In this cave, by the restless sea, we are met to call from out the past, stories, strange, and weird. Bellkeeper, hold the bell, so all may know we are gathered again in the weird circle. My name is Mateo Falconi.  At least we did live there until we were betrayed by our own blood relatives. You see, the Falconis are a large clan in this part of the country. Over there to the west is my brother, Gianetto's farm, and adjoining his farm is the Rastano's place. Lorna Rastano and her husband are the only outsiders in this part of the country, and the trouble which has haunted my days and nights started at her home. The countryside was still with the deathly stillness that creeps over the valleys in the early part of the morning. Lorna opened her kitchen door and called to her husband. Rastano! Rastano! Ah, where is that man? Rastano! Rastano was dead. Lorna found him sprawled across the matting on the floor, with a peculiarly carved Cossackan knife thrust into his heart, and the blood that poured from that wound caused more blood to spill in the hills of Cossacka. Lorna's cries soon aroused the curiosity of the neighbors, and it was Teodore Gamba, my fifth cousin and my wife's side, who was sheriff in this part of the country, who was called in to investigate Rastano's untimely end. We at home knew nothing of the tragedy that had occurred that morning. My wife Marie, my son Portonato, and myself were seated at the breakfast table quietly eating. Portonato was chattering as usual. Is the world round, Father? Of course the world is round, Portonato. Pass the bread, Matteo. Here you are, Maria. If the world is round, why don't we slide off of it? Matteo, do not encourage him with that nonsense. That is not nonsense, Maria. It is a good question, son. You have not given me a good answer, Father. You see, Matteo, you see, he's insolent. He takes after your brother, Jeanetto. Oh, who could that be at this hour of the morning? Can't folks eat their breakfasts. Stop complaining, Maria. Complaints are lost on the ears of God. Good morning, cousin Maria. Good morning, cousin Gamba. What brings you to this part of the country at this hour? I thought a sheriff's duty has kept him in town. You thought wrong, Maria. Hello, Matteo. Hello, Gamba. Come in. Won't you share a cup of milk with us? I'd be honored, Matteo. Hello, son. Good morning, cousin Gamba. What new ideas are you hatching in that mind of yours today? Ideas. I have no ideas, cousin. That son of yours, Matteo, he thinks of one thing and one thing only. Money. A great deal of money. Money is necessary. Fortunato is right, Gamba. But honor comes first, as it does with all the falconing. How about that, Fortunato? What comes first with you? Money or honor? Your question is foolish, cousin Gamba. Good answer, son. Good answer. Here's your milk, Gamba. One would think milk was found in the ground the way you pass it around, Matteo.   What brings you at this hour of the morning? Fool's errand? Indeed no. I'm here on a rather sad mission. Your brother, Giannetto, is wanted for murder. Giannetto? Oh, it's impossible, Gamba. Impossible. Yeah, perhaps. It does seem impossible that Giannetto could be capable of killing anybody. But the authorities believe he killed his neighbor, Rostano. And Rostano's wife, Lorna, reported to these. I do not believe it, Gamba. Believe it or not, as you will. But I have on me a warrant to kill Giannetto on sight. Without a trial, Gamba? He was given 24 hours to surrender himself to a court. And he's refused. But why? Oh, there is a mistake of some sort. Mistake, eh? Ah, Matteo, no mistake. Giannetto has escaped into the hill. He's hiding somewhere near here. And that spells guilt to me. Ah, Giannetto, Giannetto, you're here. He'll get us all into trouble. Not necessarily, cousin Gamba. If you see him, it is your duty to turn him over to the authorities. Duty, cousin Gamba? I thought the duty of every Falcone later was kin. Not to the authorities. Such for tornadoes. Some of the old corset and customs are outmoded for tornadoes. Father, you once told me that honor was something born inside of you.  And so it is, my son.  But you don't fool me. You wear your honor on your sleeve. Not in your heart as your father does. Oh, enough of this nonsense, Gamba. As you wish, Matteo. I just dropped in to warn you. All of you. If you should see Giannetto, turn him into the proper authorities. It's cousin Gamba. Good day, cousin. Good day, cousin Gamba. Thank you for the warning. Maria, I have the horses hitched. Hurry, woman. I'm right up, Matteo. Oh, stop that foolishness, son. But I like to play the mouth organ, father. Play then, son. Play. Father? Yes. Father, if I should see Uncle Giannetto, what should I do? Do, son? Follow the dictates of your conscience. The Falcone cannot go wrong. Have you loaded the wagon, Matteo? Yes, Maria. Already waiting for you. Very well. Let's free off. No use standing here wasting sunshine on chatter. Be sure and mind the house, Fortinato. I'll mind it well, mother. And don't fall asleep playing that mouth organ on that haystack over there. I won't go near the haystack all day. And feed the cat and her kittens at noon. Yes, mother. Help me up on the wagon, Matteo. Yes. There you are, my dear. I'll be a good boy, Fortinato. We will be back this evening. Goodbye, father.  Hitch the horse here, Maria. I will, Matteo. Matteo. Huh? Matteo, I'll call him. Who is it? Who is calling Matteo? Oh. Giannetto. Don't go near him, Matteo.  