Yesterday, the Baltimore Ravens got a big boost to the team because Adolfi away has returned after missing the past four weeks due to an ankle injury that took him out. So having him back out there is nice and this actually helps the Baltimore Ravens a lot more than people realize because Adolfi away is somebody who's pretty good at helping set the edge. Now we know that's your David and Clowney special but having two guys that specialize in setting the edge and they can do some pass rush as well, especially how Clowney been balling that makes life easier for the Baltimore Ravens who runs up the middle. Hey, they've been taking care of that for the most part but where the Baltimore Ravens have been struggling that y'all know is when them running backs they take it to the outside. For Derek Henry, what I was worried about going into the Titans game in London, I'm like, oh, Derek Henry physical running back. Yeah, tough running back and then runs up the gut. Oh, that's him all day but Ravens were doing a good job stopping that. But where they struggled at Derek Henry said, you know, this ain't working. Let me take it to the outside. So, and that's where he got the most chunk of his yards. Remember with Zach Moss a couple of weeks ago against the Colts up the middle. Oh no, nothing, but it was to the outside where he was eating, he was feasting all day. And the Ravens have struggled with that a lot this season. So having Adolfi away back when he does officially come back and get back then that should make a huge improvement to the Baltimore Ravens and them really setting that edge. Another way that this helps a lot. Jadaven Clowney, he has been doing an amazing job this year. He has been a huge just factor for the Baltimore Ravens and their pass rush. And now he's starting to close a lot more, finish on some of those sacks a lot more. So that should be a beautiful thing as long as he continues that. But with one thing that I've continued to see with Jadaven Clowney, I don't know if y'all see it too. He'll be out there on the field and he'll be out there on the field some more. And he'll be out on the field some more. And I love it. I love that he's out there a lot. But I see them hands on his hips. I see his head tilt to back a little bit. I see the dreads hanging a little bit. And he just looks dog tired, man. He looks like he is exhausted, but he lines up for his hand in the dirt, lines up for another snap. And he does it over and over and over again. His number, the number 24, initially I thought it was ugly and I still do think it's ugly. But hey, he's baller. So you wear whatever number you want. But his number represents how much he's out there on the field because Jadaven Clowney is out there 24-7. So now with Jadaven Clowney, with Kyle Vanoy, who has been a wonderful addition too, you get Adafir way back. That allows you, that allows him to spell some of those guys. So then they can take a little rest. They could be more refreshed. And not that you just wanna have this crazy rotation where all right, you get in, now you get out. Now you get in, now you get out. Now you get in, now you get out. Because I think that was the problem. Yanik and Gakwe talked about it. That was the problem with Wink's defense. He said guys would be rotating too much so you couldn't really get a feel for the offense of linemen and what was working against them, what you could beat them with and whatnot, what moves you could make, whether you're gonna do a bull rush, whether you're gonna do the swim moves and whatnot. You could not get a feel for that consistently. It was messing up your rhythm. So I'm not saying that guys should be in and out, in and out, in and out. But this does allow guys, because you'll see it sometimes. These players will be tired and they'll point to the sideline and be like, come here, come here. So this will allow Jadevian Clowning to be that much more fresher and that much more rested. This will allow Kyle Vernoi to be that much more fresher and that much more rested. And then with Adafi away, this can help him out too, same thing. Another way that this helps is at pass rush. So this gives you another pass rush. And now we know that with Adafi away. Adafi away, he reminds me of Jadevian Clowning because with Jadevian Clowning, that's why a lot of people, they didn't like Clowning because they're like, oh man, as a pass rusher, he's so, so. Set in the edge and run defense, that's what his big, those were his biggest specialties. But as a pass rusher, he's so, so. But this year, Jadevian Clowning has been rejuvenated. He's found new life with the Baltimore Ravens and we love, y'all know, we love it. Y'all already know what time it is. But with Adafi away, that's been the case with him because he struggled with the same things that Jadevian Clowning struggled with too. And that was just closing. That was finishing the job. Adafi away has been a player for years that has come close. He always comes super close, but just doesn't quite finish. And he'll be right there. So with Adafi away, I think for him to really take that next step is just by finishing. Now, how can he get better as a finisher? Well, he got to be out there because we know if he's injured, he can't get better. So now with him coming back, he can be out there and he can learn a thing or three or 24 from Jadevian Clowning. Jadevian Clowning can help Adafi away take his game to the next level because we see Jadevian Clowning, he's taking his game to the next level. And maybe it's Dr. Rush. Hey, who knows what it is? It could be a plethora of things, but whatever it is or whatever those things are for the reason that Jadevian Clowning has stepped it up that much more, we love it. So now it's time for Adafi away to step it up that much more. So he can put pressure because we want to see him put pressure, max pressure on the Baltimore Ravens and really make them be like, you know what? No, we got to pick up that fifth year option. We have no choice. It's something that is mandatory for us to do. That's what we would love to, we would love that to be the conversation at the end of this year with Adafi away. So we'll see what happens with that. Now, the practice report for Wednesday's practice, Adafi away, he did return. He was limited, but he returned. So that's a good start for him to be back out there just getting in the flow of things. Wouldn't expect him to be a full go as first practice. So we'll see what happens later on today. But Malik Harrison, he was limited. And John Hobart did say he had the Guardian's cap on because he was in concussion protocol, but he said that Malik Harrison, he should be fine. So that's nothing to worry about. Now, timing is everything because Jadevian Clowning, he was out there, but he didn't practice. And they said it was a rest day for his knee. So this is why Adafi away. Another reason why he gives the Baltimore Ravens a big boost because this allows Jadevian Clowning, like we talked about earlier, we were just talking about him just being exhausted early, him just being tired early. So Adafi away can come in and sort of give him a break. But now this also helps with that, helps allow Jadevian Clowning's body to rest. So he ain't gotta be the only one out there going hard 24-7. Now Adafi away can come in and give him a little break and whatnot. And again, you still got other guys too, but the more the merrier and the more quality depth, the merrier. And that's been a thing with the Baltimore Ravens going into this season. Quality depth was the name of the game. Now that depth has certainly been tested in a lot of different areas, but the Ravens for the most part, they've been holding it down. Now one place where the quality depth has certainly been tested has been at the safety position. And something that's very interesting that I really didn't think about. And I was talking to my guy the other day and