and welcome to the Midway Mark in our first-day property challenge. Oh my goodness, it is week number five, day 25 and we're already halfway through this challenge. For now, enjoy the compilation of some of the key highlights of the first half of our first-day property challenge brought to you by EDPF Property Academy and Private Property. One of my names in Taborling, Max L, I am so excited because I'm about to take you on a journey like no other. If you haven't heard about it, you're hearing about it now. I'm about to be a part of the 50-day Celebrity Challenge where I'll be walking hand in hand with EDPF Property Academy alongside Private Property and they are going to help me to acquire investment property in the next 50 days. Listen, if you want to know how, because I want to know how as well, make sure that you stick around. I mean, look at us already. This is how we kick-starting it. We're at Staffentane Heritage Lodge and we're about to jump. I lie, we're going to zipline today. I'm actually happy we're not jumping. We're going to be ziplining over here just behind us is the cradle of humankind.  So stick around.  We're going to have started this 50-day Property Challenge. That was an exciting day we had on day one. Now we'd like to remind you of how to use the Private Property app. Let's watch Ben as he explains all the functionality within the Private Property app. Cool. So I'm going to, I'm just going to click open because I've, like I said, I've downloaded the app and then it will pop up straight away. So this is the home screen or the home page of the app. At the top, just below our logo, you'll see that you have your two options for sales and rentals. I'm just changing between the two. In this case, Nigel, I assume that we are going to look for sales. I think Ben, let's do both. So we can show the public that you have the sale option as well as that interoption. 100% sure. So we will start off with sales. These are, you can set up a profile. So at the bottom right of the screen, you'll see a little icon that says profile. And you can set that up and you can sign in with your different details. You can use Facebook to sign in too. The benefit of creating a profile is that when you create this profile and you search for properties, you can set up different alerts. So an example would be, I'll use Cape Town as an example. So if I really want to look at properties in Cape Town, and I want to set up an alert for new properties that are listed in the sales or rentals in the Cape Town CBD, and I can select my price range. I can select obviously the location and how many rooms. And every single time a new property gets added to the listing, to the website, we then send out a notification to you. So if Jared, if you want to buy a property, let's say even up the west coast of Cape Town, you can set up that property alert. And as soon as a new property gets added to the website, you will be one of the first people to be notified that that property is available. Yeah. So that's really, really handy because with property, the early bird catches the worm, right? Yeah. If you can get in before any other potential buyers, you stand a much better chance. Obviously, the offer is very important too. So I'm going to use, who wants to give me an area to search? Anyone? Okay. There we go. So I've just typed in arcade D. Then you have your three options because there are three Arcadias in South Africa. On the top one, you can see that's obviously the one that we're looking at. We want to look at on the right hand side, you'll see that there's 318 properties in that region that are listed on our website. Arcadia is a very specific search, if that makes sense. So you could search like Pretoria East or Pretoria North or whatever, and you could get way more properties listed. But this is quite nice and specific. So I've just clicked, I've just clicked the Arcadia in Pretoria, and now it goes through all 318 properties onto this. If I just scroll down, it'll just keep going until 131 properties because I've got actually filters on. Let me remove these. So there we go. Sorry, search. There we go. 328 properties now. So this is Arcadia, this is the suburb of Pretoria and Central. And now we don't want to go through 328 properties because we have already an understanding of what our criteria is. So we know we want to look for a property of X amount of value because we're not going to be able to afford 150 million grand property. Well, some of us may, but I also don't know if those exist in Arcadia, but we're going to change some of the filters to suit our needs or our criteria.  So you're going to have to tell me what your criteria or filters are. So let's look at price range first. So where do you want to start? Starting price. Yes. Let's say 300 or 250. Ending at nothing over half a million. So let's say ending at 400, 500. Sure. So let's say 600. Right. And I'll tell you why because there's always room for negotiation. So I'm going to do that. So 250 to 600 property types. So I'm going to go house and flat townhouse as well, land and farm. I don't think we're going to go for those because I would be surprised, you know, if we have a girl, she's going to build it. Cool bedrooms. So let's just go one plus for now because that's the minimum bathrooms. I'll leave garage. Yeah, we can go one plus. I think we're going to struggle maybe to find this because there might not be any in this criteria, but I might be wrong. Parking leave. All properties. Yep. On show. No, just leave it as all properties because you can get some nice deals if you leave the others in. And then I'm just going to click search at the bottom. All right. So we have 45 properties out of the 283. So what we can do is we can actually add some more filters on. So let's go maybe two bedrooms, right? And let's go maybe one, at least one, one bathroom. And parking. No, let's leave parking. So let's search that. Pet friendly. Let's leave that off for now. Cool. So 29 properties. So we filtered out 299 properties to really get an offer or sorry, to really get a property that is matching your criteria. And it's much easier to search through 29 properties rather than to hunt. Well, it was 328, something like that. So now we can look at the different properties. A lot of them do look like the ones below. Sorry, these look like apartments, apartment, apartment. This is a flat apartment, apartment. So it's quite interesting. There's quite a few apartments here. There's no single houses. I would say probably all of them are apartments. So what we can do is if you've created a profile, you can click on the top right hand corner. You'll see it says plus follow. If you click plus follow, I can't do it now because I don't have my my profile loaded. If I click plus follow, what will happen is it will tell me every single time a new property is added into Arcadia with these five filters and then push your criteria. So it's very, very cool. It's very user friendly. And like I said, you don't need to go through 300 properties to pretty much exactly. And you know why I said 600? So your your budget is 500. But if you look at some of these, there is let's look, let's look 485. There's a 500 there, 520. Right. So you wouldn't have found that apartment if you typed in only 500. So always just go a little bit more above because if I check to this guy from Rawson, I'm going to click this property. I'm going to use this as an example. Maybe I can negotiate that rate down to 500,000. And you wouldn't have seen that if you did not add in a little bit, a little bit more of a buffer, if that makes sense. Thank you again, Ben, for that enlightening session. Next up, we'd like to show you again why people invest and invest specifically in property. As you all know by now, the EDPF is here to change the landscape of property ownership patents in South Africa. So we're talking mostly about property, but today we just want to quickly touch on why people invest. So there are quickly go there. There are two reasons, number one, income and number two, equity. Or in other words, capital or capital growth or equity growth. So where people invest for income? Basically, what they're doing is they're putting money into an investment, whether that be property on the stock exchange, in a business, or any other investment for that matter. If you want to invest in Bitcoin, whatever the case may be. The first reason why people invest is income. Now, for those people who want to generate a consistent income from the investments, they will look at what the return on the investment is and what the best investment will bring them from a return perspective. And we'll talk a little bit about those metrics in the next segment. But to just be sure that when you invest, these are the two reasons why people generally invest for income and for equity. What do we mean by equity? Equity is the difference between the value of your investment and the debt that you have on that investment. So let us, because we talk about property at the EGPF Academy, let's talk about property. On the one hand, you've got your property. Let's call it, let's say it's a million grand property. Then you've got your bond, which is your liability or your debt. And let's say your bond is 800,000 grand. The difference then between your asset, which is the value of your property, a million grand and the other side, which is your liability or debt, your bond, which is 800,000 grand. The difference is 200,000. That is your equity. And basically what people, why people invest in property is that the equity over a period of time, as you repay your bond, that equity grows. So you would have paid maybe 200,000 grand deposit on the property, thus creating the equity upfront. And then over time, as you pay down your bond, your bond starts to reduce in a couple of years, maybe 600,000. And the difference then is 400,000. But you must also remember that with property, you also have generic increase in value of the property itself. Not just the difference between your bond and what you bought the property for, but also the bond and the difference between the bond and the value of your property as it increases over time. So let's say, for example, after five years, you've paid 100,000 grand into your bond from a capital perspective over and above your interest that you paid, just the capital that you've repaid. Let's say you've paid 100,000 grand, but your property has increased in value by 100,000 grand. So now your property is worth 1.1 million, your bond is 700,000. So your capital growth or your equity has grown from 400,000, from 200,000, sorry, originally, to 400,000. So you see that not only is your equity growing by you paying down your bond and therefore the difference in the capital that you're out to the bank, that creates an increase in your equity, but it also increases by the value accretion of your property itself. As the market value of your property in that area increases, your equity also increases. So property, from my perspective anyway, being the ultimate investment is the one that is best suited not just for income, but also for equity growth. Okay, then let's talk about equity and equity growth and why people invest in equity growth and how you can get equity growth. There are four general ways that you can get good equity growth in your property portfolio.  