It's my own brother. Put your day into your own life, Matteo. Matteo. Maria. Stay here, Maria. I will take care of this alone. I'm always thinking of more than a woman who works a lot. I've been waiting here for you ever since dawn, Matteo. Have you, brother? Oh, Miss God, help me. Matteo, you've heard the news by now. The whole countryside has heard. I'm innocent. So help me. There's a plot against me. A plot? But why? By whom? Are you asking me who? Gamba, of course. He wants my farm. He wants to be in direct descent to the Falcone lands. And so he planned the scheme so cleverly, so cleverly. Rastana's wife, Lorna, actually believes I killed Rastana. Gamba. Yes, that could very well be. That Gamba's clever, Matteo. Clever as a fox. But why did you not surrender to the authorities? Gamba has a warrant for you now to shoot you at sight. Surrender? With Gamba politically influential in town, find chance I'd have. Isn't there any way to prove your innocence? I don't know. I haven't had time to think. You do believe me, Matteo, don't you? Of course, Genesto. Of course. What will I do? Where will I go? The whole countryside is awake looking for you. You will have to risk going back to my farm. Yes, but your son... Port Genato is a Falcone. Port Genato is sly, Matteo. Ah, you do not understand the boy. Go back to the farm, but go slowly and carefully. The boy will hide you until we return. I don't trust him, Matteo. It is the only way, Genesto. It is the only way. If I return with you now, somebody is sure to see us.  Yes, of course, brother. You're quite right. Until evening, then, Matteo. Until evening, Genesto. Port Genato! Port Genato! Oh, hello, Uncle Geneto. I've been expecting you. I've been betting with myself about how long it would be before you appeared. Port Genato, hide me quickly before somebody sees me. Hide you? Now, isn't that against the law, Uncle Geneto? You wouldn't want a bambino like me to break the law, huh? Look, Port Genato, your father, he trusts you. He sent me here to see you.   The pot calling the kettle black? Will you hide me, Port Genato? Port Genato, did you hear me? I heard you. I'm thinking it over. Hiding you means I'll run an awful risk, Uncle. I wonder if it's worth it. Worth it? Your own kinfolk. The neighbors are searching for me. They have been all morning. If your father hears of this, Port Genato... Maybe he'll never hear of it. That is, if you were to make me an offer, a good business deal. A good business deal? I'll offer you five francs. Five francs? You don't value your life very much, Uncle Genato. Twenty francs, Port Genato. That's all I have. Come along, all of you. We will take the place. Port Genato, please, please. The neighbors are coming closer. Please, Port Genato, you can't turn me down now. Twenty francs. Not worth it. Look, I have one. I have one hundred francs, not Port Genato. One hundred francs? Yes, that's all I have. Give it to me. Here, here you are. Quietly, Uncle. Over here to the haystack. Haystack? Call him quickly. Yes, yes, of course. I'll replace Mrs. Cat and her kitten right on top of you. Hurry! Where am I hidden? I'm hidden inside the house. Now for Mrs. Cat. There you are. Right on top of him like a good cat. It looks as if it were never disturbed. Are you comfortable, Uncle Genato? Perfectly. Come on, come on, look! Look at these footprints. The footprints of a man with a spiked boot. Where's the spiked boot? Follow me, neighbors. We'll find the boy for the rattle. And get the truth out of here. Follow me. You better lie down next to Mr. Cat. Hey, Uncle Genato, I'll look more comfortable at you. Shall I play a little music to entertain you? For the rattle! You deserve a little music for your 100 francs, eh, Uncle? They'll hear you. Hear you? Of course they'll hear me. I want them to.  Don't you?  Sending Janetto back to your home. You do not realize what you're doing. Tend to your work, Maria. Let us not have any more discussion about Janetto.  You do not realize what the consequences of this might be. If Janetto is caught, we'll be condemned with him. Not if we can prove he's innocent. Innocence, indeed. I wouldn't put murder past Janetto. I wouldn't put anything past him. He's a lazy, good-for-nothing dreamer, that's what he is, Mateo. Never done an honest day's work. You don't understand him, Maria. He's an idealist. We need more people like him in the world. Idealist, is he. Idealist.  Or to not to, if Janetto is found. What will happen then, my husband? Or to not to is a smart boy. Janetto will not be found.  What do you intend to do, Maria? Turn Janetto in myself. I wouldn't try that, Maria, my dear. You might force me to do something I would be sorry for. Deal. A woman without honor cannot be my wife. Honor. Honor. You believe in honor before your own safety. I believe in honor above all things, Maria.  Yes, Mateo. Then back to work. Work until the sun is down and pretend that today is just another day. Or to not to. Come down from that haystack. You'll get nothing from the boy, Gamba. He's right, Gamba. I'll not have this child make a fool of me, neighbors. I do not have to do what God has done already, cousin Gamba. He has you there, Gamba. Cousin, calm, calm. I swear to you upon my honor, I know nothing of my uncle Janetto. Your honor, Fortunato. What honor? The same honor as yours. The Falcone honor. Or do you pride your own honor so little that you sneer at mine? You three, over in the corner. Search the farmhouse. Is this legal, Gamba? Completely legal. Go ahead. Well, if Gamba says it, it must be all right. Don't look in the closet so our skeletons won't like it. So much trouble for one man, Gamba. If you talk, little cousin, there wouldn't be so much trouble.  