the safety position. Safety position is certainly the depth has been tested there. We know Marcus Williams, he got banged up. We know Dale Worley, he got banged up. It has just been rough there. And Ravens had to sign this guy, Adrian Adams. They brought back DeAndre Houston Carson. They had signed Daron Harman for a quick minute and then the bear signed him off the Ravens practice squad. So the Ravens been going through this rotation as safety. Did I mention Daryl Worley? I think I did, but anyway, Gino Stone. We know what Gino Stone, when Marcus Williams went out, Gino Stone stepped in and he certainly stepped up. And then with Marcus Williams, John Hubbell was like, he gotta make a decision. What are you gonna do? Rehab, what are you gonna do? Surgery, but when I was talking to my guy, he was like, you know what? You realize what Marcus Williams probably did there rehab, right? Cause of why he tried to rush back to get out there. One arm and all. One arm and all, he out there making plays with that one arm because he was watching. He's watching the same thing we watch. He see Gino Stone out there balling. He said, hold up. No, he came back a lot early and probably didn't he should have, but hey, it's all good. I respect it cause it's the name of the game. It's business. It's business. It's competition.  Hey, this dude that's in my spot right now. He look pretty good. So that'll give you extra boost to get up out of bed. No, no, I gotta get back out on that field. But another thing that I was talking to my guy about too, he brought out a good point about this, this upcoming Lions game with the run game specifically. Now this is a type of game. Like y'all know as Baltimore Ravens fans, Ravens, they do a lot of weird stuff, man. They do a lot of unexpected stuff. This could be a game where the Ravens, they going into this game, this five and one Detroit Lions team, Ravens can end up blowing them out of the water. They really cook. Y'all know how this stuff goes. Ravens will struggle with this team. They'll struggle with the team that's doing bad. Then when this team that's rolling, that's coming in hot, Ravens will blow them out. So we'll see what happens. Hopefully that does happen. But my guy was talking to me about the running game with Gus Edwards and Justice Hill. So with those guys, hopefully they do their thing in the first half. But where the Baltimore Ravens could catch the Lions slipping is if they do actually insert Keaton Mitchell in the game plan, but they do it sort of in the second half. Now with that, if they were to do that, then that could throw the Lions completely off because they wouldn't be expecting it. Excuse me, I didn't even have breakfast yet. But they wouldn't even be expecting it because, and they wouldn't have any film on it. So that could completely throw the Lions off of their game plan. But anyway, we'll see what the Baltimore Ravens do. Cause again, John Hobart has talked about Keaton Mitchell. He said, yeah, yeah, yeah, man. You know, use them on offense or here and there and whatnot. So we'll see how that goes. But team keeping clean. Hey, I love y'all. I appreciate y'all. Make sure you subscribe to the channel, turn your notifications on so you do not miss not one single Baltimore Ravens update. All the team keeping clean patrons. I appreciate y'all. Thank y'all for showing extra love to the channel. If any of y'all would like to become a team keeping clean patron, you can go to patreon.com slash engraving vids. And if you don't, that's fine too. I still love you. I still rock with y'all. If any of y'all would like to become a team keeping clean channel member, you can click the join button right next to the name of the channel on YouTube. But I love y'all so much. I appreciate y'all so much. Thank you for rocking with the channel. Thank you for always showing respect to each other. Thank you for making this most importantly. Thank you for making this so much fun every single day. I love y'all.  Y'all keep being great, amazing people. Be the great, amazing people that y'all are. Y'all have a great day, a great afternoon, a great night whenever you're watching this. Everything needs to be great for you. I love you. I appreciate you. And I'll see you soon.


Hi guys, I'm Sarah, not Sherah. That's okay. That's okay. I bet. No worries. Yeah, so I'm working out against gravity and we are based in Seattle. We are a VR game studio and We make the game rec room. It's a social VR game. So before I get into that This is a graph of the social VR apps on Steam So does anybody want to make a guess which line represents which VR app? Anybody I Have free shirts to give away rec room swag. So if you answer Okay, I see people at the back. So do you want to just shout out what you think it is? Yep, and any other guesses what do the rest up? Okay, that's a good answer I'm slightly better than that. Okay. So let me show you guys remember to come down and get a shirt from me later So Yes, you're right red room is the blue one and if you look at the start Red room started exactly a year ago and now we are the biggest social VR app out there So how exactly did we get to that point? This is what I'm going to share with you about So firstly, what is red room? So a lot of people they've seen this icon They are press releases, but they've never actually tried red room. So red room in short to describe it It's kind of like we spots but for VR So we have lots of mini games inside for people to play and the reason why we do this is because we are a still a relatively young Community people are not used to interacting in VR So it can get a bit awkward and you can look at some of the other social VR apps. I won't name them, but What we do in rec room is that we provide games for people to interact and born over So people come back to rec room because of the community the games are fun But community is the reason they come back because people we are the most interesting things and that is exactly what we're Giving out to them in VR So some of the games that we have are paintball, which is by far our most popular activity Quest which is kind of like a dungeon crawler. We have two versions of it. This is called the rise of jumbotron, which is Quite difficult to play. I'll admit the bad guy shoot lasers at you, which is really fast We also have 3d charades. So imagine charades, but you have a 3d gun. You can draw in 3d and guess the words We have this golf, which is sort of like a mix between frisbee and golf and this is a real spot in real I didn't know that I thought it was a VR only spot, but apparently not and dodgeball and a lot of other activities too many to fit here So for our company against gravity, we have three main values Which we follow a lot when we are which helps us to make our decisions and prioritize what we want to do next So if you look at the first one, it's really fire aim So we fire first before we aim and what exactly does that mean? This means that going fast is a lot more valuable than polish because at this state of the VR industry people value Experiments nobody really knows what's right and what's wrong and even if you think what is right now It might be proven wrong in future. For example, like common VR knowledge says don't accelerate the user But if you look at games like ego flight, they have actually done it really successfully And I myself suffer from VR sickness, but when I play ego flight, I'm fine surprisingly So for this we ship and iterate constantly and so here are a few examples So for this, this is the handshake gesture in VR in red room So how we came up with this was because we were thinking like I want to make friends with people I want to add them to my friends list But I don't really want to have to dig through a menu because in VR it doesn't feel good to have like so much 2D UI It's as if it's the real world. You want to have like 3D gestures 3D actions