Okay, what either you put in or what you've been able to negotiate. So there are four ways that you can receive equity and grow equity. First of all, buying at the discount or under market value. All right. So let's say the property is worth 1.5, you've managed to get the property at the million and your bond is only 800,000. So therefore, because the property is 1.5, your bond is 800,000, your equity is 700,000, it's the 1.5 minus 800,000. Okay, if however, you've bought at market value, your property is a million, your bond is 800,000, your equity is only 200,000. So the first way to grow equity or to build equity is to negotiate better deals. Get your property at the discount and definitely under market value so that you can grow your equity much higher than just the difference between the value or the purchase price and the bond. The second way is to add value, what they call forced appreciation. How you add value to a property? We spoke earlier or yesterday, in fact, I think it was, when we spoke about buying the worst property on the best three. If you buy the worst property, you can then do a spot in a polish, you can do some painting, you can do some tiling, you can put in some cupboard, fix the kitchen, fix the bathroom and through that, increase the value of the property by doing renovations to the property. What they call forced appreciation. So you can take a property of a million, spend 100,000 to 200,000 on it, but then increase the value to one and a half million or even higher. And therefore, let's say you spent 1.2 million to buy a 200,000 on the renovations, but you increase the value to 1.5, instead of having zero equity, you now have 300,000 range of equity because the value is 1.5, but you only spent 1.2. So that's forced appreciation and adding value to your equity. The next one is to pay down your bond quicker than expected. Now, there are lots of calculations you can use and one of the calculators that we have on our tablet is a bond reduction calculation. And basically what that calculator does, it sends to you, if you pay X amount onto your bond extra, you can increase the equity portion of your property value much quicker because you've now reduced your bond in a quicker way. So normally, a bond will be 20 years. And let's say you've got a property of a million range and you pay 10,000 in a month. If you pay 1,000 in a month extra, you can reduce your bond easily, I think to about from 20 years down to about 16 years or 15.33 years was the calculation I did that today. So therefore, you can now reduce your equity or increase your equity by reducing your bond quicker. And then in 15 years, as opposed to 20 years, have the full value of the property be your equity because there's no more bond. So the value of the property then is increased from 1 million to 1.8 million, but your bond is reduced from 800,000 down to zero in 15 years and not 20 years. So now in your 15, you've got equity of 1.8 million because your bond is zero, as opposed to having still a bond left at that time if you haven't reduced your bond by more payments. So that's the third way of increasing your equity by paying off your bond quicker. Then there's passive price appreciation. That's the last way. Basically what you can do is do nothing. Do nothing.  Your bond will decrease, but your asset will increase and therefore the equity naturally increases because your property is increasing in value, your bond is reducing. So that variance, that difference is increasing your equity in a passive way where you've actually done nothing but for your bond and therefore your equity is increasing. Finally, we caught up with Jared earlier today to learn about what he's been doing and the journey he's taken towards his first property investment. I understand that you have now made a final decision. The last time you spoke, you had narrowed it down to two properties and there was just one particular property basically that you had saved. This is probably the one that you're going to go for. What is the difference now? Have you made the offer? Have you raised the money? What's going on? Yes, so I'm very excited to say that I've made the offer and between my wife and I, we had the funds. Yay! Through saving, I completely mentioned saying that on the program because 50 days sounded a little bit unattainable. But between my wife, we managed to source the funds. We were out buying a small fraction and so we leaned into what we learned around other people's money and so we have a few friends that were able to just make up that small fraction and so through rental we'll be able to keep them their money back and have the properties so we find and it's happened so very excited. Yes, that is absolutely amazing. We normally ring the bell when we do something exciting at the EDPF Academy. Unfortunately, I didn't realize that you were already purchased your first property so I didn't ring the bell with me. But the next time I will definitely ring the bell so I can ring it. I'm so very, very proud of you Janet. I'm so very happy for you that you've put in that first offer. You've got the money available and now literally basically, but all you're waiting for now is transfer, right? Correct. We're just waiting for everything. It's so scary. It's so new. It's exciting but I'm glad that I've started or we've started my wife and I and so we're looking forward to seeing how this journey unfolds. You know, I think for anybody watching, I just want to reiterate that it's obviously not easy. There's a lot that you have to take into consideration but definitely possible and I just want to say again, I'm just like everybody else out there who has to look at the funds and see what's possible and so I'm just happy that I got to this point. Am I actually doing this? Is this real? To the point where the offer was accepted and now we're just waiting for everything else to happen and it's quite cool. It's really cool. Wow. And I think if my memory serves me our discussion on this particular property, in fact from day one you're going to be cash flow positive. You're actually going to have income from day one. Correct. It is a holiday rental so it's already generating funds for the previous owner. You know, there's a previous owner now they're going to be doing it. So that is awesome. It's really forward-booked for a lot of holidays and so I'm happy to either it's an actual cash flow positive business. Wow.  You're waiting for transfer and the minute you have transfer you're going to start getting income and we only offer through the challenge. So yeah, that's great. Yes, yes, yes, my thinking, Jared. Now that you've got your first property and I know it's a scary thing and it's not actually part of the 50 day challenge because ultimately we only wanted you to buy one property but yeah, I challenge to you now. Let's go for that second one. Why not? I've already been looking around. I want something sort of in the city centre because as a holiday kind of Airbnb because I do a lot of gigs in the city and so it's always a slip to have to drive in and out of traffic. So if I have something that's there that's available when I have gigs or I can rent out because travel sort of open now and so many people are coming to Cape Town and want to be in the city. It could be another good investment. So hey, I'm down. Let's see what we can do. The bug is bitter. Yeah, that's the thing with property, when the bug bites and bites and you just cannot, it won't let go and you'll just keep going and I'm very, I'm very happy for you. I'm very proud that we were part of your journey or are still part of your journey and that hopefully in the second half of the 50 day challenge, who knows? Maybe we can even do a second property for you. Let's see what John spies. I mean, I might have to have a chat with you and your team and your networks just to understand where to from here. I mean, I do know I've looked but I think I just need some validation around a few things. So you guys. Awesome. Okay, I think that's enough for today. I mean, that is just absolutely phenomenal. And in fact, we're going to use this in our app up for week number week number five. I thank you, Jared. Thank you for the listeners out there. Thank you for the property for giving us this phenomenal platform so that we can teach people how to become property investors. As you're talking to me, I'm getting updates from agents who are texting me on WhatsApp. So the search continues, I guess. That's amazing. Jared, I think for the rest of the 50 day challenge, all I really want from you then is to send us videos, send us pictures of how we're going out there looking for your second property. So that will be our updates as how you're doing your search. And the one thing that I want to do maybe next week is that we're going to bring Gareth on board and we're going to ask him to show you the transfer process and how to get to that point where you eventually take the transfer of your property. How does that sound? Brilliant. I love that. I mean, all the information that I can gather. Fantastic. Awesome. So we'll do that next week. But for now, well done. Congratulations. And to the rest of you guys out there. Thank you guys for watching us. Join us again next week as we continue this journey of the 50 day property challenge with EDP and Property Academy and Private Property. Thank you, everybody. And thank you, Jared.


