning pulse on his head. So all that Paul says is, you know, when enemies ill treat you either due to personal reasons or for the sake of the gospel. When enemies ill treat you, when they persecute you, it says, leave room for God's wrath. Let God decide how he wants to deal with the situation. And so he quotes from the Old Testament and he says, the Lord has said it is mine to avenge. I will repay. So let the Lord repay what has been done. On the other hand, what should we be doing? We should feed the enemy if he is hungry. If he is thirsty, we should give him drink. And it says, he says in the last portion, you know, in Romans chapter 12 verse 20, he says, in doing this, you will heap burning coals on his head. What does that mean? You know, that's basically a kind of figure of speech that was used in those days to heap burning coals on someone's head. Now those coals can be something which give warmth. So if that person has a repentance and turns to God, the coals will be, they will warm him. They'll be a blessing to him. On the other hand, if that person does not repent and turn to God, those coals will be like an act of judgment and they will burn him. Okay, so that term, let coals be heaped upon someone's head when you say that. You're talking about the coals in two senses. You know, in the Middle Eastern region, the nights are extremely cold. The daytime is very, very hot, but the nighttime is extremely cold. So at that time, they would use burning coals to warm themselves. You know, they would heap up a pile of burning coals on a metal container and keep it very close to where they are sleeping so that the warmth from the coal will warm them during the night. So the coals which are heaped upon the head, it can either symbolize a person who has turned to God and now he's experiencing the warmth and favor of God. Or if that person continues to live in rebellion against God, those burning coals will rather become an act of judgment rather than providing warmth and help to the person. So Paul is saying, leave it in God's hands. The Lord will decide how to deal with those who are persecuting us. Alright, so another thing that, you know, maybe we can mention even as we are talking about this imprecatory psalms. Maybe we should first begin by looking at what Jesus has said, you know, a figure of speech which Jesus uses. So if we could have somebody read out for us, Luke chapter 19 verses 41 and maybe verse 44. Luke 19 verse 41 and verse 44. But he said to them, how can they say? No, I don't think so unless I have written it down wrong. Luke 19 verse 41 and also verse 44. And when he drew near and so the city, he wept over it. 44, 44.  And they will not leave one stone upon another in you because you did not know the time of your resistance. Alright, I'm not sure which version, you know, this brother read out from. But, you know, generally in our NIV, NKJV, the wording that is used over there is, you know, this is basically Jesus speaking. He's looking at Jerusalem and he weeps and he says, judgment is going to come upon you. And this is the wording that Jesus uses in verse 44.  In many places in the Old Testament, you have this terminology where it talks about how the enemies will dash the people to the ground. That is a figure of speech, which is talking about judgment. So Jesus is not saying that, you know, some the enemy is going to come and pick up each person and dash them to the ground. It's not talking about any violent deed like that. It's just a figure of speech, which is saying that judgment will come upon you. So in the imprecatory psalms, you know, when the psalmist uses that kind of wording in Psalm 137, he's not saying something bloodthirsty. He's not saying something that is terribly violent. He's just saying, let judgment come upon you. That would be Psalm 137 verses 8 to 9. This is basically the wording that is generally quoted when people talk about imprecatory psalms and they say, my, look at the hatred which is mentioned in these verses. But actually, no, it's just a figure of speech which is being used. Maybe we can have someone read out Psalm 137 is talking about the judgment. The psalmist is asking God to bring judgment upon Babylon because the people have been taken away as exiles. And so the psalmist is crying out and saying, Lord, we are sitting by the rivers of Babylon and we are weeping because, you know, we have been taken away from our homeland and the person cries out and says, Lord, please bring judgment upon Babylon. And this is the wording which we find in verses 8 and 9. So someone could read out for us Psalm 137 verses 8 and 9. Oh daughter of Babylon doomed to be destroyed. Blessed shall he be who repents you with what you have done to us. Blessed shall he be who takes your little ones and dashes them against the rock. The wording over here, it says, blessed is the one who seizes your infants and dashes them against the rocks. And they say, my, what terrible wording. Imagine someone taking babies and dashing them against the rocks. It's not talking about any violent imagery like that. It's just a figure of speech which implies divine judgment. You know, we also use wordings like that in our modern society and nobody thinks of it as something blood thirsty.  Now it's not talking about someone who, you know, it's not talking about a teacher who will actually tie the student to a chair and torture them. What does, what do the students mean when they say the teacher, you know, she likes to torture the students? Maybe they're talking about the heavy workload. Maybe they're talking about many assignments. Maybe you people are thinking that right now because I said 50 questions.  It doesn't mean that someone is going to actually literally torture it just a figure of speech talking about the hardship which is being imposed in the same way. Whenever the term being dashed to the rocks or being dashed to the ground like Jesus said and those wordings are used. It's just a figure of speech which is talking about divine judgment being brought upon people. So it is important for us to understand the imprecatory Psalms in the correct sense. We should not misinterpret them. All right. So talking about the different figures of speech which are generally used in the Psalms. In the Psalms you have a lot of metaphors being used. What are metaphors?  For instance, the Psalmist says, Lord, you are my rock. He's not saying that God is literally a rock. He's saying Lord, you are like a rock. So, you know, words like that you have a lot of metaphors being used in the Psalms. Let's look at one particular verse which in fact has got one, two, three, four, five, there are six metaphors in that one single verse. That would basically be a Psalm 18 verse two. So maybe we can have someone read out for us. Psalm 18 verses one and two. Psalm 18 verses one and two. Psalm 18 verses one and two. Maybe someone online can read out. I mean, if nobody over here is able to read, doesn't matter. I mean, someone at all could read because, you know, we are kind of running out of time. Psalm 18 verse one and two. I love you, Lord, my strength. The Lord is my rogue and my fortress and my deliverer. I go to my rogue in whom I take refuge, my shield and the horn of my salvation, my stronghold. Okay, look at the number of metaphors which are used to describe God in this verse. He's talked about in the first portion is Lord is my rock. Then it says my fortress. And then another different word for rock is used. You know, and some Bibles will translate that as strength rather than rock, but the actual word over there is rock. Then it also talks about him as a shield. It talks about him as a horn and it talks about him as a stronghold. These are all different metaphors being used to describe God and people who would have heard these words at that time would have understood what these words mean to us. It doesn't sound very familiar because we don't use that terminology now. So if somebody says rock, I'll probably actually think of one big large rock. But that is not the actual word that Hebrew word that is used over there when he says the Lord is my rock. He's basically saying the Lord is my sailor. That word sailor basically is talking about. It's like opening in a mountain. In the