So what we did was hey, why don't we try a handshake? We tried it out. We hacked together a prototype This was done like I think in an afternoon and it worked amazingly Everybody liked it. So we decided to push it and the community also really liked it and And the next one is a keyboard. So we actually have a virtual keyboard and I'll wait for it to come up Yeah, and you see how you type on it. You use your fingers So when we were first experimenting with this, there was already some research some of the apps out there Which did something similar, but they had sort of like a drumstick method So you're holding a drumstick in your hands and you're like typing on a keyboard like this Which was kind of strange But because people said it works. So that was the first thing we tried But instead of a drumstick, we had like mini trump hands So that was really funny and we realized like it did work But it could have been better and one of our designers was like hey Why don't we try like using hands instead and since in rec room like your hands are the block hands like this Somebody say why don't we get a finger a pointer and then we tried that and it actually feels really good So I've tried the drumstick method and personally I don't like it This one feels so much better and I'm sure most people can remember like when you first learn how to type a lot of people did this, right? Please say I'm not the only one Okay, good to know your friend would like this way of typing then Yeah, so this is one example of just trying stuff out figuring out what works what doesn't work And we are more interested in just trying new stuff seeing what works and pushing it out to people because the best Feedback you can get is from the community And the next value is when in doubt build it so this means we are biased towards action So this is sort of similar to the previous point But also like if you're not sure of anything you want to prototype it as fast as you can and test it out in VR Because as I'm sure like some of you know what you see on the 2d screen on your monitor feels very different in VR That's a lot. That's a mistake which a lot of beginners make. They don't realize how different it is So one example is this Can you guys see this? So our art director Sorry feet that our art director So art director Saw this gif on Reddit about a year ago Less than a year ago, and he was like this is super cute Can you imagine if we have this kind of expressions on our rec room ever tasks and at first people are like Are you sure? It's not gonna look good. It's gonna be weird. You cannot control it, but Why not just try it out? So we have to get a prototype This is how the prototype looks like and it was actually pretty cute. So we added it to our ever tasks and now All rec room ever tasks have this So this has not just like gotten into rec room. It has become like a distinct feature of rec room So yeah ever tasks like They always have weird expressions all the time usually smiley faces because what you see on people's faces It you might not know but it affects you subconsciously and it affects your behavior This is one of the reasons why red room in general we have pretty good community behavior for a multiplayer game Yep in Well, it's not for kids, but we have a lot of interest from the younger people Okay, in the last honest, it's a small world. So what this means is what goes around comes around we respect our customers We don't do anything to exploit them because we value all of them And this can be seen like how we treat how we interact with our community We are very active on Reddit on discord on the steam forums and our community respects that they enjoy Interacting with us and you can see the way they interact with us shows like how much they value this So for example recently I think last month we released a new paintball map called spillway And then like within the next few days, I think in fact within the next few hours We had so many comments thanking us about it And if you look at some of these comments like people are like, please add a donate option I want to give you guys money How often do you get a product which people say that for by the way rec room is free? It's on steam and Oculus home So we are not monetizing it right now, but people are asking us can we donate we love the game so much We want to support it and it's not just about how good the game is because of the community That is what brings people back again and again So what does the future of the VR industry look like? Anybody want to make a guess? You guys just want more shirts, right? Okay, never mind. So We believe that it's going to be a race to the middle in terms of hit sets So right now you can see like the high-end ones like Vive and Oculus Rift and then the lower-end ones like Daydream and Samsung Gear VR So what we believe will be the future the one which will go into the mass market is something like this The sixth of six degrees of freedom for your head and your hands, which means you can move around You can rotate everything is tracked properly There'll be inside out tracking so you won't need external sensors The price range will be around 200 to 300 and there'll be no wires, which are the most annoying thing right now So when will this happen within the next few years, we believe and if you look at this graph Okay, you guys are supposed to guess again what the graph means and don't say rec room because this is nothing to do with rec room Anybody want to guess? Smartphones no not smartphones Not price Yes, so That is air as we are We believe air is going to be the future Via is going to be popular, but it's nowhere near as popular as air So why are we focusing on via right now because the lessons you learn in via a lot of them can be translated to air We want to get a foothold in the VR market first because it's going to mature away before the air market So once we have that advantage when air boom comes Red room hopefully will be positioned at the best part to take advantage of it And where we are right now is somewhere over here So we haven't actually hit the part where VR goes crazy the inflection point What we predict will be sometime at the end of next year or after that But before that not so much and if you look at it like the previous while saying the VR headsets This kind of VR headsets with all these features are not features with all these points If you look at the VR headsets which Google Microsoft are announcing now They're getting closer and closer to it Microsoft's headset is I think it's $400 which includes their two-hand Controllers and it's inside outtracking. So the same as for Google's one Yep, so if you look at this we are getting closer and closer to it, which is why Nick's Christmas Something big will happen But if it doesn't happen, then it'll be the Christmas after that. Don't quote me on this Yeah, so that's a good time to buy VR headsets during the Christmas season and finally We really hope that red room will be positioned to take advantage of that We have a lot of learnings from VR and we really want to translate that into air because we believe that's the future And yeah, this is just a painting one of our concept artists did it's in VR in the lounge in red room And it was so nice you decided to we decided to make a real one and put it in our office as well So this is there as well in VR and in real life And yeah, that's it. So do I have any questions? You get free shirts Okay. Yeah. Hi. So because I was wondering actually how you how do you all handle about the Personal space issue because I actually saw one video on YouTube about something like Handiboard or something like that. Yeah, so Yeah, I saw that video and it was like I feel like oh, if I'm that guy is going to be like super super awkward because like The guy he was like being not so nice to His fellow players So the thing about this guy is that he