Hello, everybody. I'm welcome to the panel panel discussion today on power mediation. My name is Rachel Oslo and I am the production coordinator for notes. I'm really excited to be here today so I'm going to be your moderator, obviously. I just wanted to make some quick notes before we get the ball rolling. So we're going to have 30 minutes. To discuss on the key developments and challenges in this area of found remediation. I will start with some guiding questions. I also have a list of questions in case people get stuck on anything. So we can keep the conversation going that being said, you know, I'm just here to moderate. So if the panelists get into a really good conversation, they're just going to go for the glory. I'm going to be giving a 10 minute and a five minute warning to so you guys know that you're going to have to start wrapping up what you're talking about, since we only have 30 minutes. There's going to be no cure and Q&A for the for the panel, but that's what the working session is for. So don't use fear. Yeah, that's it for the quick notes. Before we dive into the actual questions and discussion. I would like all the panelists to introduce themselves. And again, just for the sake of time. Please just state your name and your organization and your institutional affiliations. If anyone wants to learn more about people, you can always see chat them up on Slack, or there's also the full bios on our website for accessibility publishing. So let's start with the first introduction. And we can start with Bob. Good afternoon. I just wanted to check my time to make sure at least it's afternoon here in Ontario. Good morning to those on the West Coast. My name is Bob Minnery. I'm the manager of alternate education resources Ontario, which is arrow. And I'm happy to be here. So those that don't know, I should let you know that arrow is responsible for alternate format production from K to post doctorate within the province of Ontario for us publicly blended schools. We provide large print Braille digital audio. We also provide accessible PDF Kurzweil and word, and I think I've got all the mediums that I mentioned all the mediums. And everyone all that Oh, an accessible PDF as well. Okay, thanks Bob. Now let's go to Adam. Hi everyone. My name is Adam Wilton. I'm the manager of the provincial resource center for the visually impaired. And the accessible resource center British Columbia in, you guessed it British Columbia PRC VI does a hard copy alternate format so Braille and enlarge print for students who are blind or visually impaired and the accessible resource for ARC BC does digital format production for all students with print disabilities K to 12 in British Columbia and I'm delighted to see that my friend and colleague Corey playford is here with us. Who manages caper BC and Corey takes care of pretty well the rest in terms of post secondary. That's me. Fantastic. Thank you so much, Adam. And let's go on to Lee. Lee Nash, the publisher of invisible publishing here in Ontario and I've been making ebooks for well over a decade now by hand so if it's fun to learn all the new stuff you can do with. Yeah, I love learning new stuff to you. That's really exciting. Thank you, Lee. And now, last but definitely not least, we're going to talk to me. Hi, I am knowing the Kesson. I'm the founder of a company called Heteris, which focuses on creating automated book production tools for any publisher who wants to use them. It's sort of an extension of all my work doing book production both manually and through automated workflows for various large and small publishers throughout my career. Thank you so much. Great. So thank you all for the amazing panelists for being here. I'm really excited for this conversation to get going. So let's just dive in. I'm going to start with a question and just open it up to the panelists. The first question I'm going to start up with is what advances have been happening around file remediation. That's a great question. I guess I can kick things off. I'm, I'm a little worried that I'm going to, I'm going to be a bit of a broken record here in this panel and harp on about how the best defense is the good offense. I think there's been a lot of focus lately on people revamping their workflows to actually do born accessible books, born accessible books rather than having to like do actual file remediation on their back with titles, which I think is a great advancement field. The cleaner that your ebook files are the more standardized they are at the very beginning of the process, the easier it is to add new accessibility developments to those files as they are developed. You know, if like next year EPUB four is suddenly the standard if you have very clean structured files that you started making even today, it'll be so much easier to convert those to the new standard once it comes out. I can jump in and echo that actually just a bit. Hi, it's Adam speaking. The, the quality, the initial quality of the file available, like from a remediation perspective, we often try to work with files from publishers, but you know publishers know their content. They, they have, you know, that they are course intimately connected with kind of the entire process of bringing that file into being. And the cleaner the file that we get from publishers in from an all format production perspective, the, the more efficiently, effectively, we're able to create an alternate format from that, from whatever we receive from publishers. You know, in 2021, we still cut the spines off of an inordinate number of books to scan them. And, yeah, I know, I know it's, but, but the reality is, is that we don't often and you know we were grateful for what publishers are able to share with us but often we don't receive something in a format that is that we can work with. So just, you know, Nellie I couldn't agree more the idea of starting, you know, with the, with, with accessibility in mind from the outset, even if the file is not all the way where it needs to be to meet the access requirements of the end user. At least the alternate format sector can kind of pick up the ball and run with it, rather than having to cut the spine off of the dead tree version, which we're still doing in 2021. Totally, I totally agree. I also think there's a lot of development happening in the publishing ecosystem right now around tools that you can use both to create your books at the, at the beginning, and back your books I know they mentioned that ace accessibility checker in the last session, which is a great tool that you can use to just run your pubs through and it'll give you a list of things that you need to fix to make that book more accessible. Going back to my previous point. Your books are standardized by which I mean that you're using style names or tag names consistently for every paragraph you're using the same types of elements in the HTML and this might be getting more technical than than most of you want to get into. So just standardizing that markup that's inside the e pub will help you know that, you know, if the ace checker is saying I need to fix this one thing in one book, I know that all of my other books use exactly the same markup and so I know that I need to change that same thing in all of my other books. So it just makes your job a lot easier. So the things that I've published are the thing for me that's been really exciting is that this knowledge is more out there. It's easier to access, because a couple of years ago I would have had no idea where to even look for information about making our books accessible and that even just having that available for people to, you know, to, to Google or through associations. That's the thing that's made it easier for me in particular to pick up and pick up the changes and make them part of it, you know, there's still some stuff I don't know, and I'm learning, but I know where to go to learn. So we've found, and that's an excellent point. One of the other things that arrow has found just to shift gears a bit is that we've, we've been fortunate enough to create partnerships with publishers. We originally started with our post secondary publishers. So, when a request was made from a school into arrow it automatically went to the publishers and they have publishers because they knew that arrow was a trusted intermediary that provided us the know the file with which to work, and that works so well at the post secondary level that now we have a stable of publishers. We have a set of 20 publishers totally who we have a contact where so when an advisor makes a request into arrow saying I need this particular title in this particular format. And this is the publisher, we have a contact and the publisher has a relationship with us where we're not trying to reestablish, you know, all the criteria we're just saying, we need this title and and they have a comfort level to send it to to give it to us, and for us to transcribe it. And from an edge in the educational field, because timeliness is as important as, you know, accessibility. It's been a game changer for us is creating like relationships with publishers where they know that arrow and and by extension care, the care members are doing the work that's that's required, should we be now should we be doing it is another day for another day, but the fact that we do do it, and the fact that we have a real a conduit for quick, quick result has been a game changer for at the K to 12 level, in addition to the post secondary. Can I just add Bob to that that care is the Canadian Association of Education and Resource Center for alternate format materials. And so we're a we're a network of essentially all of the K to 12 and post secondary producers at a provincial level. For alternate format materials so we're, we're working in coordination with one another so that if a student in Halifax needs a let's say biology 12 in Braille format, we can, we can get that on loan and vice versa. Yeah, I was gonna say I loved Bob's point about having good partnerships also I think that's really important. You know if you're working with a conversion vendor, or if you know people from the various W3C working groups. I think there are lots of people out there who will be happy to help you figure out what your approach toward needs to be based on your own unique needs at your company. I have to say the Nells audits have been amazing, like the Nells audits of materials that was a real sort of turning point for me was to have somebody walk through one of my E pubs point out all the things that were wrong with it. And then give me a chance to go back and fix it and bring it back and have it audited again and that was such a great opportunity so the more of that can happen. And at least to then come out with sort of like now I have a standardized ebook that I can use for every project going forward, which a has cut my ebook production time down to like next to nothing. But it's also a template that I know is going to be accessible with relatively minor tweaking. Yeah. So go Nells. Okay. No, no, Rachel. It's okay. I was all good. I just wanted to ask you guys. How, how about a dealing with the cost of remediation. Oh my goodness. The cost of the remediation of files and titles. I can say it's a big barrier. It's a constant time right like those are the two things and, you know, where we're public as publishers were very short on both of those things. There's a bunch of programs happening right now that are making it more available for us to apply for funding to remediate those titles or have them done for us and that's huge especially for publishers with bigger artists. You know, it's, it's great to be able to hire interns periodically but those aren't guaranteed nor are enough and if you get an intern one year you don't get one the next year so the continuity can be difficult there to support it. You know, I've been chipping it away at it. I'm really hopeful that a bunch of our titles will go through this through one of the programs that are available right now but it's a challenge. One of the because we work in the educational sector I'll give you an example of a title that we had to outsource was the Canadian income tax act annotated. Okay, so you can imagine. So, while the, so it was an 800 page book, full of tables. We had to make it accessible. The cost was north of 40 grand.  