mountain there is a small narrow passage way. So on one side you have steep rock. On the other side again you have steep rock. In between there is a small narrow passage. And that word sailor is actually talking about that kind of a rock. Why is David saying Lord you are that kind of a rock? Because you see when David was running from Saul and he was hiding here and there, he would basically hide in such places in the desert. So he would try to go to the top of some rocky terrain and hide over there. And the opening to the top portion is only through a narrow passage. So if Saul sends his soldiers before the soldiers can come to the top, he'll be able to see them because there's only one narrow passage. So that word sailor is talking about that kind of a cliff where it's very steep and you just have one small narrow passage going up. So the person who's hiding on top will be able to see the enemy before the enemy goes and catches them. So he says Lord you are that kind of a rock to me. So you see it's a word picture which he's using. And people in those terms would have understood what a sailor is. For us, it's a new term so we will not understand what that means. He uses one more expression in the next sentence where he says, my God, my rock. The version which the brother read out just now, he actually uses the word rock. So this is a different word for rock. Here the word is something called Sur. This is a different word. And this word is talking about a mountain which is of very great height. Sur is a kind of rock formation which is very, very high. So he's saying Lord you are that kind of a rock. And so some Bibles will translate that as my God, my strength because that word Sur is used for a high rock and that word is also used as for strength because someone who is standing on top of that kind of a rock formation will be able to fight, will be able to shoot his arrows from a position of strength. So these are all word pictures which we don't understand because we belong to a different culture and so many thousands of years have passed by and we don't understand these word pictures today. But that time when he wrote these words people would have understood what he is saying. When he said Lord you are my sailor. Lord you are my Sur. They would have understood what he is saying. In the same way, there are many places where the Psalmist he says Lord you are my fortress. The word that is used over there for fortress. There are two different words because if you see in the ending there is one more word stronghold. That also is a different kind of fortress. For the first one in the Psalm 18 verse 2 where he says the Lord is my rock and my fortress. That term over there, that something called Matsud. Matsud is basically not just a normal fortress. This is a fortress which is built on a high mountain. In the Israelite region, in the desert region there is something called the Matsada. It is a high mountain. On top of that Matsada there is a fortress which was built. We are not sure in which century it was built. We don't know whether that fortress was already existing in the time of David or not. But that is the word that is used Matsud or Matsada. So he says Lord you are like that. You are so high up for Lord that if I hide myself in you nothing can touch me. The enemy may try as much as they want to destroy me. But Lord you are like that Matsud. You are high above and I'm hiding in that fortress. I'm hiding in you and no harm will come to me. So it kind of helps when we are looking at the Psalms to also have a good commentary with us which can give us the meaning of these words. It brings out the beauty of what the Psalmist is trying to say about the character of God. So that can be one take away from the Psalms. A lot of word pictures with a lot of meaning in them. So if we have a good commentary that will help us to understand these terms much better. Alright, as we do not have much time let's quickly go into the Proverbs. Proverbs also were written by multiple people. Yes it is true that most of the Proverbs were written by Solomon but we also have Proverbs being written by Lemuel and Agur. So in fact the last section of Proverbs that is written by Lemuel and Agur. So you basically have three different writers writing the Proverbs. We can divide the book of Proverbs into three main sections. Chapters one to nine basically give a lot of advice to young people. Chapters one to nine is mainly focusing upon advice that is being given to young people. Maybe we can read out one Proverb one eight if someone can read out Proverb one eight. As we are really running out of time if we could have people read. Here my son, your father's instruction and forsake not your mother's teaching. Alright, so here the young person is being advised to pay attention to the instructions being given by the father to not forsake the the laws, the advice being given by the mother to respect the instructions of both the parents. So in that way you have a lot of advice being given in chapters one to nine. Chapters ten to twenty four is mainly a collection of contrasts between the wicked and the righteous. And it talks about different topics. I mean it talks about working hard, it talks about honesty, it talks about maintaining correct kind of balances in the marketplace. It talks about different things. But the main emphasis is on the contrast between the righteous and the wicked. Maybe one example that we can look at Proverbs chapter ten verse three. The Lord does not lead but the wicked. Here it contrasts the righteous and the wicked and it says the Lord will take care of the righteous person. He will provide for him. But as for the wicked, whatever they want they may receive it or they may not because the Lord will not help him. The Lord will not be there to support him. So chapters ten to twenty four mainly draw a contrast between the righteous and the wicked and they cover many topics like honesty in the marketplace, hard work, poverty and all of that. Chapters twenty five to thirty one the last section basically gives instructions to leaders on how to lead. So most of you are going to be leading in ministry. You will be leading organizations. You will be leading in the church. You will be serving in different capacities as leaders. So chapters twenty five to thirty one basically are providing wisdom and advice to leaders and there's something good which is said in Proverbs twenty five verse one. If someone could read out Proverbs twenty five these also are Proverbs of Solomon which the men of Hezekiah king of Judah copied. So here we get to know that Hezekiah asked his people to make many many copies of these particular Proverbs. Why? Because he wanted to be a good godly leader and he wanted his officers also to be good godly leaders. So in fact he has he hires people to make copies of these particular Proverbs and he probably distributes it among them so that people will read these things, meditate upon these instructions and learn to be good godly leaders. It shows that Hezekiah had a heart to be a leader who will please the Lord rather than just being a worldly kind of leader. He had this heart's desire to be a godly kind of a leader. So he takes the effort to actually make copies of these Proverbs. So we see that the Proverbs are divided into three sections. Okay even as we have about maybe eight or nine minutes left, maybe we can look at two Proverbs which are trying to say the same thing but using different words. If we can first read out Proverbs chapter one verse seven. The fear of the Lord is the beginning of knowledge, fools despise wisdom and instruction. Alright so here it says the fear of the Lord is the beginning of knowledge. Now let's look at another Proverbs nine ten. The fear of the Lord is the beginning of wisdom and the knowledge of the Holy One is inside. Okay so in Proverbs one seven it says fear of the Lord is the beginning of knowledge and in Proverbs nine ten it says fear of the Lord is the beginning of wisdom. Two different terms are used. When you fear the Lord, when you're living in a way that honors him, two things. First you get knowledge, next you also get wisdom. The word that is used for wisdom is the Hebrew word hokma. That word hokma is it's talking about