didn't really know how to control the game that well and then Because his character is fixed in place the other characters actually started moving towards him and like touching him and like Yeah, he couldn't do anything about it. And yeah Yeah, it's yeah So yes, not so nice is a very nice way to put it We consider that social harassment and we take that really really seriously So that happened in December last year that I think towards the end of December and since then we have implemented a lot more features To combat social harassment and I cannot show you as a female. I get a lot of that when I step into VR So one thing which we have implemented is an ignore bubble. So by default, it's on I think set at small So if somebody approaches me they get ghosted out. They turn invisible So that means that if I want to try if somebody wants to try and harass me They want to come towards me if they put their hands toward me their hands go stop. I don't see it. They still see it, but I Don't see it. So I'm not really affected by it And so you can change the size of that bubble you can turn it off If like, I don't know your close friends with that person and you don't want to ignore bubble But by default it's set at small you can set it to medium You can set it at large and then you can also ignore people So we have implemented this thing called the stop gesture if somebody's being annoying to me I can just hold out my hand at them and they disappear They get ghosted. Well, okay, they don't disappear. They disappear from my side But other people can still see them. So I don't see them and the best part is I don't hear them as well So if they want to continue spotting rubbish, I don't care because I cannot see them So that are just some of the things that we have done and we have also streamlined our reporting because we really take this Seriously, and each time something like this happens. We reach out to the user and we ask how can we help you? Yep, so I hope that answers your question Or you can get a shirt too, but you need to come forward later Yeah, so thanks for the time. I'm just curious because you mentioned how you guys are gonna Transition to AR so I'm just wondering know what's Do you have any vision for video for AR and what do you plan to stay in gaming or brunch out? And like right now what lessons you think from working via will be translatable to AR? So a lot of the design principles in VR can be moved to air and fun fact about our company about half Actually, I think more than half now of our company came from the Microsoft HoloLens team So we really do believe air is going to be big It's just that right now the market is a bit too small. It's too immature for air So we believe VR is going to mature first. That's why we're doing it now And what we hope red room will be in the future. It's not just gonna be games But a place for people to meet up which we are starting to see so there is a lounge in red room Which we have seen people Go there and carry out meetings there because we have a whiteboard in VR Which is the coolest thing ever because you can take a virtual marker draw on a virtual whiteboard and everything works So that's pretty cool. And not just that like community driven events We want red room and not just red room whatever we do in the future We wanted to be a place where people can meet up. We wanted to be the default meeting place So like for example, if I have a friend if I'm in America and I want to meet up with like say my family I can say hey meet me in a red room and then we can just go to our own private room We can have a chat we can play games together stuff like that So we wanted to be a default meeting place sort of like how Facebook now is a bit like the default social media channel So we are hoping that red room be something like that in the future Hello, thank you for sharing. Could you share more about the addressable market in For like these type of apps and how is it like compared between Asia in the rest of the world? So for the addressable market right now, it's limited by the number of hitsets. We are only available on Vive and Oculus Rift at this moment. We have plans to expand of course, but not right now So if you look at the total number of hitsets Which can play red room? Oh, and you need controllers hand controllers for red room So in terms of the Oculus Rift market only those people with touch So right now there are only about half a million hitsets which can which red room can run on So it's still pretty small and we are limited by that but it's growing fast and we are working with a lot of the companies which are producing the VR headsets like Microsoft in order to help push our game to their headsets when it comes out Does that sort of answer the question? Oh? Yes, sorry, I forgot about that part So the interesting thing about Asia and America and Europe in fact is that Asia seems to be going the route of the VR Arcade in America it seems like more people are interested in like Games in their own personal headset, but in Asia maybe because of like, I don't know lack of space But that's true for Singapore People seem to be going the eight of the arcade route and it's pretty interesting to watch because in America most people think Okay, it's it's not gonna be successful, but in Asia you see them popping up everywhere Yep Hi as a company for against gravity what there are some of the challenges or I guess thought processes you guys have gone through Relating to when to start to monetize and to keep doing what you guys do for free That's a really good that's a really good question which a lot of people haven't asking us So we don't have any plans to monetize this year, but definitely in future, which I cannot talk about now unfortunately So we want to keep the game free to play all the time because we believe that such a platform shouldn't be monetized Oh, well, it should be monetized, but not there shouldn't be like a barrier to entry So something like Facebook we might not go the ads route It's still a bit foggy right now But definitely monetization in the future and the thing is once you have all the market share It's gonna be much easier. I would say we have enough players That financially we are not in any trouble. We have a significant amount of money When you're the biggest social VR app money tends to not be a problem Kind of Yeah, if you're more if you're interested in that I can talk to you more about it offline Okay, maybe you take one last question Hi, Sarah, I think you should agree as a studio We are kind of at mercy of the platform. So be it Oculus be in a HTC or Microsoft as Some we use fortune enough to be able to walk multiple platforms including windows mixed reality Just like to get your sensing on how things might change In maybe come Christmas or maybe in the next year do foresee with the changes in With Oculus and Vive and also the windows mixed reality touch controllers Would you see any changes in the market or possibly one platform overtaking another? So right now The HTC Vive is the most popular headset even though like I kind of think Oculus is better That's not an endorsement from me But yeah, so if you look at the VR headsets that that are coming out There are so many different types some of them are slightly better and each of them have their own pros and cons So in terms of that we just want to target as many people as we can and move to as Be available on as many platforms as you can in terms of which platform we think will win out right now We are not really sure and one really nice thing about red room and being the most popular social VR app again Is that people want you on your platform? It's not a hey, can I be on your platform? Can you help me with this? It's more like companies come and hey, we really want you to be in our platform We believe that your game will help us drive sales up. So can you help us? So it's just an advantage which comes with being popular. So I guess That sounded a bit wrong, but you get what I mean Okay. Thank you so much Sarah for the great talk