That's not unusual in the educational sector. And that's, I think it's those type of titles that are that one keep arrow and piece PR CVI in business but it's also it's a real problem. And it's not so much the cost only. It's because there's very few houses and individuals that have the expertise in one medium, let alone for multiple mediums, the ability to train someone like you couldn't expect the publisher to have the expertise in house, you know, or because that the that expertise may only be used once, you know, in a year.  And like Adams and Adam correct me if I'm saying something incorrect here but it's having the cost to keep the skill sets current is it is another cost associated with with transcription. Absolutely Bob, these are highly specialized skill sets. And not not only are they highly specialized but they're, they're continuing to evolve in an increasingly complex environment. When you start adding in, you know, EPUB production, and what is you know what is the interface, or the involvement for EPUB production for for, let's say a Braille transcriber in terms of writing descriptions or producing a tactile supplement. So, no, absolutely. These are these are and these these costs I think play out differently across the education sector. You know, in our province in British Columbia we have two separate agencies which are funded, you know, again, funded separately between post secondary and and the K to 12 sector. And I know that students in the post secondary sector do face some specific cost pressures around remediation. And I don't want to put you on the spot Corey but can you speak to that point just a little bit. That's funny I was just looking for Corey to. To make myself a panelist so I was just mentioning to Adam that I know in certain provinces students in the post secondary sector are expected to pay their own remediation costs so if they ask their school for a file. That's being farmed out to third party to do and that students bearing that cost which is just an inconceivable burden to me at the level of reading that students are expected to undertake in post secondary. The information like that makes its way to publishers. That's, that's, they probably don't hear that so that's a really eye opening even to be working in this field, asking students to bear that cost is, it's just unconscionable. So, off the panel. Something else related to costs that I will mention was something is actually related to something that I brought up on the earlier panel is this notion of the baseline accessibility work that an alternate format producer would need to do versus some of the more specialized student specific work, and sometimes a challenge for us is a balancing both of those within our budget to, you know, in terms of, you know, ensuring that there's enough staff time and resources to be able to produce let's say, you know, the scope of a book that might be used by, you know, five or six students versus a really specialized title for a student who perhaps relies on non visual access that may only be used by one student, but it's, but that student has just as much right to, to, you know, equitable controlling access as any other learner and so another piece of that yeah the costing puzzle for us is, is managing the, the, you know, managing those things that we're making accessible for a wider range of students versus those we know are going to be very isolated cases. And so the promise of born accessible in my mind is that with a greater proportion of students with perceptual disabilities, being able to use materials that are right out of the box from publishers, then the alternative format sector has more latitude to be able to focus on those access cases that are going to require more advanced remediation. So this is just going to give the, the 10 minute warning. And I guess, another question we can go into is how are publishers dealing with the cost and time of remediating their backlists. I think I already spoke to that hoping hoping to get a grant. Oh, which is not a good answer. I would argue it's the worst answer. But it's, it's tricky to, I mean, we're most publishers will ask if there's a business case for it to write and I think that it has to fall in, you know, that's such an ugly way to put these things when you're talking about access, frankly, but at the same time we are businesses. And there are some people that are always going to take that line. And I think the best thing. I think getting people on board to be honest making accessible books going forward should be a priority and helping publishers triage the books in their backlist that that would benefit most from remediation if there was some way to do that. And to really take sort of a pronged approach would be in my mind the ideal way to come at it that's sort of how we've been working our way through our backlist to, but it'll be tricky for publishers with lots of titles, no matter how you slice or dice it. God, I feel like I'm all bad news. I feel positive about this. And it's quiet right now because the honest answer is like there isn't really a great approach. Like it's just, it's going to be hard if you have a lot of files in your backlist and like that came from a mixed number of sources like maybe you even have like frame maker files or like something, it's just going to be hard and it's going to take money and time. And which is why I keep harping again on like it's never too late to start having like a cleaner more streamlined workflow like what Lee was saying where she has this like templated EPUB now, where she can just use that for every new title, and it completely cuts down on her production costs and also kind of paves the way for her to be able to go back and add accessibility features in sort of a mass like Broadway, either through scripting or some other faster way to add it that's not going to take all that time and money. Yeah, even find and replace is great for quick, quick updates. But it's not. One other thing, it actually, it occurs to me that maybe getting to that point where from a publisher's perspective where you can actually then hand the file over to somebody who does need to take it further like, there are steps we can be taking as publishers to even make our books, even moderately more accessible. But image descriptions are a huge one they don't need to be like I was actually shocked that we were told our image descriptions were good because I thought they were terrible. But it turns out that, you know, I guess that's the bar, which is also terrible. But they're not good, but I think even just getting basic image descriptions into your ebooks like pick something and do it. You know, rather than waiting until it's the perfect perfect way to get it done. Yeah, maybe two tongue and cheek Lee but the fact that you had them was probably that was like, oh, it's not good. Yeah. I'm all about baby steps, you can at least take baby steps. Yeah, great advice. And it sounds like when it comes to like remediating, especially like backless or when you have a lot of titles or like what was said before like really complicated academic titles that are going to take a lot of time money and, and it's a very specialized skill that sometimes is the best we can do. And then hopefully build on in the future. When would be, when would it be necessary to remediate all the time. Yeah, that's a great question I mean it's definitely something that's come up with us, because we help a variety of different publishers we have just sort of like standard like trade novel publishers and then we have educational publishers on the other side, on the other side. I think for educational publishing always is probably the answer like, it's so crucial to give every student access to all of the information that they need for trade publishing. Ideally always for sure but I think like, there are, there's sort of like a bare minimum of accessibility features that you can have in a novel that you can get away with. I feel terrible saying this and like again it all comes back to the business case. You know as long as someone can read the book comfortably through whatever means they're, they're interacting with that text. I think that's good so it's sort of, it comes down to what you're publishing and where you're trying to send it. I'll give you the policy language around this exit this question essentially. Well, when, when, when there when a mismatch continues to exist between the book and it's the work and its current format and the access requirements or profile of the user that and as long as that mismatch continues to exist. There's a role for file there's a place for file remediation. And Bob, would you agree with that. Absolutely. Yeah. Yeah, so we, and this and again I'm Nellie if if you're a broken record I am a shattered box of records somewhere in someone's basement right now because I'm going to go back to something I said before where it, the, the, the really precise work that we do in the alt format sector. It's like depending on the needs of the learner and the complexity of the material I mean that can be a really precise process I mean I just give you an example. In BC, we just produced a grade 11 math textbook that was that was in accessible PDF and had a corresponding tactile supplement. But you see that that was for a specific user with a very unique profile. And so I think that there's, I think that there's, there's, there's always likely going to be a need for some remediation again depending on the learner and the, and the, and their, their access requirements, but then to also to also say that, you know that work. I think it's important to make sure that we that we as a community have that capacity at some level. Yeah, totally. So we have three minutes left. And then our, our last all three minutes. This has been a really great discussion. Is there anyone have any closing thoughts about remediation and what we've been discussing. We'd like to add. I'd like to point out that since the symposium began. And this is the third year. We seem to be riding a wave rather than pushing a rock up a hill. You know, we know, we know we've gone from slogging to surfing. Right. I'm trying to find a metaphor that sounds fun like the momentum, the momentum's on our side, recognizing that we hardly we hardly made inroads enough, but we know that we, this is the way we need to go, and that's not even up to that's not even a question anymore. And I applaud the publishers that are at the front of this that and that are making all the mistakes so that other publishers won't have to pay for those mistakes. That's not a small thing. I would further that Bob and say that we've come, we as a community have come a long way in terms of publishers understanding and appreciating the need for their materials to be to be produced excessively, but not only that to really embrace the the idea of inclusive and that you know that that it's not just a matter of, of asking, asking users what they need, and then going off and working on it somewhere in the background and then bringing it back to them and say, Oh, hey, is this kind of what you need. Oh, no, okay, I'm then taking it back here that there's been much more of kind of a co design, you know, approach where where publishers have been interested and engaged in centering the perspectives of users of print of readers with with print disabilities. And so someone working in the alt format sector, who is connecting with publishers and hearing more of, like, and hearing publishers speak the language of accessibility more fluidly and more frequently. That's been really encouraging. That's awesome. And now I do have any closing thoughts. I guess my main closing thought is just saying the same thing I've been saying, invest in a good structured format for your profiles. It's never too late to invest in that. I'll turn to you a year from now if you start today, you'll be so thankful that you did it. So don't like even if you have a huge backlist of course that's still a problem that you need to tackle but you'll save yourself so many more file remediation issues, if you start today. And we do you have anything quick to say before we open it up to the working session. Book should be available to everybody, the business case for books is that we want to sell more of them. Yay. Thank you panelists. This has been a really excellent discussion. So I am just going to stop my recording.