very practical wisdom. So when we think of the word wisdom we think of some deep mysterious philosophy. It's not talking about that kind of a wisdom. When you have fear of the Lord and when you're living in a way that honors him you get a very practical kind of wisdom which is called hokma. What exactly is this Hebrew word hokma? It is basically the ability to live well and the ability to do everything well. It's that simple. When you're living with the fear of the Lord in a way that honors the Lord the Lord imparts to you this kind of a hokma. You're able to live well and you're able to do everything well. That is he will show you how to make the right choices so that you can live well. You will be able to separate the good from the bad and be able to make the correct kind of choices in your life for your future so that you will be able to live well and he will also see to it that everything that you put your hands to it will prosper. You will be able to do everything well. So to have a fear of the Lord to respect him to honor and obey him it leads to this very very practical kind of wisdom which God will give you. You will grant you hokma. That word basically is talking about how you start becoming a person who's able to live well because you're able to make all the right choices. He guides you that fear for God which you have in your heart that will enable you to make the correct choices for your life and everything that you do you will be able to do it well because he will bless the work of your hands and so the fear of the Lord honoring God that is the beginning of this hokma. You know people today they are desperate for this kind of a wisdom you have all kinds of you know courses which are offered online if you want to develop your software skills attend this course it says you know if you want to make the right life choices you know undergo this go to this particular conference people are desperate to have this kind of a hokma this kind of a wisdom and it's given to us free by the Lord if we walk in fear of the Lord and honor him and respect him. The other term that is used that would be in Proverbs 1.7 there it says the fear of the Lord is the beginning of knowledge this word knowledge that's the Hebrew word now this word is talking about how when you live in fear of the Lord you will have an experiential knowledge of God that is not just a head knowledge of God but a very personal intimate relationship with him so fear of the Lord leads to hokma fear of the Lord also leads to an intimate personal knowledge of the Lord that is you know through the different seasons of life where the good things are happening to you over the bad things are happening to you you have decided I will honor the Lord I will fear him I will continue to follow him even if there are going to be hardships and as you're walking with that attitude you start getting to know him personally you start discovering what kind of a faithful God he is you start experiencing him in a very personal way so now you don't just know the Lord in an intellectual way you know him experientially there's an intimate relationship that is developing between him and you so the fear of the Lord basically grants us two things we develop the ability to live well to do everything well which is basically hokma wisdom we also develop an experiential knowledge of the Lord we have maybe about three minutes but I really want to you know give one example you know in Sunday school we have these children who come up in the front and they quote the Bible verses they have learned they've memorized the Bible verses by heart and they're standing over there and they are quoting all this memory verses by heart out of memory and a person who is sitting in the congregation will let us say an old elderly person he knows those verses in a different way than the child who is quoting it from the stage the child is quoting it from the stage for them those verses are still head knowledge they just know the verses but they haven't experienced those verses in their life they have not gone through those trials and those difficulties and seen his faithfulness seen the wisdom of God you know they have not seen the outworking of obedience there is so much they don't know they have intellectual knowledge of the Lord but they have not yet grown much in the Lord but a person who has walked with the Lord for many many years he doesn't just have an intellectual knowledge of those verses because he has actually lived out those verses you see he has obeyed the Lord he has submitted to him his knowledge of the verses is very experiential deeper knowledge which is not just head knowledge but something that he has actually gone through so he knows the Lord in a deeper way so the fear of the Lord can give us that kind of a dhaat the word knowledge which is used over there it refers to that okay so I thought maybe we could just very briefly reflect upon these two verses which talk about the fear of the Lord providing us with wisdom and also knowledge well okay we only have two minutes left not much that can be done in two minutes so yeah maybe we can just take an early break so after we come back we will look very briefly at Ecclesiastes and also the song of Solomon alright yeah thank you


My name is Richard Schreiner. I'm a 1982 graduate of the College of Engineering and Applied Science. I have a master's degree in computer science. I've been active in the university almost continuously since I graduated, part of the time with the Alumni Association and also working with the Development Department. Through those years, I've learned a lot about how the cost of a college education has just continued to rise relentlessly in the struggles that all students have to finance their college education. Happily, I'm in a situation where I've been able to make a contribution to student scholarship, and I'm very happy to be able to have done this. First of all, I'm going to be endowing a full-ride scholarship for in-state tuition, but on top of that, a unique opportunity was presented to me by the university. The College of Engineering and Applied Science has a Student Success Center, which is something that is really near and dear to me because of my personal history as a student. The Student Success Center has the purpose of helping students who need some extra help, especially in their freshman and sophomore years, if they need group study, if they need tutoring, if they need some kind of remediation. This is all crucial and can make a crucial difference between a student succeeding or failing. In my case, I went to a high school which did not offer any kind of calculus, no basic calculus, no pre-calculus, and certainly no advanced placement calculus. When I got to undergraduate school, I was just thrown into the regular freshman calculus class with everyone else, not even having the slightest idea what the subject was. I struggled and I struggled, and if I'd been smart, I probably would have just dropped out of the class and gotten some remediation. Well, I didn't. I got through. I stuck it out, but I sure depended on a lot of help, and I had to find that help myself. I went back and found my high school math teacher who happened to be capable of teaching calculus and who was more than happy to loan me books and tutor. This is the kind of service that the Student Success Center offers today to UWM College of Engineering students. I think it's a great program and I hope that many students will be able to take advantage of this for many years to come.


You cannot know the words of St. Paul if you do not have the Spirit of St. Paul. And it's a quote by Bonaventure. And that was sort of his teaching. If you want to understand the words of a saint, you sort of have to have the Spirit of a saint. And I think reading the works of Bonaventure also works the other way. It imbues the reader with something of his spirit. And he was a saint who was always looking at the, you know, with this kind of divine illumination. It's interesting that he chose the name Bonaventure as his religious name. And it means in Latin, good things to come. So he was always focused on the eternal realities of heaven. So yeah, a wonderful saint and very, very illuminating, very enlightening.