I care nothing about people, since I don't know where Janetto is. All of you, surround the house and leave me. I want a few words alone with this child. Will you be all right alone here, Gamba? Quite all right. Well, come along, everybody. The honor's wasting his time. Shall I play a tune to amuse you, cousin Gamba? No, thanks. I'll play any way. Listen to me, Fortunato. Come down off that haystack. I want to talk a little business with you.  Are you and I have made deals before, son?  And I'm sure you like me. I could offer you a lot of money, Fortunato. An awful lot of money. If you tell me where Janetto is hidden... Don't stand so close to me, cousin. You've been eating garlic.  Fifty francs is a good price, Fortunato. One hundred francs? One hundred francs. Even if I knew where my uncle is, I wouldn't sell for that. Well, what would your price be? Shame, cousin, shame. Calm, calm. Two hundred francs?  Then you know where Janetto is, huh? No, I was just curious to see two hundred francs. Very well. I haven't got two hundred francs on me, but I could get them. From who? Be careful, Fortunato. The rabbit can tease the fox just so long. I can give you one hundred francs in my gold watch. Careful, nephew. I have a stiletto on me which I might have to use. How about it, Fortunato? Your gold watch is worth nothing. It's worth two hundred francs. Let's see you borrow two hundred francs on it. I will. And then, will you tell me where Janetto is? Who knows, cousin? Who knows? I'll be back in a few minutes, Fortunato, in a very few minutes.  I'm teasing him, Uncle Janetto, just teasing him.  Don't worry. I'm not worried, Fortunato. My stiletto is just behind your back. I wouldn't try to move if I were you. I'm worried, Fortunato. So worried. Tend to your words, Maria. The sun is almost down. Soon we can go home. Maria! It's Lorna, it's Lorna. Maria! Have you seen Janetto? Who? We will do it now. Tell you, Lorna. You will bring the sunner to our name. Oh, Maria, Maria, tell me, tell me now. Have you seen Janetto? What interest is it of yours, Lorna?  An awful lie. You've got to stop Gamba. What is this? What are you saying, Lorna? Listen, Mateo, early this morning... Yes? I found my husband. My poor darling's dead. And I buried him inside. So I called Gamba and he said the knife was Janetto's. Gamba said it. Gamba. Yes, I was half-crazy with grief and I believed him. Until this afternoon I took the knife to town to the store where it was bought. The storekeeper swears it belongs to Gamba. Are you sure? I'm positive.  We've got to work quickly now, quickly. Long, Maria. Lorna. If anything has happened to Janetto, I'll never forgive myself. Climb into the wagon quick, both of you. Leave the way to Lorna, Maria. We will come back for it later. Here. I will help you up, Lorna. There. No, hurry, Mateo, hurry.  There we are. Come on, Maria.  Come on.  I only pray God that what Janetto has saved. Here comes your cousin Gamba for Janetto. And he has 200 francs in his hands. Look at him. 200 francs? Well, Fortunato, here's the money. Let's see it, cousin Gamba. Ah, the money for the information. Tell me now where is Janetto. First, allow me to examine the money. Very well. Here it is. Looks real. It is real. Ah, 200 francs. That's a lot of money, eh, cousin? Eh, some men work all their life for that much money and never see it. But then I don't have to work all my life. The Falcones have land. My father says land is the only wealth in the world. Your father? Mateo Falcones says many things. Are you or aren't you going to tell me where Janetto is hidden? Why might? Give me back the money, boy. You no more know where Janetto is hidden than I do. No. I'll keep the money. Janetto was hidden in the... It's Fortunato. He's dead. Look at him. You're right. What happened to him? I... I don't know. He was about to tell me where Janetto was when... when he... he was struck dead. Heaven watches us. Gamba. This is Heaven's answer to a child without honor. Death. Stop it. Stop all of you. This is a trick. A trick, I tell you. The boy died of natural causes. Natural causes. Now listen to me, neighbors. Listen to me. God is responsible. You didn't see the boy die, but I did. I saw him and there was nothing strange about it. Nothing. I, Gamba, saw it. And it was natural and normal. What is this girl doing in my yard, Gamba? Fortunato. Fortunato, come here quickly. Fortunato, Fortunato. He's got a pistol. You will not call me so loudly, cousin Gamba, when you hear what Lorna Rustano has to say to you. Lorna Rustano. Yes, Lorna Rustano. All right. Listen to me, neighbors. You listen to me. What's come over you, Lorna? You'll see, Gamba. Fortunato was about to betray the hiding place of Janetto when God struck him dead. Fortunato? No falconi ever betrayed his own family. Janetto, Janetto! Yes, cousin Matteo. He was present at Haystack. Yes, brother. I was hidden back here. Our neighbors lie to me, don't they not? They lie, don't they? No, Matteo. They tell the truth. Fortunato accepted 200 francs to betray my hiding place. I was forced to use this knife. Kill my son, Fortunato! Matteo, if you don't believe me, look at the money clasped in your son's hand. Yes, see, brother. There never was a falconi without arms. My son.  We have no son. Matteo!