Trade will change as the global economy decarbonizes quite profoundly actually and this is a geopolitical issue. Changes in the geopolitical landscape have far-reaching implications for sustainable development agendas.  For example, declining fossil fuel demands will shift the geopolitical landscape and developing new sources of energy and materials for transitioning away from fossil fuels will have consequences. MISTRA Geopolitics examines these questions in its prioritized research theme on decarbonization. The current situation is making clear that the decarbonization agenda of the European Union is very dependent on what is happening on the international stage. And this has been true for a while and will be true in the future because Europe on the one hand cannot decarbonize autonomously. It needs material, it needs support from different partners and it needs to be able to rely on its supply change. But on the other hand what Europe does internally also affects its partners, for instance the countries from where it imports fossil fuels. And we really need to have a good understanding on how to avoid risks and what Europe can do to help those countries pursue a transformational decarbonization agenda. In terms of geopolitics affecting the financial sector I think we've just now seen recently quite a prominent example of that where governance have been able to place sanctions and restrictions to international banking for example having pretty severe consequences for the Russian economy. Geopolitics in general impacts the financial sector in several ways today. First of all it describes the risk landscape. We need to understand political risks. But I also think it starts to influence capital flows. It will be more natural going forward to invest closer to home. It will be not as easy for an American investor to go to China. It will not be so easy for a Chinese investor to go to Europe or US. So I think there are very strong drivers in the making right now. You can think about it as public finance and private finance being aligned with the carbonization goals. And in the public domain it can range from public procurement, investment in infrastructure but also development finance that goes to other countries. And in the private domain you need the structures that give incentives for the finance flows to go to green goals. And the European Taxonomy for Sustainable Finance is one such example because it defines clearly what is green and what is not. I think the finance sector can contribute in two ways to reduce CO2 emissions. One way is to encourage all portfolio companies, the companies that we own to set their own CO2 targets in line with the Paris Agreement for example or more aggressively. The other way is to do direct investments for example in renewable energy. At Mr. Geopolitics we've done some research to help us understand these links and we suggest that there are three dimensions to structure this. First is the substance of trade. So what commodities will be traded in a decarbonized global economy? Then the second dimension is the institutional dimension. So how do we make sure that our trade institutions promote green trade but also discourage carbon intensive path dependencies? And the third dimension that we suggest is the transportation. So how is trade made possible? You could see countries for example pursuing crash mitigation programs where they're investing a lot of time and resources into carbon dioxide removal, bioenergy with carbon capture and sequestration which uses a tremendous amount of land. That land is currently being used for other things in many cases. So who makes those decisions going to be a challenging question of international governance? How the transition is achieved from a carbon-full economy to a carbon-free economy? It's a huge transformation. It actually therefore carries a lot of risks and those risks need to be managed. So for me the slogan is not just to achieve a transition from brown to green but is to achieve a just and peaceful transition.


Season finale! It's a season finale, mother. Let's see what's on... for tonight. That's right, son of a bitches. Are you ready? Let's do it. Play! Damn it. Stay on the log, mother. I will give you the flash drive, but you have to give me the assurance that you won't bring home any of this. You don't get to call the shots.  We did what?  I'm screwed! I'm totally screwed! How could you do that to me? I'm gonna leave tomorrow. You wanna come with me? What are you gonna do with that girl? I know what you wanna do. It's not like that, brother. She's just in trouble. Come on, let's go to the house. Of course. He gets that psycho look at his face so well that trance type euphoric look. Oh my God. He didn't say what. No, he just said, gives us a deal and I didn't ask him to explain it.  It's kind of your place today. What's that? It's this place that can help people with mental issues. Because your brother is scaring me. I'm just gonna get dressed now.  Is it me or does this dude always look like he's wearing an eyeliner? I assume his darkness of his hair and his eyelashes. The black lady with the cleavage. He was in the dark night. Right? I wasn't like wearing an eyeliner.   He got one of them old play of hands. John, you pick a girl up and you don't need no damn motel at all for the night. Everything will be done.  See when you got campfire or anything. My uncle had a conversion van in the backseat.  Made a bed. The vans were popular now. Just kidding. You don't want to sleep with a girl on the first night. Treat her like a lady.  Did she got my laptop? Did she got the same laptop? Yeah, obviously. Top of the list so fast. Well, girl, you're gonna live. That's fine. She's exciting. Probably scared. It's a big revelation. That takes somebody's lungs out and puts somebody else's back in. This is crazy. Captain Crunch has Dylan. He got fruity walk too, don't he? He knows funny. Her name reminds me. My barber told me one time that he wanted to mess with a real white girl, right?  No, I want to mess with one of the real white girls. Like with a man's name, like Taylor, you know what I'm saying? I was dying when he said that. Look, Bradley.  So I guess by my barber's standards, that's a real white girl. What is the patient you're inquiring for? What is his or her diagnosis? Well, he... Well, it's a bit unclear. You know, one of the things I am interested in is getting a full diagnosis. You know that some problems are complicated. Of course you don't have to. Yes. Always. Who's the referring doctor?  And the patient is your... Is my son. Can I ask you a few questions? Of course. I'm just thinking about it. I haven't made any decisions yet. You know, it's actually very hard to to actually consider doing this. But how often can you visit? We have very liberal visitation policies. As you can see, a lot of our guests have plenty of access to their families. Good. He and I are both the patient. We're very close. Like I said, in almost all cases, it isn't a problem. It's good. And, uh, it's cost. We deal directly with your insurance company. We have case officers who will handle all of that for you. Oh, but my insurance, of course, has been just, like, out of curiosity. She got down to bed. It depends greatly on the specific condition being treated. Okay, but I mean, like, full-park. There is no one number. Of course. You were dressed very nicely to sell me on this place, but you're not going to tell me how much it cost me. Our minimum charge is $529 a night. That's room and board. Treatment costs are all on top of that for doctors, tests, and therapies. For most patients, it ranges from about $20,000 to $40,000 a month. The key, like I said, is your insurance. Most carriers can negotiate significant discount off those numbers.   No, she doesn't. I don't either. I don't. If you get past this, come on, Sean. He scared me.  