Welcome to Moumne Café friends, subscribers, and visitors. Today I'm going to talk about using dynamic color while doing a pet portrait. Also some tips on pet painting. And a lot of times I get questions as to my color choices because you know I love color and I exaggerate color. So in this lesson I'm going to take a little more time to talk about how to get that dynamic color in your artwork. Oh, and here's my little pet right here. He's usually my sidekick, Mr. Jackson. Hello friends, visitors, and subscribers, and welcome to Moumne Café.  And if you've seen my channel, you know sometimes I get a little cameo appearance from my Jackson here. And surprisingly I haven't done a portrait of him, so I need to get to it. But anyway, I'm going to be doing a portrait of a little pug. Oh my gosh, they're so cute. But this one in particular is so adorable. Her name is Molly and her owner is so precious and sweet. I actually think she found out about me through either this YouTube channel or the Facebook group, Moumne Café art group. But anyway Jackson, you're heavy, so I'm going to put you down. But anyway, I want to talk a little bit about in this particular video how to get that personality in the dog. Because not all breed, not an individual dog within a breed, they don't all look the same. They have their own little nuances and personalities and differences in their expressions. So Molly is certainly a little beauty and a sweetheart. So I hope to really capture her personality in this. So anyway, join me now and we're going to have a lot of fun. All right, let's get started. Now it's always a good idea to do some sketching before getting started with any portrait, whether it's people or animals. And I like to do quite a few of them. And it's a good idea also to ask the owner for a few different photos, not just the one that you'll be painting. So I did a total of three sketches. I'm speeding this up real fast because it's not about the sketch. It's just about making the point that you want to get really accuracy by the time you get to the final painting stage. And so doing some sketches is great. I didn't measure as accurately in these sketches as I do in the final, which you'll see here. Now I'm going to be using in this painting a product I forget often. It's called Pastel Board. And I really love it. It's made by Ampersand. And it's a hard board. It comes in different colors in different sizes. The piece I'm using is an 11 by 14. And it comes protected covered in this plastic. But the grit of it is actually really nice. It takes a lot of layering. And I happen to love that neutral gray color that it comes in and some of the other colors as well. Now one of the disadvantages about these boards is they're heavy. They're not really great to put on your easels. So I just propped mine up on the bottom of my easel. Now here is where I got more serious about getting Molly's proportions and dog proportions in general accurate. And for me it was all about those eyes.  So I wanted to make sure I captured that. Now I love using when I'm using like this gray board. I like using a combination of charcoal pencils for the sketch. And this is a neat set. It comes in different values. You've got dark, black, medium, black, gray, and white. So I'm really doing a value study with my sketch. And it's almost like taking value notes so that when I get to the final painting I kind of have a roadmap to go by. I want to show you also my pastel choices. But I'm going to get a little deeper with this and actually give you some reasonings as to why I chose these particular pastels. Now here I am in Photoshop and I hope this is large enough for people to see.  What I've done is I've pulled up the photo of Molly that I'm using as a reference photo, agreed upon by the owner. And I've also put up here in the corner my pastel selections. I'll probably enlarge those a little bit as I talk. But what I want you to notice is I'm going to go through the photograph and give you my reasoning for enhancing certain colors. I really hope this helps some people. Actually, let me take this and kind of enlarge this picture of Molly real quick. It's hard for me because when I do the screen recording, it's hard to see things. All right, let me scale it a little bit. All right, so let me make this a little bit bigger and now we can kind of view it better. All right, so in looking at this right away, and I don't know where this ability came from to be able to see certain colors, it may just be working with it a lot. But I've gotten to where I can just look at something and see where that color is that I'm going to enhance. Now, for example, let me just pick this eye. It's the right eye of the dog with the left eye on the screen.  Oh my goodness, there is so much color in this eye. And at first glance, you think, oh, that's just like a lot of gray, a little bit of brown, and that looks a little bit of a bluish gray. But you can really magnify those and punch up those colors for your final painting because let me show you what I see. I'm actually going to go ahead. I don't do this when I'm working from the reference photo, but it's something you can do to get an idea of how to do this. I'm going to go ahead and adjust this image. Oh, I have to finish transforming it. I'm going to adjust this image with the saturation and the vibrance. I'll just show you this little scale. You can change and Photoshop the vibrance and the saturation. I'll leave it right up here so you can see it. Vibrance just kind of makes things more vibrant. You can see it's a little bit like it kind of punches up the saturation a little bit. Saturation is more of the actual color. When I do that, let me just punch up the saturation all the way. You can see, doesn't that look like more green in there? Look at this. Look at this green, that little teal green in there. Look how that red just popped out. Isn't that awesome? What you do is you kind of look for the subtleties and you punch them up. You intensify them. I'm going to take it back down. Now it's back to looking dull. You don't have to paint what you see. You can interpret it. Again, now you might, since you saw that enhanced like it was, you might now be able to see, oh, yeah, that is kind of like a neat teal bluish green. This has got a little blue down in there and this right here is going to be your highlight. Notice and you want to keep your highlight. This is not an example of color, but you want to keep your highlight formed with the shape of the eye. This is a round spherical object, so notice how that highlight is curving around it. So little things like that.  So it's just a really, really neat way to be able to see color, is to look at it, analyze it. Oh, I got to get out of this before I can do anything. I'll just leave it like that and then intensify it, you know, with your color choices. So actually, let me go here. I need to move this here. Now let's look at this side. This is also full of color. Look at the reds in here. You've got reds. You've got oranges. Now here's an interesting thing.  But let me show you something. This is not white. This little part of the eye right here. I'm going to use something like a little color picker here. Let me get my paint brush over here. I know you can't see what I'm doing. Let me make it smaller. I'm going to show you what this color really is next to white. So let's look at something that is kind of white. Probably the lightest thing is kind of up in here right now.  I'm going to hold it down. It has a little eyedropper. I get to pick that color. I just picked it. Now let me take it over here to something that is white and let me show you the color. You see that's not white. That's kind of a grayish color. So you want to make sure you're really, really analyzing these colors and not just doing what your brain says. Now let me look again at some other things going on here. You may notice in the final painting that I have a lot of blues and purples going on in the nose, okay?  But no, there's so much color going on here. There's lots of greens going on in this nose right here. There's purples all throughout here. Let me punch up that color again. Let me intensify it with the vibrance and saturation. All right. That's the saturations really making it really warm too. Let me get the vibrance here. Okay, you're starting to see some of those greens now and I'd have to take some of the warmth away from this. It's a little too warm to see all the other stuff. But you can really, really interpret, take the subtleties of the color that you see and punch them up, intensify them a little bit. You know, maybe a lot if you want. So that is just really something that you can do. It's not all that hard. You just got to practice, but start small. Practice with something simple. Don't start a big, huge project. Like right now, I'm just as I'm talking, I see purple in here over the eye. I don't know if you can see that, especially probably not if you're viewing this video on your phone, but there's purples in these shadows. I also want you to notice something too. I found this photo very interesting. Look at the division here. The right side of the photo is warm. You see the warmth in the muzzle here and the warmth over here. Look at this side. This side of the nose. It's cool. You see the cool in the shadows here. Everything over here is cooler than it is over here. And, you know, a lot of times photos aren't correct, you know, and you don't want to follow everything that's in the photo. But in this case, it made for a really neat interpretation of this to become a painting. All right. So now let me talk a little bit about these color choices right here. I'm going to kind of blow this up a little bit. Let me transform this. Thank you for bearing with me for this. Okay. So I'm blowing this up. I'm going to leave the little part of the dog showing here so you can see it. All right. So I have, I already knew there was a few things going on here. I know I need colors for the dog's fur. Okay. So we've got a good gradation. Some of the shadows behind the dog's fur is actually very reddish and you can lay down your darks and then lighten them up as you color. You'll see as I'm painting how I do that. I put the dark is, you know, like even in this little area of his head, don't just put brown down. I put a darker reddish color and then I I glazed pastels over it to lighten it up and have that showing through. So it's kind of underneath. So look at all these neat and pretty reds, oranges, and yellows I've got. And my lightest light here, well, in the whole painting, the lightest light is probably this one or maybe a couple of these. These are pretty light too. Okay. So I don't have any white in here. This is kind of a neutral gray, gray, blue, purple, something. So these are my fur colors. All right.  