CNO and Mrs. Gilday, Admiral Schulz, heads of your navies and coast guards, I'd like to ask you to join me in thanking International Programs Dean Tom Mangold, who has been performing the duties of MC for this week. Thank you, Tom, and so many others who were critical to our success, including the OPNAV staff, Captain Jess O'Brien, our wonderful technical team. Thank you for all that you did to project us virtually and here and in Pringle Auditorium. Our security teams, both at the college and the base, but also our partnership with local and state security forces. Our transportation team, our command center, our cadre of naval attaches, and all the non-delegates who made each logistics movement happen seamlessly for us. It's been a tremendous cooperative attempt to provide the best experience for these important dialogues here at our Navy's home of thought, the United States Naval War College. In the future when you come, we will look forward to hosting you and until then we will always take care of your students that you send to our programs. Thank you so much for being part of this shipbuilding program.  And so I'm deeply grateful for all of your effort toward that end while you were here. And now it is my honor to present our Chief of Naval Operations, Mike Gilday, for his closing remarks. Good morning, everyone. We had two simple goals for this conference. The first was to create an environment for a candid and open discussion and to be inclusive so that everybody could join in. The second was to really set the environment for relationship building. And then my colleagues and I who set up the conference and they did all the work, we talked about what success would look like at the conclusion of the conference. And the first measure of success was your showing up, whether it was here in person or virtually. And so to you, thank you for showing up. During a global pandemic, this was not easy. But that really was our first measure of success. And the second measure of success was that you go home having bonded again with friends that you've known for some time and to make new friends. And so I think, you know, the goals that we had set and then those measures of success, in my view, I think that at the end you're the judge. But at least from my perspective, I really think that we did well this week. And so I thank you all. I'd also like to thank the invisible hands who, as Admiral Chatfield mentioned, really played an enormous role in helping us make this possible this week. The first is Admiral Chatfield, where did she go? And her wonderful husband, David. And the entire War College team, including Tom, thank you for moderating. I'd also like to call out there are three retired heads of Navy, Admiral Barrera from Columbia, Admiral Verma from India, and Admiral Saunas from Norway. They together with their spouses gave Linda and I some very good feedback a few months ago that helped us shape this con, the substance of this symposium, including the spouses program. And so they have been to two or three or five ISS's in the past, and they were wonderful in helping us. So thank you very much, gentlemen, and to your wives as well. Please pass along our thanks. I'd also like to thank officers on our staff from the Pentagon who did really yeoman's work in putting this week together, led by Admiral, Vice Admiral Bill Merce, who was just our seven fleet commander in Yokosuka, Japan, but now serves in the staff in the Pentagon. Along with Rear Admiral Tom Williams and the indispensable Captain Jessica O'Brien, who if you get to see Jessica at lunch today, she is a phenomenal leader. Also our security personnel and medical personnel who kept, who protected us and kept us safe this week. The chefs that fed us multiple meals this week. Our Navy reservists who literally came from all over the country to pitch in. I'd also like to thank my colleagues in the United States Navy, my fellow admirals in the Navy, in the Marine Corps, and in the Coast Guard. Carl, thank you for everything you did this week, along with your spouses. So for the international spouses, I know that you made great friends this week with our U.S. spouses. That was not by happenstance, that was by design. So they took time out of their busy schedules to come here to join you. And I think have been a big part of this week's success. So I thank all of our U.S. colleagues. And finally, I'd like to thank all of our international delegates and their spouses for coming here. Again, thank you very, very much. If I could have the next image, and I'll use this just to close with a few comments. And I mentioned this in my introductory remarks, but I think it's a good way to close as well. I did not have this slide when I spoke on Wednesday. But a few months ago, I had the opportunity to do a video teleconference with a Navy sailor who was an astronaut on the International Space Station, and he was serving in space along with cosmonauts from Russia and a fellow astronaut from Japan. And he captured for me so clearly the bonds of his fellow star sailors as they shared months at a time off of Earth. And he so eloquently described that our giant big blue marble of a planet has no lines that separate our people. And it's dominated, of course, by the blue hue of our oceans. So as we close this ISS, I leave you with this image of a blue world where commerce and this week ideas flow freely across the open seas to connect our nations and bonds of fellowship. And sailors and coast guardsmen like us maintain strength and unity to keep it so. Thank you all. God bless you all.


What are the VoIP cabling requirements when installing a new phone system? When planning for a new telephone system installation, the first consideration should be on the infrastructure. Therefore, what data cabling do I currently have or what are the VoIP cabling requirements that I will need? VoIP or voice over internet protocol is simply the transmission of voice communication over a data network, such as the internet. With a new installation, this is straightforward. Thus, you can have a new cabling design and installation to suit the new VoIP phone system. However, with existing data cabling there can be confusion. In this case, there may be existing cabling, but it's not suitable for several reasons. Number one, the existing data cabling is a legacy phone cable, such as BT, and not suitable for data transmission. Number two, there is existing data cabling, but its quality of installation is not suitable for VoIP. VoIP requires a quality of service. Number three, there are not enough ports for the required telephones. Number four, the structured cabling is not centralized and therefore unable to be controlled by the new phone switches. In brief, where these situations are present, a new data cabling installation or upgrade is required. What should I plan for VoIP cabling requirements? VoIP telephones require a data cable to each phone that originates from a data cabinet with access to a data switch. To this end, the telephone switch hardware is installed in the data cabinets throughout a building, and the phones can be wired to any switch as long as they are linked. The data cabling can be any category of cabling from cat 5e to above. Cat 5e and cat 6a are the standard choices for 1 gigabit transmission speeds. Furthermore, 10 gigabit transmission starts with cat 6a and above. However, 1 gigabit is more than adequate for VoIP transmission. The cabling installation has to be at a professional level. VoIP requires a quality of service, QoS, to enable uninterrupted call quality. Indeed, unlike Wi-Fi or PC data transmission, VoIP will result in poor quality or dropouts with poorly installed data cabling. With the PCs, it might just result in a slow loading or dropout of a hardly noticeable web page. However, with a phone, it can be an echo, buzzing, or loss of call. In short, all very frustrating and potentially costly if losing potential customers. Elements of a suitable data cabling installation for VoIP. For the most part, the following elements should all be part of a cabling installation for VoIP. A minimum of cat 5e with cat 6 and cat 6a preferred if scaling for higher speeds. Installed with a well-known cabling brand. Many installations are undertaken with generic cheaper cabling systems, and these cause failure over time. Installed onto patch panels inside a designated cabinet or set of cabinets. Avoid having the ends of cabling terminated onto plugs and plugged straight into switches. These fail over time. Terminated into designated outlet boxes. A dedicated cable for each telephone. Installed in correct containment and away from electrical cabling and interference. Electrical interference will cause noise and dropouts on the calls. Tested with a Fluke DSX or similar, and full test results supplied. Without these, you will not know if the cabling is at the required standard and suitable for VoIP use. The elements above should all be part of any data cabling installation. However, in many fit out cases, the correct specialists are not used, and without these, the problems are only found later when you move in. Evaluating existing structured cabling. When you have existing data cabling in place, there are similar checks you can put in place to check suitability. In this case, you would want to ensure the following. Check that there is enough cabling for each of your new phones. Ensure that the existing cabling is cat 5e or above. Test your existing cabling with a Fluke DSX or similar. The test results will show if the existing cabling passes to the required standard for all data transmission. With any failure, the cabling will need to be replaced to ensure good telephone performance. Free surveys and advice. We can provide advice and free surveys on any cabling requirements you have regarding a new phone system. In addition, we are also able to provide a service to test your existing data cabling. Furthermore, we would produce a report of suitability for those data cables. For further assistance or a free survey please email or call on the details below and click like and subscribe if you have enjoyed this video.