11 million, that's the number of insulin injections type 1 diabetes patients self-administer daily in the US alone to manage their illness. So what causes type 1 diabetes and why do insulin injections help manage the disease? Type 1 diabetes arises when a person's own immune system mistakenly kills beta cells in the pancreas. Beta cells normally produce insulin in a highly regulated manner to control blood sugar levels. Without them, very high or very low sugar levels cause organ and nerve damage, heart and circulation problems, and without treatment with insulin death. Insulin has saved millions of lives by turning diabetes from a death sentence to a chronic illness, but even with the best possible insulin administration, glucose isn't perfectly controlled and patients remain at risk for life-threatening long-term complications such as kidney loss, blood circulation problems that can lead to amputations or death, loss of vision, that to mention the impact of constant monitoring of glucose, dietary restrictions, multiple daily insulin injections and side effects on their quality of life. What if instead of trying to replace the function of the beta cells by injecting insulin, we replaced the last beta cells themselves? A group of pioneering scientists at Biocite in collaboration with academic groups is attempting to do just that with an innovative approach utilizing stem cells. Their work is jointly funded by California's Proposition 71, the California Research and Cures Initiative and JDRF leader in both research funding and advocacy for type 1 diabetes. After many years of work, Biocite's scientific team, along with academic groups, figured out and perfected a recipe to turn human embryonic stem cells into pancreatic progenitor cells that are capable of maturing into fully functional insulin-producing beta cells as well as other cells that together make up the islets of Langerhans. The islets of Langerhans are clusters of cells in the pancreas that produce their hormones responsible for regulating blood sugar. The ability to not only restore beta cell function, but also deliver the other cells found in the islets may be important because these other cells are believed to work in concert with beta cells to optimally control blood sugar levels. There are reports that these other cells also malfunction in type 1 diabetes. Therefore, providing the full community of hormone-producing cells may provide benefits that insulin alone cannot. In order to deliver these cells into the body Biosite scientists also engineered an encapsulation system designed to keep immune cells out, protecting the cells inside from destruction while allowing the free flow of oxygen, nutrients, sugar, and proteins. Cells inside the device sense sugar and respond by producing insulin, which eases the exits into the blood. This ingenious system is called the VC01 product candidate. In animal models, the implanted VC01 product functionally cures experimental diabetes. To find out if the VC01 product can regulate blood sugar levels in humans, like it has in mice, a human clinical trial began at the University of California, San Diego in September, 2014. The results of this trial will be highly informative and will be an important next step toward revolutionizing the way we approach diabetes treatment. The VC01 concept was born from the vision that stem cells can be used to replace any specialized cells that are missing in disease. Advancing this vision has only become possible in the last 10 years, and we've come a long way in a short amount of time. Thanks in large part to funding for stem cell research from the California Initiatives Institute for Regenerative Medicine and JDRF. As we build on the progress we've made, we know there is much more work to be done and we must keep the momentum going. Only by continued support for biomedical research can we bring the most innovative technologies to the patients who need them most. We must remember that clinical trials will celebrate successes, but barriers, complications, and challenges will arise. So patients and understanding of the scientific discovery process are essential.


The sound wave created by a sound source is referred to as the fundamental frequency or F0. On a musical instrument, F0 is the result of the vibration of a piece of reed, a string or lip vibration. In speech, F0 is the result of vocal fold vibration. In both cases, F0, normally a complex sound wave, is filtered. That is, it is intensified and damped by numerous parts of the resonating body, which, in the case of a guitar, is the whole resonating body. The resulting bundles of resonance frequencies or harmonics are multiples of F0. They are called formants and are numbered F1, F2 and so on. In speech, the situation is more complicated, since the formant pattern of a speech sound is the outcome of the whole vocal tract, working as one resonance system and there are several resonance chambers, the pharynx, the aural cavity, the nasal cavity and the skull, where the pharynx and the aural cavity have shown to be the most important. They are associated with F1 and F2. Unlike on musical instruments, in speech the resonance chambers are subject to changes depending on the type of speech sound. In vowels such as E and R, we have different resonance chambers and thus different values for F1 and F2. Even though all speech sounds can be associated with specific formant patterns, aspects such as interspeaker variation that is different F0 input and different vocal tract sizes and shapes, and additional noises complicate the situation.


Monoclonal antibodies, MAPs, have shown promise in treating viral infections, including respiratory syncytial virus pneumonia and Ebola virus disease. As the COVID-19 pandemic continues to spread, researchers have turned their attention to developing anti-SARS-CoV-2 MAPs, which are being tested in various stages of clinical trials. These include VIR-7831, Ly, CoV-555, Ly, CoV-016, BGB, DXP593, IGN, CoV-2, and CT, P59. Each MAP works differently, but they all target different parts of the SARS-CoV-2 virus and can neutralize it. The current phase of clinical trials for each MAP is described, along with potential future developments. This article was offered by Marco Tucuri, Sara Ferraro, Irma Convertino, and others.


So you're looking to try out cardigans or you've already tried it and you think you don't look good. Well, that's false. You didn't watch a Johnny Tye video. Well, actually, I didn't make it yet. That's why we're here. So I'm gonna show you the ways of the cardigan. Let's get it. First off, it's not the cardigan, it's you. And I don't mean that in a rude way. A lot of us have a limiting belief when it comes to certain pieces, certain styles. And I feel like the cardigan is definitely one of them. So that is reason number one. Stop limiting yourself, give it a try. Who knows, you might actually like this a lot more than other pieces you're wearing. And by the way, we're gonna be talking about cardigans in a street wear fashion sense versus a casual menswear sense. There are plenty of other great videos if you lean more towards that casual menswear look. So now I'm gonna rapid-fire a few reasons why you look bad in these pieces. It's your color choice, your underlayer choice, and your buttoning choice. So let me address those. Color choice, you're just starting off with colors that you're just not used to yet. So like with any garments, as guys, we usually gravitate towards those neutrals and darker colors and that's exactly where you should start. So anything that's vibrant and very saturated, you should take your time on that. And this also applies to color blocked pieces or patterns unless it's simple like this right here. So you wanna start off with a gateway piece. I imagine most people's gateway garments when it comes to whitefit pants was a pair of cargo pants. This will open up the doors of curiosity and you'll see exactly why cardigans are so awesome. So if you're already comfortable with colors which if you watch my channel, you're probably in a good place. It's gonna come down to the other colors that you're wearing with your fits. Personally, I think wearing more colors with a colored cardigan really takes away from the piece.  