See, this is at the square like this big square ones. They're Terry Ludwig pastels. And I'm not going to go through a whole pastel example here of explaining what up they all are. But I let color guide my choice rather than pastel. I mean, sometimes, of course, you want to use your, your softer pastels at the end of the painting. But if I don't have that color, I just use it, whatever, you know, whatever it is that I need, I grab it and I use it and I make it work for me. Okay. So, so these are some of my darkest darks here. These are some of my darkest darks here, but I haven't kind of divided up by color temperature. Okay. Again, so fur colors, warmer fur colors, some of my darker warmer fur colors. These are some of my cooler colors from value scale from dark down to light. Now I've got a little bit of blues and some blues that have more greens, teal-y blues in here like this. But these are going to be my cooler temperatures in here from dark down to light. Now I love purples in the shadows. There's lots of purples that you can punch into this painting and give it some life. Purple just adds life, you know, it's really, really a fantastic color. Now these down here, it's very important for me anyway. I've learned, I didn't used to always add many neutrals in my work, but to put some neutrals in because these punchy colors are going to show up even more with some of the neutrals. And also neutrals are in areas where you want them to recede or you want them to not have so much focus because you don't want your whole painting to be shouting. And now here are the, the spicy colors right here that I love. I added, I think one more before the painting was over. I think I maybe before this whole painting was done. I might have added two more pastels. One was a really pretty blue teal color and like a brown, another neutral I think. So these are the spice colors. This red, if you just kind of squint your eyes and look at this, that red is like popping. And these are some of the colors that I used in the eyes. Okay. And that really made those eyes stand out for Molly.  And I really wanted them to be the focus of the painting. All right. So I hope this helped you a little bit with the color choices. I'll try during the painting process to talk about it a little bit more. And I hope that helped. I know I've had some of you saying, I really want to know more about how to choose color. Okay. So hopefully that helps. All right. So let's get started with the painting. I had someone make a very useful and practical comment about something I used to do and I haven't done it in a while, which is to actually make some marks of my pastels and show you the colors. So I've put a little piece of newsprint next to the sketch here and I'm going to actually show you the colors next to the painting. Now that is my darkest dark. Believe it or not, it's not a black. It's more of a dark purple. This is a dark, dark blue gray. So I'm going to speed this up a little bit, but it's the same colors you saw in my little plate. And I liked my little gray plate. It happened to be one I already had because it kind of was similar to the gray background that I'm using. So it made my colors kind of accurate. Color and value is dependent upon what it's next to. Darker colors look darker on something or a color looks darker on something light than it does on something dark. Okay. And I had a little video not too long ago that I gave some neat little visual illusion examples as to how that works. So you've got to keep that in mind with whatever service you're working on or whatever colors are next to each other. But don't get overwhelmed by all of this. A lot of it is just trial and error in practice. And if you're just beginning, this may be a little bit like, whoa, look at all that stuff she just talked about. But don't think you're supposed to know all this right away. You're not. It'll come. It will all come. And I have plenty of other videos that talk about more simple paintings and exercises that you can do. And as a matter of fact, I guess I'm not going to speed up me putting these colors down because it's kind of nice to talk. As a matter of fact, my goal, when my life gets a little bit more stable, I won't go over my saga again that some of you know, is to make some very user friendly beginner to intermediate videos to where it is a step by step where you can literally just follow right along. I'll show you at the beginning of the video what the end result's going to look like. And we may have some products that are affordable for you. And I've got something I'm not going to let the cat out of the bag yet. I've got something in the works that could be very awesome for Monet Café and for beginners who would like to get supplies that are affordable and good for these videos that I'm making. So I can't say any more about it, but it's very exciting. So anyway, lots of great things coming on the Monet Café art train. All right, now I'm going to speed this up and then we'll get started with the painting. Now I really apologize here that I typically have my camera on my right side because I'm left-handed. I was trying to do something a little different. I've had some of you know, in my, in the Monet Café art group on Facebook that I've had a shoulder injury. It's actually doing so much better. And I really think due to a lot of prayer, we've got such a great group on Facebook. But anyway, I was kind of trying to, it kind of hurt to turn the way I was turning with my camera to the other side, but it didn't work. So I ended up moving it to the right anyway. So for this first part on this eye, you're not going to be able to see the marks as good as you do in just a minute. Okay, so this part doesn't last that long, a little bit of the work on the eye, and then you'll be able to see my mark making a lot better. But you know, you can already see how I have intensified the color in that eye. Now you can, the cool thing about colors, you can go bold to begin with. You can always tone it down if you need to. But I wanted to definitely exaggerate it at the beginning. So I've sped this up a little bit here. And for the most part, the rest of this video is going to be just watching me work. The main point was for me to do that part in Photoshop to kind of give you my reasoning for color choices. And I've actually only got so much ability with my computer and my internet speed where I live now to work. So that's why sometimes I have to kind of speed them up at the end here. So bear with me and I hope you enjoyed this. I hope you guys enjoyed this. I know I did. And I hope you learned something about using dynamic color in your artwork.   And I hope you'll try some pet portraiture and try some experimenting with color. So happy, happy painting. It was a blessing to be with you today at Monet Cafe.


This is going to be demonstration of the kidney in situ So we have completely removed all the abdominal organs and we can see this is the right kidney This is the left kidney. I'm standing on the right side of the cadaver and the camera person is also on the right side Or towards the legged. This location of the kidney is in a depression and that is referred to as the parovertibular cutter Because it's on either side of the lumbar vertebra and this itself has got an important clinical implication When a person is Recombed for a long period of time He really tends to collect in the pelvic calcium system because of the Orientation and the location of the kidney and that leads to stasis or recompensate calculus precipitated by Infection of the pelvic calcium system. I would draw your attention to this facial here This is the continuation of the facial transversalis Covered of course by the peritoneum peritoneum This is one which forms the anterior layer of renal fascia or the gerotas fascia and if I were to lift it up We can see that the same facial transversalis splits to form another layer posteriorly And that is the posterior layer of renal fascia and the posterior layer of renal fascia as you can see it continues Immediately and it becomes continuous with the teeth over the so-called major muscle All the camera persons on the left side and we're showing the same facial sheets on the left side also So this one which I picked up again is the anterior layer of left renal fascia The gerotas fascia and if you were to trace it, we say that this is the posterior layer Between the anterior the posterior layers completely encircling the kidney was a perinephric fat both on both the sides And this perinephric fat not only encircles the whole kidney But it also goes inside the renal sinus through the renal hyalum behind the posterior layer of the renal fascia We see yet one more fat layer that is called the