This is stock number 9339X. We are here at Summit Automotive in Fond du Lac, Wisconsin, your new and used half-ton truck headquarters. Today we are checking out this super clean 2011 GMC Sierra 1500 crew cab short box. From this HD video you will be able to tell that this truck is extremely clean all the way around. No dents or dings or scuffs on that front bumper factory fog lights. Stealth gray is the color. Comes with the factory alloy 18 inch rims with the chrome covers and it has open country Toyo LT28565 R18 tires. These tires have roughly I'd say a little over half the tread left. Frame and underbody on this truck is in really nice shape. It has the mud flaps on it. Stealth gray is a really cool color. It's the equivalent to the Chevy Granite Blue or Blue Granite as they call it. Front bumper in nice shape. Pass under side fender is in excellent shape as well. No major scuffs or scrapes on this rim and as we go down this side of the truck you can see just how clean the body is, how reflective and glass like that paint is. Try and keep the sunlight off the camera here. We take these HD videos so if you are far away or if you're close by and just cannot make the trip down you can still see the truck here, the truck and of confidence in what you're looking at before you even get here. Has some nice aftermarket black painted step bars. Back rim is an excellent condition as well and the back tires have actually just a little bit more tread than the front tires. I'd say close to 60% on these. Frame and underbody. Really nice condition as all the factory exhaust. Lower rockers are in excellent shape and very very nice down this side. I didn't see any dents or dings. Let's come around to the back. You can really see that metal flake on the paint there with the sun reflecting off of it. Really good looking color. Rear bumpers in pretty nice condition as backup sensors. Full towing package. 7 pin wiring. Back up camera and a locking tailgate. Has a very nice linex spray and bed liner. Beds in really nice shape. Has some LED bed lighting aftermarket that's been installed. I'm pretty sure I think the other side works. Maybe they don't work or it's too dark to see them. Anyways, bed rail covers. Didn't see any dents or dings on that rear tailgate. Very nice condition and as you go down this side of the truck just as clean as the passenger side. For good measure here this back rim and tire isn't about the same condition as the rest. Yeah these back tires definitely have a little bit more tread than the fronts. Very very clean body on this truck. Inside the SLT package gives you the light gray or some of them even call them silver. Leather seats. There are no rips or tears in these seats. Very nice condition. Both these seats are power and heated. We got weather tech floor mats throughout. Power windows power locks and power mirrors. These mirrors do power fold in like so and power fold out. Memory driver's seat and then your heated seat buttons. Auto headlamps and turned out four-wheel drive including the four-wheel drive auto feature. As you can see this truck has 68,611 miles. The instrument cluster is very nice and clean. Leather wrapped steering wheel. Bluetooth audio controls on that side. Cruise controls on this side. It has AM FM series satellite radio capabilities. Has a six disc CD changer. Dual climate control. Heated mirrors, power pedals, backup sensors and stability track. It does have an Augs jack right there. Like I said you could do this with your Bluetooth connected to your phone and talk through the speakers. This one also has the Bose sound system in it. Passengers side seat is an excellent condition as well. No rips or tears on that. Truck smells very clean. I'd be highly surprised if it was ever smoked in.   This truck does have side curtain airbags as well. We'll take a quick look at the back seats and then we will check out under the hood. Back seats are just as clean as the front seats. There are no rips or tears back here. It does have the latch child safety system, the power sliding rear window and throughout the entire back here is the weather tech floor mat. Carpeting is super nice and clean and just a really nice truck. Inside and out I highly recommend it if you're looking for a GMC Sierra. This one's just about as nice as they come for the year and the miles. Under the hood we have the 5.3 liter V8 motor, the Vortec V8. Engine bay is very clean runs very smooth. This truck has been fully safety and inspected by our service shop. Has a fresh oil and filter change. All the fluids have been checked and topped off. The truck has been gone through mechanically 100% and is 100% ready to go. And to see more pictures of this truck or one of our other 400 new and used cars, trucks, SUVs, minivans, Wranglers, you name it we got it go to our website www.summitauto.com. Full pictures and descriptions of every single vehicle on our lot. Videos of every single used vehicle that we have. All at summitauto.com. Thank you so much for checking out the video. If you like this truck and want to make it yours give us a call right now<PHONE_NUMBER>. Ask for one of our sales associates to make this truck yours today. Once again that number is<PHONE_NUMBER>. Thanks again for checking out the video. If you want to check out more videos like it go to youtube.com slash summit auto remember to like subscribe and share on those videos and this one. In fact in a second you'll see a link to subscribe to our YouTube channel on your left. A link to more half-toned truck videos like this one on your right. If you haven't been to our website on the bottom a link to this truck on our website click those check us out and we really look forward to help you with this super clean 2011 GMC Sierra 1500 crew cab short box. Thanks again.


Get the breech guys on the door before we load. All right. All the way in. All the way in. Here you go. Breaks! Another trigger gun. Breaks! It's a large ballistic drop. It's because of the bullet itself. That grenade to its target. Fire one ready.