But he scared me. You don't know what motherfuckers like that do. You know what I mean? And bombed me and stuffed me. Sitting there. Stuck in my normal. Tyrone Magnus laugh. Just stuck. Taxidermized. All right, come on, man. It was like, come on, man. There we go. So we have to go to the hospital. Yes. I'll make sure she does too. Thank you so much. Am I about to go to the hospital? Norman about to go to the hospital? For two different ailments. She's scared when she's about to run. What's she doing? She's mad.  Get her. She's gonna forget your pop like that. She's probably...  I mean, no conscious, just money. Go crazy, Bradley. Uh. Yeah. So I'm talking about... Firmison, nigga. Get it. In a moment with a kiss.  It's gonna happen. Right back.  And we're all acting like, oh great, just put those lungs into emerald. It doesn't work like that. But if I'm gonna do a match, that's more likely to happen than none.  I mean, people do have these surgeries. They survived it. They do want to extend their lives. Yeah, that is true. But I don't want to spend the rest of my life being hoped and analyzed and evaluated. Always living with a constant friend every day that my body will somehow turn on me and start to imagine the lungs. Now at least that's why I can just live in denial. It's not even in. It's not like I'm living up against this question every day. Who will my body not screw me over today? I just want to have some control over my life. Emma, Emma, come on.    There you come. There you come. Man, it's a mouth.   Man, too, they're getting the whole movie kissed. All better now? Get your cut open.  Step, step, step. Just stay alive for me. That's how I said it. I said it just like that. You just come around and say, I'm serious. I'm serious. Hey, yo, this Viagra commercial with this hot milk in it. Have y'all seen this? I'm like, that's a test to see if you need it in the first place. If you don't need it, then you know, you're going to know about it in the commercial. You need it. You're going to know about it in the commercial. just an Asian one. Last time I saw a white one. Good job Bradley. Good job. I broke into my mom's house. I think it's a fair game. Supplies for the road. Some clothes. Toothpaste. Can you be ready to go tonight? Hmm? Sneak out after your mom's sleep.  You're legally an adult. You can do whatever you want. It's eyes. I thought they'd get no wide for her. I just don't know how I can leave her. Is that Norma about to come out? She's working on the lily now. Run away together. Toothpaste. She is pretty hot. You ain't going well not now, but before. You ain't going to score nothing like that again, buddy. You might as well go. No, not that way. It pulls her to go with Bradley. Although, I did tell you something about Bradley.  She doesn't sound like we're just crazy motherfuckers. Crazy awkward. Malnourished.  Murder and psychopath.   Sometimes y'all think it's men with y'all. Uh-oh. Oh, okay. So this is going to be a precursor. Man, leave it. You're going to get mad about her when you put him in a hospital. See, I know when to talk.  I had a girlfriend that didn't know when to talk. She talked while people were talking on screen. See how I'm talking. I'm worried about you. I know. I know what I'm doing. You know, the blackouts look any worse. But we have it under control. No, you don't. You know, I don't go to school anymore. I don't drive. I'm really just mostly here. I know, but I think that you need help. Helps that I cannot give you. I'll sort of help you. You know what I mean? Like, James. No, no.  No, better than him. Thanks for helping. I think it's best being in straws. The doctors. It's going to pay us well, Norman. Faith, mm-mm.  And I want you to be safe. There's therapy. There's medications. Mm-hmm. You know, I mean, we never really looked into it. I think it's, it's, it's something that I have been very scared to do. Not to. Makes sense. These places can help us. They'll help. The places? It's, it's not like that, Norman. It's not what you're thinking. They're not horrible. These places, they're actually very pretty. They were very nice. But you've been to one? Yeah. That's where I went today. Don't be mad. You're crazy. She ain't betrayed you. You're crazy. She worried about you. See, I don't want to talk. She could be why ain't talking right now. The yours? I see where we stand. Yeah, she cares about you. Are you giving up on me? No. She just can't give you the help. It's exactly the opposite.  I'm going to help you.  Norman. I'm a hog-tie even shifting there. I drove him there myself. To be worried about you walking in my bedroom standing me up. Shit. I love you, son. You've got to go. I will be there to visit you. Trust me. Still in my blood. Get y'all fixed up. By the way, I can't see Dylan as a cowboy. In that new series, I had a bite. I just got to see Matt, so that works out. Come to your boyfriend. I'm not here to apologize. I did what I felt was the right thing. And it was the right thing. And I stand by you. Okay. Thanks for coming by. Tell me that. I'm sorry that I couldn't protect you. If I could change that, I would. But I can't. It's not that. It's the emotion. Dylan, I wish it was different. It's not your fault, Alex. It's bigger than us. It's my fault anyway. I tried to hide it. You know, when else come down, it's just too much to shovel away. Oh, God, I'm so scared. If he's my son and he's broken, the first boy that ever lived in Paris has this thing investigated. Is he taken away? If they put him in prison just for defending me.   Listen to her. You ain't getting out in the night from there. The rest is not my best interest. Now I have long. I've told him at least what road loop is coming on. The gesture though. I see any other fingers on her oboe.   It's all my soldiers fishing. Yeah, it was one of those, um, all my spiritual black thing in life. Because I always loved fishing, but not that we couldn't afford it, but like this, you know, I'm out on a share of salary. So I, uh, I found myself wandering around this town. In person. And the only reason ever, ever to say anything to anybody is gotten pleased. So, I'm a baitster kid. I'm sure that you're not reliable. I'm not. So there's things for the right reason. Whatever the words are, I can write it down.  Alex, we both know why you're doing this, and it isn't about those girls. You know, right now, you are more like your dad than you ever have. Uh-oh. How's this feel? Puff. There it is. Knew it. Knew it. Crime does not pay, kids. Crime does not pay. Told you. Okay? Don't be dealing drugs.   See that? Well, y'all won't be cool like Tony Montana. See what happens, huh? Tony Montana. And, uh, uh, what's his name? And, uh, New Jack City. Wessler's Night. Why are these names escaping? Tony Soprano. Need no brown.  It ain't. It gets a bullet to the folk from a dude named Romero. You know what I'm saying? We're like son. Where are you going all by yourself? Why do you assume this all by myself? Where are you going? Who are you going with? Please just stop talking to me. I'm not insane. Calm down. Oh, maybe you can get a mentor and fix it on the phone and they can count on her. No, I'm not. But it may be hard for you to believe. Okay, but I don't need you. In many ways, I just think we've been horrible for each other. I love you, yes. And I will always love you. But if I've become too much of a burden for you, I just don't think we're good together and think that we're healthy. Okay, I just think it would be for the best that we separate. Okay, Norman. So we'll separate, but you don't have to leave. Just stop talking to me like that. Okay? There is someone. There's this physical human being that's waiting for you. We're leaving together. No. We just... I'm leaving with Bradley. Who is Bradley? Release something wrong with you. We talked about it. Bradley Martin? Remember outside the motel? Or are you just trying to drive me even more insane? She's like this and that. Norman? Bradley Martin is dead. She committed suicide. Well then, how do you think she's in the motel? Huh? She can't be dead. Well, you knew she was there. You can't deny that.   