pararenal fat and If you were to come back again to the right side We will see that behind the posterior renal fascia. We see fatty layer That is the pararenal fat and just like on the right side Even on the left side We can see that the posterior layer of the renal fascia becomes continuous immediately with the fascia of the so-as major muscle That is the so-as sheet So this about the facial relationships of the kidney the extent of the kidney is approximately from T12 to L3 The right kidney is slightly lower than the left kidney because of the presence of the liver on the right side The margins of the kidney and the borders where my instrument has gone in that is the superior pole of the kidney This is the inferior pole same thing. We can see on the left side also This is the medial margin of the kidney which is concave Strictly speaking because of the orientation it is supposed to be anterior medial And this is the lateral margin of the kidney which is convex It is not strictly lateral but it is posterior lateral because of the same orientation the kidney This is the anterior surface. This is the posterior surface This is the region of the high limb of the kidney and we can see the same thing on the left side also We have delivered the right kidney out We can see that it's got a slightly low belated appearance This is nothing but just a persistence of the fetal Lobulation just to bring you up to speed We have removed the fascia transversalis and the parietal pediatria over the posterior abdominal wall in this region Just to show you this is the abdominal outer and Just to the right of that. This is the inferior vena cava And here we can see the L2 cable lymph nodes some of them We can see one lymph node here another one here another one here. These are also referred to as the lumbar nodes arising from the error we have the renal arteries and Draining into the inferior vena cava. We have the renal veins The left renal vein is longer on the left side Compared to the right side why because the inferior vena capers on the right side and contrary wise The right renal artery is longer on the right side because the air ties on the left side So let's take a look at the neuro vascular structures entering the hyalum of the right kidney Then we should see the same thing on the left side So I have lifted up the right kidney here and I've turned it this structure, which I picked up here This is the right renal vein And we can see that it's thin walled and it is a little it is anterior to the right renal artery We just posterior to that. Let's take a look at the renal artery This is the renal artery one branch of the renal artery in this another part of the renal artery in this particular cadaver We have not one, but we have two renal arteries coming out from the aorta and to see it better We will retract the renal vein and we can see that this is the renal artery The renal artery or arteries in this case once they enter the hyalum of the kidney they divided to Typically they divided into five branches and each of those branches are referred to as the segmental arteries And there should be typically five segmental arteries So let's take a look at the five segmental arteries person is on the right side of the cadaver towards the headed to show you the Neuro vascular structures entering the hyalum and we can see that as I mentioned a little while earlier There are not one but two renal arteries This is one renal artery here and this is another renal artery here So let's take a look at the branches The anterior one they are all part of the same artery is dividing into two branches This is one branch and this another branch So this is referred to as the anterior superior and this is referred to as the anterior inferior segmental artery Now we have picked up the other renal artery the posterior renal artery in this case as we mentioned they were to We can see one branch here which I have lifted up with my instrument this one Then we can see another branch here Which I've lifted up with the instrument and finally we have this renal artery itself is going inside so therefore there are three Posterior segmental arteries on the posterior side and two on the anterior side So therefore there are total five segmental arteries and in sequence. They are labeled as anterior superior anterior inferior superior polar This is the inferior polar and this is the posterior the significance of these five segmental arteries is that this allows us to do What is known as segmental nephrectomy next thing I would draw your attention to is where my finger is gone in That is known as the renal sinus the renal sinus is the space Which extends from the hyalum into the substance of the kidney between the anterior and the posterior layers of the kidney and This renal sinus is filled by four structures. It is filled with fat Which is a continuous to the perinephric fat that is number one It is filled with the branches of the renal arteries which you have seen already to be trees of the renal veins And it is also filled by the pelvic aliceal cyst So that brings me to the pelvic aliceal system this structure which I've picked up here and we can see it here This is the renal pelvis in most cases in 80% of the population The pelvis renal pelvis is inside and that is referred to as intra renal pelvis in 20% of the population The pelvis may be outside and that is known as extra renal pelvis So in this case it is intra renal pelvis and extending from the renal pelvis. We have this structure here. This is the Urator now we are showing the left kidney and the camera person is on the right side so again, we can see the Pedicle the arteries in the veins and this is the hyalum of the kidney the anterior structure is the renal vein and We can see that the renal vein is long. It's coming from the inferior vena cava and this is the renal vein Let's focus on the renal artery Here also we have two renal arteries just like on the right side and we can see the two renal arteries one of them is this one here and The other one is this one here and Here also we can see the renal arteries are dividing into five branches We can see one branch here. We can see the second branch here. That's on the anterior side So this is the anterior superior and this is the anterior inferior Now I will turn the kidney to see the branches on that side now We are seeing the left kidney the posterior aspect and I have completely Delivered the kidney out and I've turned it so that we can see it and the camera person is on the left side of the cadaver So we can see the posterior renal artery in this case and we can see one branch here We can see another branch here and we can see a third branch here So these are the other three branches segmental branches of the left kidney So this is the superior polar branch This is the inferior polar branch and this is the posterior branch So just like on the right side, there are five segmental arteries on this side And that's what enables us to do what is known as segmental nephrectomy This again is the region of the renal sinus and emerging from the renal sinus I'm going to turn the kidney to show the origin of the Pelvis and the ureter. This is the renal pelvis coming out Here also the pelvis is intra renal and we can see the ureter emerging Having mentioned that since we are already on the left side I would draw your attention to an abnormality that we noticed in this kidney We can see the soft area here This is a renal cyst that we can see here And I'm going to puncture the renal cyst to show you the content inside and we have punctured it And we can see that Watery fluid and these things are draining out. So this is a renal cyst, a solitary renal cyst There's another cyst on the left side and that is the location Here, this is a small renal cyst that you can see here. Renal calculus, ureteric calculus is the most common problem worldwide And therefore Some of the very common investigations of the urinary system are One, plain x-ray of the domain KUB KUB stands for kidney ureter bladder. The next important investigation, which is also done very frequently is intravenous pylogram Where we inject the dye and we wait for the dye to be excreted through the kidney through the pelvis to the ureters And we take sequential films. The third investigation is called retrograde pylogram Where we cannulate the urethra and we inject the dye through the bladder into the ureters And we see the pelvic ureteric system. And of course ultrasound of the kidney is also a very useful modality of investigation And not forgetting that if you want to see the vascular structures, especially the renal artery and its distribution Prior to segmental diffractomy or otherwise, we can do what is known as a renal angiogram By cannulating through the femoral artery into the aorta and then injecting the dye through the renal arteries So these are some of the common investigations which are done to investigate a urinary tract That's all for now. We shall in the subsequent section open up the kidney and we'll show the structures inside and till then Stay tuned for the next video. Thank you very much for watching. Dr. Sandesh Sanyal signing out. David is the camera person Have a nice day