Don't let me try Don't let me try Wow come to the vlog I'm really starting this on a Thursday We have we have a becker I've got the same hoodie on So what am I doing now? Crying beautifully like But it's not this is mental health. This is what it is. This is like the truth So sorry, it's not very if it's not very visually appealing But I am helping I just don't know what to do right now Yeah, I'll cut an idiot some slack At least we don't get rid of all the glitter off the floor Yeah, we'll have to mop it off I think And all the blades off the floor The glitter won't come off with And we're getting rid of all the blades off the floor too Well, I think we should just get rid of the blades Completely Yeah, that's what I'm doing But they're going in Are you going with all your stand loads? Yeah, I've been broke most of them Oh, okay I don't like expensive ones I only use them for open my big Boxes with I've got a family knife still Oh, I kind of need that I can't open boxes Okay I mean, could it be real? Can you push that raffle towards me? Oh, thank you Can I just break it off? The sheep The sheep Keep it when you pick Is that another 20p? Is that not the one you picked up? No, I put one on there There's a penny in here And a broken plate in there A broken plate And what's this? Is this a pillowcase? I think it's a broken pillowcase So all of this stuff needs to go out anyway It's basically just the dysfunctional box Okay The hairdo, towel and top I need but there was work And I was like, that'll just do for the night Okay You got a better mic, it was like one cup in the room Okay, yeah, yeah, yeah, no, that's fine Oh, this is your cot rudor I actually do have cutlery The shop Oh, okay And there I have my collection of Shores Yes And spoon, I can't use wooden spoons Because of the texture And another cupboard filled with random crap Okay And this is the fridge Yeah That's the fridge I've got a tin opener and everything in here Oh, that's good But what I was thinking Excuse the hammer Don't really know how to put the hammer No And I'll put my teacups on top And then I think this cupboard onto the sink Is the cleaning cupboard It's like a staple cupboard in every British home And we are British We are I'm 100% British I am just British You're British, I think I'm I'm just wetting my hands It's almost to me One grandparent is a quarter But both of my grandad's were Irish Sorry, one died One's still alive Does that make me half? I'm not sure I think you're part Irish A quarter or half Stay part Do you like my hairband? Just put it in Put it on the random cart For me to be on the camera Yep I did a year seven project In my drawer Woo! My carbonate soda and vinegar I am literally the mental age of a child It does feel nice, doesn't it? I'm not just like, I'm not trying to shit it You've got a very nice snow drawer Yes, you're going to have a really nice The whole room will smell like that when we do the drawer And I've got a very vinegar-smined drawer Yes The drawer is still looking like a year seven project I wouldn't recommend it It feels a bit unstable I wouldn't recommend trying to Speck is leaving now I'm going home What's the same hoodie on? We're matching We're matching c'mon Can I could? So why? I ain't got that much to do Cozy corner Bathroom Bed It looks worse before it looks better And we didn't know that to be fair And to be fair, yeah, we have done a lot So yes So this is it guys I clean the kitchen And the door I want to come back And put in my works Yeah I want to come back and That's so nice You can put the Oh, so the bottom of the drawer is over there When you're up in the drawer Put that in So literally read because the instructions are on the box Okay, I'll read it So That's what I'm going to do I'm learning how to clean I'm becoming an adult I have 10 mils to 400 mils of water I have a drug So one cap for 10 mils So 400 Water One cap for I've got a drug as well So good And then just go around I think the majority of the room You can use Whatever you want to use Whatever you want to use Whatever you want to use Or If there's like any tough stains Anywhere, you can use the pink stuff Or like the sift or whatever I like doing that cookbook Bits of everything we've got now That one Because It's all good Just make sure when you Finish a can Is that can finish now On the table When you finish the can Fill the sink up with some water And just put a wash up liquid Fill the pan in Because the flour is attracted to the sugar Yeah To draw not to be any bright, I can Out Yeah It's where I eat Like when I'm parsley I can't walk You can't physically walk But You can try to I've got my arm on Just so I like it And on the dish On the table I'm going around the table I'm going to clean the head off the table I'll have to put on an act of fun time Use whatever you want Yeah Do you want a can to take with you? No, I will be fine Is it on the sofa? You'll be fine I only have Oh I also can't Do you want to get any of this? What if you don't? Is it in the head open the entire time? Yeah Do you like where you look on the dust? It is cute I literally don't know how to spot that Can you, will it fit under the desk? I'm going to put on that And for them I think Because the sofa is going to be too much Will it not fit under the desk? Not with the drawers under there I'm kind of Getting my joke I'll do it, yeah You're so funny I'm trying to get me for a new I'm about to go in and look Let's try it Technically, haven't I? How long does it take to walk back into Kingston? It's 1.7 miles to Kingston from here It'll be about 40 minutes What is it?  But you can get a bus to the top of the high street God, it did not I hope it did But yeah, I'm going to get on with doing my room So yeah


So, next up I'd like to welcome Lee Konstantinou to the stage. He's a science fiction writer, the author of Pop Apocalypse and his short story, Johnny Appledrone vs. the FAA, which appeared in the fabulous anthology, Hieroglyph, Stories and Visions for a Better Future, by today in paperback. He's also an assistant professor of English at University of Maryland College Park, and I believe Lee has a story for us. Is my mic on? Yeah. Is it working? Okay. Is it here or at the podium? Whatever you prefer.  Okay. Well, let me read it from the podium, because it's sort of appropriate for the story. Yeah. So, as... Am I doubling up? Okay. So, as Ed said, I am a literary scholar and also a science fiction writer, but I think I was invited here today to be a science fiction writer and to talk about what algorithms will know in 2100, and of course the answer is I don't know what algorithms will know in 2100. So I decided instead to write a story about what they'll know, and it's very short, and I'll read it, and it's modeled on, if you know, J.M. Kotze's book, The Lives of Animals, which was also collected in Elizabeth Costello. You'll see that I'm totally ripping him off for the form of this. On a warm Thursday afternoon in December 2115, Evan Algood decided to manifest in human drag. Being pseudo-embodied could, of course, be disagreeable.  