Now that's my opinion. Obviously I personally don't wear a bunch of colors altogether. I like colored pieces but I like making those a statement piece. If you're just comfortable with colors, by all means do your thing. I have a template that works every single time when it comes to cardigans but I'll talk about that in a sec. Let's keep it moving. But first I wanna talk about this cardigan right here from the sponsor of today's video, Cotton. So Cotton has a variety of cardigans that I enjoy. I showed the pattern one earlier. This one comes in blue or black and it's just silky smooth and very comfortable to wear. From the texture to the pleats and overall shape, this is a cardigan that will make you stand out and just feel confident once you throw it on. And this blue is just perfect. It's not too vibrant, is a bit more on the muted side and I feel like blue is something all of us can easily wear because we're so used to wearing denim jeans and all that. So I definitely recommend picking this one up. It's a great piece to start off your cardigan collection but don't let me forget to mention Cotton's other pieces. We got this striped tee right here, banger piece. You got a thick collar, a piece that has the perfect shape. It's very versatile and a beautiful oversized fit. I also got two pairs of trousers from them, one that I'm wearing right now and we got a pinstripe one and also a waffle neck crew neck which when taking a look at every piece you know this is gonna stay in your wardrobe and be worn consistently. Even though it's much more casual, the pieces over at Cotton have a timeless look and can be worn in so many ways which is much more conscious and sustainable to your wallet and your style. And man, Cotton has become one of my new favorite brands for their take on minimal fashion with a touch of streetwear. So make sure you head over to Cotton, pick up a piece. They definitely have something for everyone and if you want to hefty discounts use code Johnny Cotton 15 to save yourself some money. Appreciate your support and thank you Cotton for sponsoring this video. Let's get back to it. The third reason which is your underlayer choice. I know we're all used to throwing on a hoodie underneath every single jacket. That's a classic look. When it comes to cardigans, it looks terrible. Cardigans expose a lot of your upper body. There's no collar, which in turn will expose a lot of the hoodie if you're gonna layer with the hoodie and it just doesn't look right.  If you can pull it off that's gonna make you stand out even more but it just never looks good to me. It also might be the extra fabric of a hoodie especially oversized ones. A lot of that extra fabric can just build up on the sleeves and it just never looks right. And so this means you can probably disregard long sleeves and crew necks as well. So you're really just left with a tank top, the T or a button up. And for fall and winter, probably the turtleneck. Personally, I just found that the plain white T is the best way to start off with cardigans. Now you guys know me, I wear tank tops underneath everything. I think it looks great, especially if you're in good shape. But don't sleep on the oversized button ups. Kinda like what I'm wearing right now. This piece keeps the casual yet sophisticated and a bit more mature but you can still wear them with casual pants like cargo pants. You can also throw on headwear and a casual sling. Up next, your buttoning choice. You should probably never do it. This is just a good rule of thumb but I'm gonna say it again. Just don't do it. Depending on the cardigan when you button it, you'll get these little hums. The fabric will be pulling each other and it just looks awful. Sometimes it can look good. Obviously you wanna experiment around but personally I found whenever it flows this is when the piece looks great. Now I promised you my template that works every single time. So here it is. Grab yourself a white top. Anything that I mentioned earlier, a regular t-shirt, a tank top, a button up, black trousers. You can also go with cargo pants, sneakers or boots and then the cardigan. That's it. I have a ton of cardigans and this works every single time. You're letting the cardigan do its thing and just switch around the shoes, switch around the pants, maybe swap the headwear, throw on some slings. That's really it guys but we got a few more reasons why you look bad in these pieces. Let's keep it moving. The next reason is you just might need to take it to the tailor. This is obviously a problem with any garment that's made. It's made for the average build. So what I like to do is I like to create a huge pile of clothes I want to tailor and then I take it to the tailor all in one go. You don't want to do it one at a time because I promise you you're going to be lazy about it. So yeah, you can try a more cropped fit. You can hem it up a bit, completely up to you. But when it comes to the sleeves I kind of like it when it drapes a little bit. That's just my opinion but obviously that's your choice. Now the final reason is the differentiators between the cardigans may actually be hurting you. What am I talking about? So there are cardigans out there with a really heavy texture like this one but I think a majority of the time a simple knitted look will suit you well. There may also be some crazy colors or patches and your style just might not be ready for it yet. Which is the whole moral of the story and just fashion in general. We want to try and experiment around with it and see what works for you. So yeah, let me break down some fits for y'all that way you guys can get some inspo. I'll see you outside. So our first fit is going to be inspired by Asian Streetwear. We got these Japanese cargo pants, some boots. Like I mentioned earlier the oversized button up I'm telling you layering with these pieces is perfect for the springtime. Now I do think it is a bit too long for this particular fit but I'm okay with it. We've got my choice made two tone cap and we're just following that stormtrooper vibe. You see this a lot in Japanese streetwear it's very tasteful and of course it makes putting together fit very easy. Next fit we're going to roll with a navy cardigan. Yeah we're going with another oversized button up. This one has pin stripes which adds a subtle detail. We got wide fit cargo pants, easy power phases a very simple look that you're going to see me in often if you ever come across me in person. And then we're going to go back inside and I'm going to show you a more monochromatic look. So we're going to be rolling with this vibrant cardigan right here. So with monochromatic colors you want to work with the same exact color just different shades, tints.  We got the two tone cap as well. And this definitely fits the spring vibe that we're in right now. And just for fun we'll try a complimentary look. So we're going to go with this burnt orange almost red cardigan. I think it looks good. So yeah that is why you look bad in cardigans. It's more of a mindset thing and you're just over complicating it. Again as a guy if you wear a cardigan you're definitely already going to stand out a lot. So if you found this video helpful make sure you give it a thumbs up, subscribe to the channel, send this to a friend that could use some help with their cardigan. And until then stay fly, check out cotton deuces.