This is an example quiz question about sliding window flow control. In this question, the sliding window protocol is using a 3-bit sequence number. That means that each frame is numbered from 0 through to 7, and then we wrap around back to 0 again. And the protocol has a maximum window size of 7 frames, meaning the source node is allowed to send at a maximum of 7 frames before it must wait for an act. The current state of the source is that of the two variables, last frame act is set to 3 and last frame transmitted set to 6. Let's try and draw that and see what that means. Firstly, last frame act equals 3. So we can think that if the last frame act is 3, then that means frame with sequence number 3 and frames before that. 2, 1, 0, and before that have been already transmitted. I'll write transmitted as Tx, transmitted, and we've received an act back for them. So I'll write transmitted and act. So we'd like to keep track of the different frames at the source node and the state of those frames. So last frame act of 3 will separate that and distinguish this set of frames from future frames. So frame 3, last frame act. Because we transmit frames in order, the next frame to deal with will be frame 4. Back to our question. We know that the last frame transmitted was number 6. So that means frames number 4, 5, and 6 have been transmitted at this point in time. So note that these are transmitted but not yet act. That is, we've sent them but we haven't received an acknowledgement from the destination yet. So the last frame transmitted is 6. Tx for transmitted. Now with sliding window, the source is allowed to have a window size or the maximum window size number of frames outstanding. So we've currently got 3 transmitted. The maximum window size is 7, which means at this point in time the source is allowed to send another 4 frames. 3 transmitted plus another 4 frames allowed to be sent. So we'll break them up and say frame 7, 0, because we wrap around 1 and 2. They are the set of frames which are allowed to be sent at this point in time. And in fact, this set of frames, 7 through to 2, these 4 frames represent the window at this point in time or we can say the current window size is 4. Any subsequent frames are not yet allowed to be transmitted. So frames 3, 4, 5, and so on, not yet allowed. I'll just write not allowed. The idea is that the source is allowed to send a window of frames before it waits for an act. At this point in time it's sent 3 frames. It's allowed to send another 4 when it has them ready to send. Now back to the question, we see the next thing that happens is that the node transmits 3 data frames. So let's consider what happens after that transmission of 3 data frames. Be careful, it means that 3 different frames would be sent. It doesn't mean the sequence number of the frame is 3. So if 3 frames have been sent then we already know that 4, 5, and 6 have been sent. So the next 3 to be sent when we send in order would be 7, 0, 1. We'll keep track of the transmitted an act which is still the same at this point in time. 0, 1, 2, and 3 are done. 4, 5, and 6 have been transmitted plus another 3 data frames. 7 and 0, 1 have been transmitted and that leaves us 1 remaining allowed to be transmitted. Frame 2 is allowed to be transmitted meaning the current window size is 1. 3, 4, and 5 and beyond are still not allowed. That was just after the transmission of 3 frames, 7, 0, 1. Back to the question, something else happens. The source receives an act and the number inside that act is 6. What that number means is that the destination has finished processing up until including frame 5 because this act number indicates the next number expected. So frames up until including 5 have been effectively acknowledged by the destination. So before we had 0, 1, 2, and 3 transmitted an act but with the reception of the act we now know that 4 and 5 have been transmitted and also act. So we'll move this vertical bar to here to indicate that's the separation of transmitted an act up until 5. Transmitted but not yet act is still 6, 7, 0, 1. 2 is not yet transmitted we're allowed to transmit but because we received an act for 2 frames that allows us to transmit an additional 2 frames so that will be 3 and 4. So our window expands 5 and beyond still not yet allowed to be transmitted. So the result is after our initial state we first transmit 3 frames, 7, 0, 1. Our window shrinks from 4 down to 1. And then we receive an act with the act number 6 meaning up until 5 has been acknowledged. So the reception of that act acknowledges 2 frames, frames 4 and 5 allowing us to transmit another 2 frames, frame 3 and 4. So our window size grows to 3. The end result is that the last frame act is 5, the last frame transmitted is 1 and the current window size is 3. And from that we can answer our question which is what is the new value of the current window size? So the answer in this case is 3. It is 3 frames long.


Thank you. I'm going not to talk. I'm not going to talk about tax havens I'm not going to talk about anything to do with that, but I'm actually going to talk about my learning experience of getting into The tax fairies and your domain some fairly new to this Luckily, I had co-authors Sam Corbina and Eva Risto who's not new to this But the reason why I started and looking at this is actually I can start with an anecdote It's a because my father he owned a company and he had a lot of employees in this company and at that time when he Actually negotiated wages with with his employees. He actually did what you call an ad hoc type of negotiation because there were different tax brackets in the Danish tax system and He wanted to say it's also beneficial for you to stay under This tax bracket because then you're taxed a little bit lower and I will benefit as well from this and Because of this I will give you some of the services that my company can provide for example a car Free of use we don't have to record and then so forth in that sense It gives you an idea of why I have looked at this The differential bunching impacts across the income distribution because the idea basically comes from this Of course a lot of people have done this and I have to say it's not as innovative this paper It's more my learning experience. I would say than the two previous presentations The unique part here is that we are using I think more or less for the first time the sampe and tax admin data For more or less any analysis of this sort. So that is the new part of the paper so Given that I'm new I could also read the the articles with a little bit more skepticism than Just citing office that most of you will know that I didn't know and I could also be maybe a little bit more critical For because the first question I actually asked was related to domestic resource mobilization There was all of these cool methods econometrics very hardcore in the end a lot of identification assumptions Causality claims and so forth in the papers, but in the end they didn't talk a lot about the magnitude of the effect and Then I came to think about my anecdote again How much did it actually matter that my dad paid just below the tax bracket? How much is the aggregate effect of this and in my mind it cannot be that large Even though the papers are really looking into this This was my main reason for going into this so the domestic resource mobilization So how big distortions does it actually create to tax collection in that sense? It could Change Yeah, I'll trigger real economic responses Effect labor supply it could also give rise to illicit behavior in form of reporting responses And my claim is that the first one would be huge effects. Whereas the second one May be more limited in terms of the impact There's a lot of literature on this using taxpayer data to analyze this and The most important papers on contribution is Emmanuel size and Henry Cleveland I think some of the papers and of course jetty and co-authors Important to know is that the pay as you earn income tax in Sambia is a graduated system where tax liability increases progressively In and each Bracket is associated with a fixed marginal tax rate So we have this discontinuity and that is what we are going to exploit in the analysis If we look method in terms of the methodology We are basically borrowing a lot of the methods from Cleveland and Basin and the recent paper by Bell in South Africa So we analyze Behavioral responses to discontinuous jumps in the personal income tax rate accounting for issues related to reference point problems and Some of these round number problems that we are also facing we will basically also correct for that according to the literature What we know is that this may drive a wedge between the structural elasticities and the observed elasticity That is estimated and that is due and the first one is to show this was Cleveland and was seen in the case of Pakistan We also know that reference point effects amplify bonching and It may overstate the true elasticity. Okay, so this is our point of departure. I Will not have time for the literature as all the other office as well But there is a lot of literature on this even in developing countries We have papers in South Africa your right China Mexico and so forth and the important lesson here is that they are finding finding more or less complete opposite results of bunching and very few of them are actually Telling us anything about the combined effect or the magnitude the aggregate So what I learned is that in order to be taken seriously in this literature I needed to combine all of these methods. So I actually have learned quite a lot during the last year or so I've worked in development many years, but not in this domain so we are basically Taking into account the distinction between kings and notches. We are basically taking into account reference points and number preferences we also Distinguishing between wage-earners and self-employed that turned out to be quite a substantial difference in the literature Whether you consider one of the other with different results in different countries again, I have to say and Then we also need to distinguish between what is behavior and real responses because that is going to affect the magnitude and the reason why I think a lot of papers are not Discussing this much. It's because I will show you that it's not impressive at least