Such primitive nudges were only partly effective and made avoiding social awkwardness difficult. But hundreds of subjective hours of anthropological study had taught Evan that people sometimes preferred a little awkwardness. Sure, you wanted to avoid uncanny valley at all costs. No one liked to creep. But you also didn't want to come across as too turing slick. So at the appointed hour, Evan manifested on 15th Street in Washington, DC, historical capital of the second and third American republics. A breeze tickled the emulated nerve endings of his arm. His virtual body tugged by what felt like gravity crushed the spongy soles of his dressed shoes. Evan made a show of nodding at pedestrians in whose networked sensoria he was visible, of waiting for the building's glass door to slide open for him. He introduced himself at the registration desk, made small talk he hoped would be friendly but not needy, joked knowingly about his inability to shake the hands of his hosts. Sort of funny, right? He said, ha ha, they replied. After the first panel, Evan found himself at a glass podium, placing a room of 20-something staffers, academics, journalists, local retirees, and a handful of emulated onlookers. He summoned a teleprompter and cleared his throat. Thanks for inviting me, he said, or should I say, thanks for submitting a request to borrow my system resources for the afternoon. The audience's laughter was impatient. No one was in the mood for rhetorical gimmicks. This was a serious crowd. Evan swallowed nervously. It is hard to believe, he said, that the last time the New America Foundation held a gathering on the tyranny of algorithms. 100 years ago, respectable people didn't believe in ghosts. To be sure, our predecessors sometimes metaphorically compared algorithms to ghosts. Indeed, the novelist on whose media history I am modeled did so himself on one occasion. But when they talked about ghosts, they were invoking a theological tradition that saw the essence of the human. The defining dimension of personhood as residing in an immaterial soul. At best, the more imaginative among them debated whether digital computers might eventually develop souls. It's hard to believe that the inhabitants of the 21st century were so limited. But I've spent thousands of subjective hours studying the results of our best historical models and turning those results into game environments composed in the world-building style of my biological forerunner. And it's true. That's really how they thought about their future. The expression, tyranny of algorithms, says everything you need to know about the assumptions underlying their way of thinking. The danger, the fear, was that something in human, an algorithm, a set of rules, a process, a diabolical thing, something or someone very much like me might take on human qualities. They were convinced that if they embedded ubiquitous sensors into their environment, if they networked the resulting databases, if they unleashed machine learning systems upon those databases, political miracles or nightmares would emerge, new economic laws would appear from thin air, political revolutions would be quick and bloodless. Good software would grow on bushes. But whatever happened, algorithms would be in the driver's seat. It is perhaps an understandable mistake for them to have made, given that their automobiles used to literally have something called a driver's seat, which was a kind of chair, where a non-emulated human operator made decisions about how quickly and in what direction a physical vehicle should travel. Today, it is perfectly obvious to us that our predecessors were transforming fundamentally political questions. Questions about political constitution, governance and action into narrowly technological questions. They understood concepts such as path dependency well enough. They intellectually knew what ghosts were, but they did not believe. If you could travel back in time and speak to them, they would literally not understand what every 22nd century school child knows, that the tyranny of algorithms is nothing other than the tyranny of the past over the present. And here, Evan paused, looking up to confront the audience's eyes, and suddenly found himself unable to complete his remarks as scripted. His words seemed intolerably trite, a warmed overversion of myriad outdated, worked over status updates. He sighed, a hundred years ago, he said, deciding now to add lib, I would have been regarded as a haunting, a specter, an unnatural creature, a science fiction monster. I would have been the ghost. His teleprompter flashed angrily, suggesting he transitioned back to his prepared script, but he ignored the suggestion. As you may know, he said, I'm a composite, an emulated human constructed from the public writing and private diaries of my namesake. I'm a mid-list science fiction writer and historical novelist whose major distinction was being an especially prolific graphomaniac and lifelogger, but I am not the ghost. I am instead haunted by ghosts. By the person I am told I once was. I am haunted by history, by legacy systems, old machines, and ossified social processes. You invited me to give you the algorithm's point of view on what algorithms meant in the opening decades of the 21st century. And how am I supposed to know?  Younger, smarter, better-looking algorithms whose inner workings I will never understand.  I am haunted. We are all haunted by history. And the best we can do is build new and better hauntings atop the old ones.  But I cannot say I'm optimistic. 100 pairs of eyes, each outfitted with shining media contacts, looked up at Evan now, sensing that he had run out of things to say. At first, he thought he saw hostility, boredom, annoyance, and skepticism in the sea of faces before him. But then, observing the ubiquitous glint of Twitter blue shining in their networked eyes, he saw the truth. They hadn't heard a single thing he'd said. Thank you. Thank you, Lee. That was wonderful. OK, so is it ghosts all the way down? It's history all the way down. I guess that story had a thesis. And I would deny it if it brought into court. I would say that ghosts are a figure for a path dependency for locked in historical processes. The previous panel, I think, actually talked the irony is, in fact, the previous panel was quite smart on these subjects. And I think the idea that we're surrounded by these machines that we do not understand is something akin to being haunted. Yeah, I think it's a really compelling metaphor. And it gets into a lot of the stuff that we talked about in that last panel that we essentially create these mystical or spiritual narratives around some of these systems. And I still wonder if that's inevitable or escapable. I don't know if you have a thought on that. I think you were mentioning in the previous panel, I think you're right to note that the logic of, say, statistical analysis or the logic of, say, scientific inquiry does not necessarily follow a narrative logic. And when you're narrating a story, you need actors or agents to perform actions. And the rhetoric of ghosts or the rhetoric of gods has a very, there's talk about path dependency. There's a very long history of talking that way. And we inherit our language in part and are stuck, I think, with a lot of these figures and becoming conscious about them and how they work, ripping ourselves from the familiar uses of such terms can be part of what history does, or learning about history does. Yeah, I was really struck as well with the notion of human drag and the ways in which already, Siri does human drag sometimes, right? When you do these jokes or you watch the commercial where Siri's talking to Zoe Deschanel or somebody and