Oh! I didn't expect that to happen. No! He's got his... He's too hot. He's like he has feet.  She's not... It gets out there. Because remember what we saw in the preview last? Remember I said I would haul time and drive him over to that place? What is she doing?  I know how to think like a beach. You see that? That's good. It's a good thing. Probably going to Spain.  The situation would be crazy if he was leaving. I need to stop it. I need to talk to him. I'll have to go to the basement. Oh, man.  That's all the way she was tight. It's insane, Dylan. He said he was leaving with Bradley Martin. She's dead. He's completely lost touch with reality. What did he do? Martin isn't dead. What are you talking about? I mean, it didn't really happen. What didn't happen? She was in trouble and so she faked her suicide. So she could disappear and get off the radar. I drove her to the bus station when she left town. So Norman could actually be running away with her? Yeah, man.  Okay, we gotta go find him. I don't know why he doesn't notice the differences between his mom and his mom.  That's just real mom. Where should we go? Just drive. Riverbro takes us. Ha ha!  See, Bradley? Well, I think we all knew she was gonna jump and just gonna put it in the rip. See, girls? Get down on your luck. I'll go to these nice, quirky, weird motherfuckers. I might end up in a trunk. He's a nice guy. Romero is the same doctor. I mean, she was a mess. I did her a favor. Poor girl was on the death wish. I mean, she was gonna take you away from me, right? We belong together. There's a quarrel between our hearts. Do you remember? The fuck? Yes, you will. Don't be nice. What's weird is you know how most serious we're used. By the way, so, you know how, like, the following presentation is rated TVMA. Okay.  I don't exactly what him caught.  Like, it's not time for him to get shut down yet. So I will be back for the next season. I do every episode, reaction every episode. And I'm not doing Dexter.  I know he's a killer too, but something, I know this is weird, but Dexter's more morbid to me. Morbid bothers me more than weird. It's just something about it really. I don't like it. Okay?  So I'm not ever doing Dexter. Sorry. I don't know about Game of Thrones. I've never seen one episode of it. I've heard it's good, but extremely gory. Y'all know I'm not really into gore. Hey, I'll try an episode. I'll see if it's on Netflix or something. And maybe I'll react to the first episode. If I like it, then hey, I'll continue to watch it and do it. You know what I mean? But as y'all know, I'm more dedicated to, you know, the channel and doing a lot of different reaction videos and other videos for y'all. So I don't watch a lot of TV. So, you know, to Flash right now, Bates Motel, I watch wrestling. Although wrestling is getting very boring for me, so I don't watch it as much. I might DVR it and catch it later or whatever. So, oh, and Dragon Ball Bridge right now. When Dragon Ball Super comes out, y'all will get a full reaction to every single episode. I can't wait till that comes out.  Sikes. All right. So if you enjoyed my reaction, hit the like button, subscribe and share. If you did not, you're psycho. One million subscribers. Woo.


In this video, we'll look at a very simple little calculation in which we express the amount of different elements in a compound as percentage by mass. First, consider a block of pure sodium. The only type of atom in this block is sodium atoms, so we can say that 100% of the atoms are sodium. But because, as human-sized creatures, it's easier for us to measure masses rather than numbers of atoms, it's often more convenient for us to think about the percentage by mass. In this case, it's easy. Because all the atoms are sodium atoms, we can also say that 100% of the mass of this substance is sodium. Okay, now think about table salt, sodium chloride. The formula is NaCl, so that tells you that the ratio of sodium to chloride ions is one to one. That is, in any sample of sodium chloride, half the ions will be sodium and half will be chloride. Okay, so if you have a sample of sodium chloride, what percentage of the mass of that sample will be due to the sodium ions? Is it going to be 50%? Well, we can work it out as a simple percentage using our knowledge of molar masses. To make the calculation easy, let's say we have one mole of sodium chloride. If we work out the molar mass, we'll know the mass of that one mole. So let's first work out the molar mass. The molar mass of sodium is 22.99 grams per mole. The molar mass of chlorine is 35.45 grams per mole and we add them together and we have that the molar mass of sodium chloride is 58.44 grams per mole. So the mass of one mole of sodium chloride is 58.44 grams. Now it's also pretty easy to figure out how much of that is due to sodium and how much to chloride. Now we know that in one mole of sodium chloride, there's one mole of sodium ions and one mole of chloride ions. So of that 58.44 grams, 22.99 grams is sodium from the one mole of sodium ions and 35.45 grams is chloride, one mole of chloride ions. So clearly the mass percent of sodium is not going to be 50% because sodium ions, although there are the same number of them as chloride, sodium ions are lighter. So to work out the percentage by mass of sodium, we simply divide the mass of sodium ions by the total mass of sodium chloride and multiply by 100. So in our mole of sodium chloride, that's 22.99 grams of sodium divided by 58.44 grams of sodium chloride times 100, which gives us 39.34%. Note the four sig figs, which I'm getting from the fact that I've used four sig figs in my molar masses. We can double check where correct by working out the percentage of chloride. If all goes well, those two percentages should add up to 100%. So we say 35.45 divided by 58.44 times 100 and that gives us 60.66%. And yes, those two percentages do add up to 100%. Let's try one more example. We'll determine the percentage by mass of each element in sulfuric acid. So there are a few bits of information we need to collect. We need the formula of sulfuric acid, well that's H2SO4. We need the molar masses of the elements involved, and we need the molar mass of sulfuric acid. Now we can calculate the percentages by mass. So the percentage of hydrogen equals the mass of hydrogen over the total mass of sulfuric acid times 100, and there are two hydrogen atoms in each molecule of sulfuric acid. So that means that if you have one mole of sulfuric acid, there will be two moles of hydrogen atoms contained in it. So the mass of hydrogen in our mole of sulfuric acid equals 2 times 1.008 grams and divided by the molar mass of sulfuric acid 98.072 times 100, and that gives us 2.056%. Note in this calculation that the numbers of moles or atoms are exact numbers. So the fact that there are two hydrogen atoms in each sulfuric acid, that's an exact number of atoms. You can't have part of an atom. So that means they don't affect the significant figures. Okay so let's try oxygen. There are four oxygens in the sulfuric acid molecule, so four moles of oxygen for every one mole of sulfuric acid. So the percentage mass will be 4 times 15.999 divided by 98.072 times 100, which gives us 65.25%. Now we should be able to work out the percentage of sulfur by subtraction. We'll have 100 minus the sum of the other two percentages, and that gives us 32.69%. And if we work out sulfur the full way, we get the same answer, which is great. And our three percentages add up to 100%.