personal note, Denny and Lester became great grandparents just a few days ago, so hooray for that! Design objects from antiquity up to today radiate colors power. In our current exhibition, saturated the allure and science of color, which I hope you all enjoyed before tonight's program. 190 iconic and innovative objects from our collection and magnificent color treasures and treatises from the Smithsonian libraries brought together for the very first time reveal how designers apply the theories of the world's greatest color thinkers to bring order and excitement to the visual world. The museum is really vibrating these days. Among the historic color manuals on view, the Vina Farben cabinet or color cabinet as it is commonly known is one of the rarest and most fascinating. Only four copies are known to exist in the U.S. Published in Vienna in 1794, the manual contains nearly 3,000 hand colored natural dye specimens as well as instructions for their use. It's a complete compendium of natural colors and an invaluable record of dyes used prior to the discovery of synthetics 65 years later. While the treatises by Sir Isaac Newton and Goethe also on view debate color perception, the color cabinet emphasizes the natural history of color and designs extraordinary efforts to extract color riches from the earth's resources. For tonight's talk, I'm really delighted to welcome back to Cooper Hewitt, the renowned Dutch textile designer and artist and Cooper Hewitt, dear friend, Cloudy Youngstra. Cloudy is deeply engaged in preserving historic colors and dyeing processes, knowledge she has applied to her monumental felt tapestries and textiles installed all over the world. Our 2009 exhibition, Fashioning Felt, featured Cloudy's massive and marvelous site-specific felt installation fabricated with wool from her herd of Drenthe Heath sheep and colored with organic dye plants of earthen browns, fiery reds, and oranges. Visitors were invited to touch, smell, and explore its surfaces as the felt undulated towards the ceiling, suggesting a seismic rupture in the earth's surface. Our collection at Cooper Hewitt holds four of Cloudy's boundary-pushing textiles, two of which were commissioned specifically for us. Her environmentally conscientious approach to textile design, which extends to maintaining a studio and working farm, employing shepherds, spinners, filters, and more, tie Cloudy's designs to nature's cycles. As her practices expanded, she has also dedicated herself to the preservation of skill sets once integral to design and production. The tacit knowledge of dye plants and natural pigments passed down from generation to generation through hands-on learning. Tonight, Cloudy will share her insight gained from years of investigating color and cultivating natural dyes from plants, which she will present in the context of her communitarian and eco-aware philosophy of design. After Cloudy's presentation, we invite you to join us in the Great Hall for a glass of wine and the opportunity to have Cloudy sign her award-winning book, Design in Collaboration with the Econoclastic Book Designer, Irma Boone, who designed the Cooper Hewitt Handbook to the Collection and whose work is also on view and saturated. Printed with a special mix of colors based on the natural ingredients Cloudy uses, the biodegradable inks, chamomile, matter, indigo, and black indigo, are separated and referenced throughout. With matte India paper sewn, but not cut, to emphasize the tactility and homemade qualities of felt textiles, the book is itself an incredibly beautiful design object and reflection of Cloudy's holistic design process. A few months ago when Cloudy showed me the book, we both said, we have to do this at Cooper Hewitt. So we're really happy to be celebrating this gorgeous book tonight. I hope you'll return soon to see more of Cooper Hewitt, including our two other major exhibitions, The Senses, Design Beyond Vision, on the third floor and Access Possibility on the first floor. And I also invite you to join us for what will be an unforgettable celebration on June 13th, our garden party, which will be a color soirée in celebration of saturated with a color environment designed especially for Cooper Hewitt. So now please join me in welcoming to the podium into Cooper Hewitt, Cloudy Youngstra. I was trained as a fashion designer many years ago and I worked in fashion after my graduation. And then four years after working in fashion as a designer, I just really fell over an exhibition on wool felt and that was 20 years ago. I saw that exhibition in Tilburg in the textile museum and it was completely overwhelmed by a architectural form. It was a tent or a shelter. It's called Yurt. And people live in that in these shelters. I was so inspired by the material because I couldn't believe that it resists storms and rains and wind and people live in that for centuries under really rough circumstances. So I quit my job and I just started working only with wool. And now it's 20 years later. So wool is my canvas. It's beautiful to see that so many cultures are very connected to wool. Nomads have made wool felt Yurt's together. It's a communal, you could even say, a ritual. Also famous stories like Joseph Boyce when he was, when he got hit in the war in this airplane. It was crushed. His survival was due to Nomads who found him and he just wrapped him in woolen blankets.  So what's so fascinating about wool? I mean, when I saw it for the first time, I just could not wait to go into experimenting and since I had my background as an artist, I just combined many materials with that wool felt. And if you can see on the, you see that wool has this completely different structure as all the other fibers. It has these layers and that makes wool felt so incredibly genius because when you would put water to this structure, these small things, they open up. And just by ribbing or friction or a mechanical rubbing process, they intertwine. So we have this fiber very loose. And after five minutes, you would have a cloth. And I was so inspired also by this, you know, it's basic, very simple method just only using your hands and water. And then you would have, you know, in seconds you would have a fabric. Because of that special structure, wool has also the qualities in a spectrum like it's warm insulating. I mean, it keeps you cool in summer. It's dirt repelling. It's not flammable. I mean, acoustic qualities, fantastic material in itself. So wool is, it has a geniality on its own. And all the wool comes, I mean, the wool I use come from a very typical sheep. It's called drain heat. It's the oldest species from Northern Europe. And there are only 1200 left in the world. There are really very tiny, but they have this great fur, this great coat of wool. But there is not much meat on them, so they were not used for meat production. They were used many, many years. They were used for landscape preservation to fertilize the soil in a natural way. That's the quality of the sheep. They live and they work. I mean, we use them for maintaining landscape, for vegetation management. That's the reason why we would keep them, of course, also for the wool. And they live in this heat land, combined with some low bush land and trees. So the three biotopes make that the quality of the sheep and the quality of the wool, that it's fantastic. So this is where they live, and it's really rare also in the Netherlands to have this land. This is the northern part of the Netherlands, very close to the sea. And with a slightly small, here. This is where the sheep are working and living. And it's very close to a province, here. It's called Drenth. And that's why the sheep are called Drenth heat. So the heat refers to the land and Drenth to the location. And you can see already that there's a very rich variety of land with flora and fauna. And because the shepherd's role is not go out and just take the sheep. But he is really, I mean, he is an orchestra of how the sheep work on that land. So they keep the balance between the heath and also the forest. And by doing this, I mean, following a specific, you could say a specific diet from the sheep. They maintain this landscape in a beautiful balance. So you have a great biodiversity also here. Reptiles and birds and insects are exuberant in that landscape. That has also an effect on the wool quality. Besides, they also get this, yeah, they get a lot of herbs too. So the quality of the wool, besides that it has a long texture, is also very, yeah, for wool felting, it's fantastic. Another aspect for this specie is that the shepherd keeps the stress. And the energy level really, I would say, low. How do you do that? So