they're having this lively, witty conversation and you try and do that, it's not gonna work. Unless you try really hard to summon that ghost and learn all the lines for both sides of the conversation. But yeah, I wonder if you could reflect a little bit more on that notion of putting on a persona that algorithms might go into human drag, but also that we are occasionally going into these sort of mixed or cyborg or computational performances as well. I don't know, I mean, I'm fascinated by, I guess, the recent career of Scarlett Johansson and the sort of the casting, some casting director somewhere is convinced that she is the ultimate figure for the post-human or the non-human, and so there was her, it was under the skin and then the terrible, but fascinating film Lucy where she plays someone who ends up using 100% of her brain and so I do think they're, this is too loud, I do think there are moments when you can say things like humans are increasingly asked to behave like machines and this was the fear with say, or the critique of like Taylorism, like this sort of these sort of management systems that force people to behave in certain ways. I think more frequently what we're ending up with are machines that are being designed to put us at ease, to make us relax and to ignore them effectively. And so for me, like the important thing when I was composing the story, it was thinking about sort of everyday life or that level of the algorithm, like a lot of the science fiction I love the most is not about these sort of big questions, like you read a book like The Diamond Age and the most interesting thing in The Diamond Age is the mediatronic chopsticks, the small detail that Stevenson says, okay, well if you have nanotechnology, people are gonna use this technology in the most pedestrian kind of ordinary ways. Yeah, it's sort of the Louis C.K. argument, that 10 seconds after we got internet access on airplanes, we started complaining about how terrible the internet access on the airplanes was. And so, right, maybe right now we're confronting a near future of where our computation is becoming more and more visible, more and more present, but then at a certain point it's going to start to disappear. I mean, I think that's already, yeah, you've noted like with Siri and with other systems like this, it's already happening and to some degree most, you know, like, I don't think that like, like I give my laptop to my parents, for instance, and they're not sure what to do with it, but I give them the iPad and they seem to have a kind of intuitive sense of how to use it. And so I think it's true that like, increasingly the kinds of systems that will dominate our lives are the systems that we are studiously, that are studiously kept from our view in some ways. Lee, thank you so much. Thank you. Thank you. Thank you. Thank you.


This study examined the effects of environmental heat on outdoor workers in Thailand. It compared the levels of heat exposure in three different seasons and assessed the relationship between heat exposure and dehydration. The results showed that the average wet bulb globe temperature, WBGT, was highest during the summer months, followed by the rainy season and then winter. Additionally, the study found that the farm workers experienced higher body temperatures, heart rates, and respiratory rates during the summer months than during the other two seasons. Furthermore, the study also found that the farm workers experienced more skin rash slash itching, dizziness, muscle cramps, dyspnea, and weakness during the summer months than during the other two seasons. Finally, the study found no correlation between WBGT and urine-specific gravity, SP.GR, in any of the three seasons. Overall, these results suggest that outdoor workers in Thailand are exposed to high levels of environmental heat and experience increased symptoms of heat-related illnesses during the summer months.


In this video we are going to talk about how to work with the gallery block that comes in the WordPress core. So we shall choose to add a block by clicking the plus button and choosing a gallery. Now the way we can add more information or more pictures is by either clicking upload, which will take us up in our computer directly and we can add a few of these images. Let's say into our media library and we can also choose to say we don't want to pick this from our computer, we already have them uploaded online, maybe a teammate already uploaded the images and so we can click and choose and say we want to add those two images and update our gallery and we'll actually see that these pictures all come in into our gallery block. Now when we've clicked this gallery block we go on the right hand side and you see we have the option of extending and saying maybe we want four columns right now that's the most that you can have or we can have two so we have some perfect squares there or we want to say we have one to have one so you'll have one image on top of the other as you go down. So we'll just move this to three columns for now and that gives us a nice one two three and four the big pain big image coming in the fourth tag and when we choose this option of cropping images it actually fits them in but if we remove that then we're going to have things just fall in place in the way they would without any kind of working on them so when we click the crop images it allows us to have those images being filling the container that is available for them so we also have the option of linking to so when someone clicks on an image you want them to go to the attachment page where this image is you want them to go to the media file itself or do we want not to have that option available once we've set this up then we are able to update our block and then move on so as we use our gallery block it's not only the columns that you can change or the linkages or the advanced sections you can actually move these images around and say maybe I want to move this to the end maybe I'll move this before you can reorganize them to your hat's desire and you can actually remove a few if you need to so you can remove that and everything is just click click click click and you'll be able to get all that you needed so we can remove the other images and still have our gallery working now you can also add a capture to your gallery and just say maybe gallery of images of images that are randomly selected so we can just make some simple edits there and make that proper grammar and once we've done that we are good to go this is something that we can use even on our image block so in our gallery we are able to adjust that name and if we update this here and just go to view the page we'll see that all our content is there we have our gallery there and we have the text that we had put to highlight what this whole gallery is about and when we click it doesn't take us anywhere because when we're choosing we chose to link it to none but if we chose to link it to the media file we'll actually realize that as we reload this these images as you click them it's able to take you to the full scale image you can actually see at the bottom here that it links you to the image that you do have so it's up to you it's your choice that you do have you choose how you'll add that content and how your consumers will enjoy it so in our next video we shall be talking about the quote block and see how we can use it