do you hear them do you hear the bells bells I don't hear any bells Mr. I tell you they're ringing look mr.  Brooke in all the world there are no finer bells than my wee babies it was none other than Christopher Hodgson himself who cast them in the 17th century I master himself my father rung him and his father before him and these these are the bells my father paid a half a million dollars for I and he got them cheap sir these are historic bells known to all of England and the folk of old peddwick party with them hard they gave them as a gift you might say your father gave the town an orphan asylum and a hospital and now he has the bells no they'll hang up there forever I ain't as well for their in good hands your father is of old peddwick sir and like me he loves the bells and knows what they say when they talk Peter I my father will never hear the bells again what do you mean by that sir he died 15 minutes ago oh mr. Brooke he did yes oh dust we are and a dust we shall return sort is written and so shall it be for he was a fine man sir thank you Peter both me and my children up there we'll miss him I will miss him so you call the bells by names you talk to them I like a father to his children and they talk to me they talk to you the bells talk to you I was not they have tongs and they have hearts and souls come my baby the good master is higher the master pulled one rope and another and worked another bell by means of his trust through a loop and a third the bells rang and clang trod and echoed beat against my brain and jangling tones and overtones I looked up at them as they swayed and their mouths seemed to accuse me of my father's death I couldn't stand it I couldn't stand any longer I turned and ran from the belter this funeral I dropped in at the office of Frederick Denne in my father's attorney and the executor of what was left of the estate there were certain things I wanted to discuss so you want to tear down the Brooke Memorial Tower and sell the bells yes mr. Denny from what my father told me they have considerable value yes Arthur they do their intrinsic value aside from their worth as historic relics and antiques runs into hundreds of thousands I've already had two office of purchase you have yes one from the university one from a museum good however the bells are not for sale what mr. Denny you know the condition of the estate why I'm penniless dad left me nothing nothing unless I can realize something from the bells I'm sorry Arthur but the terms of your father's will are quite specific then I'll break the will I'm my father's right player and whatever I can sell those bells for belongs to me I'm sorry my boy I drew up this will myself and I can assure you it's air tight there was nothing I could do nothing I was beaten and I knew it and day after day night after night every hour on the hour I heard those blasted bells ding dong ding dong they mocked me taunted me jeered at me laughed at me they seem to talk to me they talk to Peter the bell ringer now they talk to me mocked me every hour all I hated them cursed them blocked my ears against them but they kept on ringing and ringing and ringing until I thought I'd go mad finally I could stand it no longer I had to silence those hateful bells once and for all I had to steal their cursed tongues forever that night late I went to the bell tower fevered and a kind of frenzy determined to blow out their voices somehow I entered the bell tower Peter was there ringing the bells stop ringing those bells stop the bell yes now now do you hear this evil in your face you don't like the bells like your father you hate my little children you mean them I told you to stop those bells I'll make it stop what are you the awful pressure in my head went away it had been easy to strangle Peter his foot had caught in the pedal news of the bell rope he never had a chance now I had to make it look like an accident like suicide I picked the bell ringer up tied one end of the bell ropes around his neck and gave him a long push swan in the bell tower like a grotesque pendulum the rope creaking under his weight Davey up there big George pretty Betty with the sound of the bells shaking his fist laughing at his bronze tortures as he stops them from striking 12 for murder and continuing his story there was an investigation of Peter's death the county medical examiner and I went to the bell tower and looked at the bell rope on which Peter's body had been found the way I see it mr. Brooke it's a clear case of suicide the deceased fastened this rope around his neck climbed up on the belfry ladder and plung himself out into space yes yes mr. Holcomb it looks as though as though he did just that mr. Brooke is one question I want to ask you me what what is it a man usually doesn't commit suicide unless he has a motive did you notice anything peculiar about this bell ringer's behavior before this happened why why no nothing except that he he was deeply depressed when my father died you see my father loved the bells as much as Peter did and that might account for it but I understand this English bell ringer was rather a queer duck anyway what's that what mr. Holcomb the bells ringing ringing how can they take it easy mr. Brooke take it easy the tower door is open and wind just came through made the bells tinkle a little oh oh yes of course it it was the wind I'm sorry that's all right mr. Brooke after what you've been through I don't blame you for being jumpy it was official suicide and for two weeks the bell tower was closed and the bells silent it was then that I had an idea I went straight to the executor of my father's estate mr. Denny and told him what was in my mind Arthur I'm sorry but what you asked is impossible we can't take those bells down but mr. Denny you've read the papers this bell ringer's suicide has made a mockery out of the tower all the cheap publicity in the newspapers the sensationalism the people coming to stare at the bells why why I feel that my father's memory is being desecrated I know the whole thing's been very unfortunate but we cannot let you tear down the tower and sell the bells as you know yes yes I know the will my father's will safely and his last wish must be respected very well at the bell stay but for the love of heaven mr. Denny can they remain silent must they ring any more to remind everyone in town of the tragedy your father specified that they must be rung on the hour every hour just as they did in England and that's the way it'll have to be Arthur we're already negotiating for a new bell ringer mr.  Denny you must oh yes I do now very faintly your sense of hearing Arthur is remarkably acute those bells are from the next town Silver Valley sometimes you can hear them here when the wind's right oh why don't they stop why don't they stop talking talking talking what do you mean nothing nothing look here Arthur something's wrong you're on edge ill why don't you go away for a good long rest say a month or so it'd do you good go away yes yes why not rest that's what I need rest and quiet away from the bells I was acquainted Lee and I knew in the mountains 100 miles away the food was good and a golf course nearby and well I made reservations for a week I ate slept played golf rested and then one afternoon I was in the lobby of the inn chatting with the private enjoyed you staying here mr. Brooke oh yes Frank fine fine well you've been lucky in the weather and never did see such nice weather what's that what's what do you hear bells bells of course I do and from the church Greenville two miles away but why are they ringing why are they ringing mr.  Brooke you made reservations for man I'm leaving now do you hear right away just as soon as I get my bags back the bells I had to get away from the bells that was it that was all I needed I remember the place when I went when I was a boy an island off the seacoast there was an old fisherman there a friend of mine and I knew he'd put me up the place was miles from anything from the mainland from bells I took a train charted a small boat and spent three quiet days there then on the fourth day as we were surfcasting for striped bass all right mr. Brooke let's see a cast way out into the surf nice long one that was now a striper just hooks onto that baby who's why you're good what is it mr. Brooke I hear bells bells why sure you do the coast guard's testing a new bellboy out on those reefs over there what's wrong mr. Brooke you're as white as a sheet I've got to get away from here those bells everywhere I went they pursued me ringing their accusations in my ears I left the island gun to my car drove I didn't know what I was going I didn't care I just had to get away from those bells and then some days later I was driving through a desert area in the southwest I was deep in the desert railing off mile after mile on the highway when suddenly from far off I heard bells I sat my teeth the steering wheel tight enough was enough I'd fight them now fight them to the bitter end I wouldn't let them master me turn me apart drive me man go I had to beat them and I do it now I drove on and on and on and the bells followed me I must come from a train running parallel to the highway somewhere over the river the desert yes it must be a train it couldn't be anything else mile after mile I drove with mine after mile the bells followed me I began to wonder when would the tracks cross the highway tracks always crossed highway somewhere they just didn't run parallel indefinitely and then and then off I hit I saw some trucks and men it was a construction crew fixing the road I stopped the car and hailed the foreman what is it mr. doesn't doesn't the train cross the highway somewhere up ahead train what train is no railroad in this area the desert but they must be I hear train bells well I don't hear any bells mr. I tell you they're ringing look mr. you must have some stroke or something there ain't no train within a hundred miles ahead but there must be there must be there has to be I had to go back to the estate back to the Brook Memorial Tower and destroy the accursed bells I'd inherited I had to close their bronze mouths pull out their wagging tongue smash their goodering faces they had possession of me they were driving me out of my mind I had to free myself on the ones and for all only then would I be at peace I headed for home and every mile every hour the bells pursued me ringing in my ears day and night pounding and relentless I could be a state I went to the garden's toolhouse picked out a heavy sledgehammer headed toward the bell tower the car was just coming up the driveway it looked like Dennis but I paid no attention I ran into the ladder into the belfry now now is the time there were the bells were leering at me grinning at me I'd smash them now now and forever I live to the sledgehammer and brought it down to the first metal institution of yours it's run very efficiently one of the finest in the state thank you professor by the way it must be close to midnight I didn't expect to stay here this late but it was so interesting and what is the time anyway well I don't have a watch on me professor but just a second listen the time now professor Alvin is exactly midnight how do you know that doctor that patient you just heard professor the one who just cried aloud is a very remarkable case a human timepiece he has no watch of course but every hour on the hour he hears bells he hears bells every hour on the hour precisely professor Alvin and he's never more than a second or two out of the way and so a man lies in a bed in a padded cell and hears the bells ringing ringing every hour on the hour just as he once heard the real bells strike 12 for this again when death tolls are a cream and the clock strike 12 for was played by Michael Fitzmorris with music by Bert Berman murder at midnight was directed by Anton M. Leader