what we find in terms of magnitude So we apply these bunching approaches to tax admin data over the period 2014 to 21 and I will give you the results that we find significant evidence of excess bunching at the first kink of this tax schedule in Sambia and we also find a limited evidence in the second kink of the tax schedule, but not a lot or Not significant evidence at the third kink. We cannot find bunching We find a lot. It's important in the Sambian case at least to correct for Round number bunching so that is actually also reducing these elasticities quite heavily This is just to give you a picture about how the tax schedule looks in Sambia and how they changed over time just to keep it Very simple and these are basically the bunching estimates and the counterfactual distributions Where we have the distance from the kink at the zero level Okay, so very standard according to the literature. There's no new things to report in terms of methodology The round number bunching I have to say appears to be very time dependent and I cannot explain that I don't have an explanation for this today. I don't know enough about Sambia I'm talking to my Sambian colleagues about this, but we are finding finding much more or the largest round bunching Round number bunching in 2021 as compared to 2016 So what is the reason for this result that we actually seeing changing responses to round number bunching over time? According to the literature that should be constant So what is going on? Is it a data mistake? I cannot tell you today. We're working on that So what are the results that we get in Sambia? We actually get results that are in line with Papers in South Africa where observed bunching Acts sharply and immediately to changes in the location of the kink points. You saw we had changes in the kink points immediate changes that could suggest that there is a behavioral response Real responses would result in a more scattered response around the kink point than we observe generally We do observe it, but we would have expected to have larger effects more over real responses require Adjustments along different dimensions, which may require more time So we also would see maybe a more gradual response over time Adjustment of for example working hours will take time and will not have an immediate response It will depend on the contract given that we are observing formal sector workers okay reporting responses may Are less detrimental to welfare as is shown in some papers compared to economic responses? So we should take into account these aspects Results differ heavily from the bell paper that is also from South Africa They find that the largest bunch of bunching responses are at the high kinks. We find it at the low kinks Is it something to do with the difference in? behavior in South Africa and Sambia may be but it could also be that the What do you call it the real income that you have in Sambia? Where your taxed is actually at a higher level that is comparable to the high kinks in the South African case That we are looking into as well They also find evidence for bunching among the self-employed workers and not for wage workers. We find it significantly for wage workers Luckily our results are consistent with recent evidence taking into account reference point problems as we do and Therefore we actually believe that our results are a little bit robust to this consistent with the Mexican paper or the Badges and social paper we find that the behavioral response to the kinks is driven by reporting responses And that's the important point here That means that I would expect Low impact on the rest domestic resource mobilization because it's not a real response good Now we are working on the counterfactual distributions trying to estimate the laws and in Taxes taxes collected given the counterfactual distribution comparing it to the individuals around the bunching Moving them to where they should have been in the counterfactual distribution and Then just trying to calculate the overall impact on collected taxes We're working on this working on different methods on doing this because there are at least eight different ways of doing this We have only done two until now So how big is the mix miss tax revenue arising for this excess sponging? How big or important is it in the Sambian case at least where we have reporting biases? You can say and not so much real effects So we do these simple calculations and we actually find that The missed revenue can be estimated to a roughly 26 million The Cushia and that is only about 0.25 percent of the total Taxes collected from the pay-as-you-earn schedule. So limited effect what we are doing now is trying to redo all of the other papers and Calculating the impact that they get because they do not report it But I bet you it will be low The domestic resource mobilization effects are these kinks So I will be a little bit strict now to all the other office as well When we are talking about domestic resource mobilization, maybe these kinks are not that important in the tax Thank you


We are going to share effects of self-management and the fact that is being involved here are the effects of self-management is that we to see the competencies of self-management. What those competencies are? We will talk about first of all self-care management. Self-care management is very related with the personal observation and after the observation we manage it. Observation means that we become vigilant about it, we are aware of it, we are watching it and after that it is the first step that we are watching it and the next step is that we manage it. We try to correct it, we try to improve it and then there are some physical and emotional changes that we want to see in ourselves. Physical changes mean that we have an idea that rather we are enforcing our abilities, our potential and all kinds of forces. And then there are some emotional competencies that we are bringing to the table. We want to complete that task with a positive attitude. We relate that I am to complete it because I am doing it, I can do it and I myself is very related with that task. And if I complete it that is my nomination. And in this we have to decide what changes are needed and how these changes can be improved and how these changes can be addressed. And for that we also see that in the environment what kind of changes are needed. Or we have brought something better that we can complete our task. Muslim, we are working in a situation where noise is there, so we can remove the noise. We can reduce it, we can change the place, we have to change the place of our task. So, we do it in the environment. Because that environment is not suitable for us. That is being hindered in the task, completion or progress. If there is any difference then we change it. And similarly self-mastering, self-learning, we establish our behaviour, action. We learnt one thing, we saw that this is beneficial. We have to keep in mind and we repeat it once twice. But just over learning that we establish our behaviour, this one is a learning. And we got an advice, we got an orientation that this thing is very important, this thing is very useful. And then we see it vigilantly and we see it with full attention. And that is very useful for us that we identify things, then we keep it in mind to learn. To perform it, we use it and repeat it. In this also, we have some desires, impulses, which are autonomous, automatically they start reproducing. So, for that we want to learn one thing. And we have determined that we to repeat it, we are to make it component of our body actions. So, it is very necessary to accomplish. And in this, we take care of self-quality management. Quality means that we are making it effective, we are taking care of productivity. And it is very important that we are going through the process of self-assessment. We evaluate it and then this evaluation is leading us towards the continuous development. That is very needed for the accomplishment of the task, for the performance and the productivity of the task is very related with the performance. And in this, we look at self-performance management. The targets of our work are so complete. One target is complete, the other is complete. And the continuity of success is also noted. And self-evaluation is leading us to the accomplishment of the task. And in this, we also have to look at the milestones that we have to reconcile with. We have to stuck ourselves on that again. And we have to acquire it and make it a competent part of our own action. And this all will lead us to establish a continuous development. That is, we want to develop such a development, such a challenge, we want to bring it into the task. So that it goes on increasing. And the work continues to be complete. And it becomes a permanent component of its behavior. And then it increases with creativity. Thank you very much.


Hello, I'm Rachel Zenberry, Chair of the Arlington Redevelopment Board, also known as the ARB, and I will be taking you through Warren Article 35, a bylaw amendment related to yard encroachments for the 2022 annual town meeting. This amendment was brought to the ARB by the Zoning Board of Appeals and the Zoning Bylaw Working Group, and responds to frequent requests for clarification around the definition for porches relative to projections into minimum yard requirements. The text of the amendment includes clarification that porches are unenclosed and open to the elements and establishes a requirement to obtain a special permit prior to enclosing a porch located within the minimum required setback. This amendment provides clarity to the zoning bylaw and does not alter the substance of the bylaw. The ARB voted 5-0 at our April 4th meeting to recommend favorable action on Article 35. Thank you.