when it's really warm, he takes them to these places where there are trees. But also the shearing is normally a really big stress factor. And we have this very gentle man who shears them really soft and kindly. And also when you can also imagine when you take off that woolen fur, I mean, they feel completely naked, unprotected. So we keep them in quarantine for a few days. So in small groups that they are not alone, they really adjust to their new appearance. And then they go naturally into that herd. But you cannot believe it has an impact on the quality of the wool. So where does the wool go? So when I started 20 years ago, I started experimenting. And then the first five, six years, I only worked in naturals. So what you see here, just fabrics clothed, I mean, not with a certain purpose. I just started working, developing textures and experimenting. And just found my way in that material. Here, pieces for residences, but also, this is in the collection of the kopewit. And also this piece is also in the collection of the kopewit. So the first pieces I made were really very organic. I had no distraction from color. So I could completely focus just on the material itself. And then very slowly, first, architectural projects came. Here, it is a ceiling in a residence. The purpose of the wool was acoustics. So it's all covered by this material. Really, I mean, nothing was hidden, just the material, very raw used on its own. And I just heard from a professor connected to the University of Utrecht, his name is Sven Dupree, and he said, to learn a skill, to master a skill, it takes 20,000 hours to learn it. I think I took 20,000 hours to learn, make a fabric in a neutral color. So it's also the time frame, 20,000 hours is also seven years. And seven years is also this master apprentice relationship. It takes so long, I mean, to really have the material in your hands that it's like, you know, that you can do anything with it. Here you see a work I made for the San Francisco Museum of Modern Art. It's a mural with many elements in the composition. And the work is called Earth, Arden. And I wanted to show really the treasure of nature in that work. Residential pieces, also offices. This is quite a spectacular building in the Netherlands. It's a municipality, it's a conference room, it's like a chapel, it's a cathedral. We work a lot with acoustic engineers, too. And I mean, there is no, when you are in that space, it's really like a shelter, it's really like, you could say, a yurt. This is a beautiful project with Todd Williams and BDG Architects. It took us, I think, three years really to work from first sketches, dialogue, dialogue with the hand carved stone, to really make it into one harmonious consensus in these, I don't know how many, but there are many, I mean, I think there are 12 or 14 monochromes. It also reflects to the specific light in the light quartz at the Barnes Foundation. And when the day is going by, also the works they change, it's like a waterfall. And I think it's a beautiful example of working together with architects from a very early start, not being, at a later moment, an application in the building, but really being part of the building, too. And then after these seven years, I think it was time for another step. It was time for color. I also felt in that period I was very hesitant using the color because it was a domain I was not used to. And at the moment I discovered the quality and the vitality and the ripeness of natural dyes. So that's why I started very slowly, I started experimenting with materials I found, forage, and that was the first step into working with colors coming from nature. This is an installation two years ago in a museum in the Netherlands. And it's an art installation. It contains, I think, 300 of these jars referring to food, but also they have a plant in it. All of them are artworks on their own. And the plant refers to the dye and the material in it is also a fiber, it's wool or silk or brand heat. And together I think it shows the spectrum of working with these materials. It has a variety, I mean, it's unbelievable. I just saw this incredible Viennese color cabinet and I completely understand, I mean, that you get lost when you work with these materials. We have periods that people work, assistants or interns that they work on a color palette. For example, we had an assistant working for six months only on St. John's Worth. And there was a palette of, I think, 500 different variations only working with one plant, can you imagine? What's interesting when you make the dyes is that it's really like it's a nonverbal way of, you know, hands on experimenting. And it was always difficult for us in the last years. How do you document a recipe? I mean, how do we define or archive, I mean, all these hundreds of recipes we have developed over the last, I mean, 10 years. So in collaboration now with Professor Sven-Dupré and the University of Utrecht, we are developing new recipes referring to 15th century old documentation and also they are helping us how to archive our recipes that they are accessible for future generations. Because also with the dye process, it's really complex because there are so many variables making that recipe. It's not the harvest only, but it's the temperature of the water.  You know, it's, I don't know, it's so much. So you have to be really alert when you make these color ranges. And it's also about, you know, how do you value color? I mean, in that conversation we are now also with the university. In the 15th century in Europe, Antwerp was the capital, you could say, of textile dye. I mean, from England and France, many crops and plants that were just brought to Antwerp because it has, of course, because of the delaying, because of the harbor. And they were from England and France, that was the vote. And people really had an incredibly knowledge of how to make these dyes, not only for textiles, but also for painters. And you can see also here in the painting on the right, the reference to the color palette we are using. So also from the 15th century, painters used these pigments in the same pigments we are using now. So it's very interesting also because we get also it's important, in that sense also for the archive, I mean, if you want to restore the painting of Vermeer Rembrandt, you need to know how the paints are being made. So we feel an urge to really work on that. Before you paint or dye, there is a more than process. You make, in fact, you make the fiber. You make it accessible or easy to adjust to color. We do that with natural, with a natural mordant. And we do that with walnut. So walnut can be foraged, can be found. And it gives also a really nice base for all the color palettes. So it's really warm. So the colors we develop are having always this richness and this warmth inside of them. This is the oldest dye plant in Europe. It's called Weld. It's very bright. We use a stem, leaf, and flower. And they give this enormous, vivid and a bit, you know, happy yellow. This is also in the collection of the Coupe de Huit, this piece. And you can also express many tones also working with these plants. We use the same plant in this project. It's the library of Amsterdam. And we use here also for the pattern. It's a knotting technique from the 17th century. We redeveloped it. It was originally used in an underdress as a color. And we just scaled it up because when you see that knot, it's like a crossing point. And the library of Amsterdam is situated at the harbor of Amsterdam. So also we refer in the texture and in the design to historical references on patterns or knotting techniques. And so for this, we use a lot of hand-span yarns. So we have also a lot of spinners from the area, people who work with us. And you can also say that it's a lot of hand labor. It takes a lot of time making all these processes. This is a conference room, panels with big movements. I mean, it's a rich palette only in wealth color. This is also very interesting color. It's called boat. It's the European, you could say the European indigo. We grow them also in the north because we have the combination of the light in the north because of the influence of the sea is really bright and really intense. And the combination with the clay makes that even an indigo or flax and even the Asian indigo, we also grow it because of the natural existence of nature, of the light and of the clay. In the boat we use, we grow it and when we harvest it in the fall, the leaves, we just make it small and then by just a fermenting process, it takes four months, they conserve. And then if you would like to reveal the color out of these conserved elements, by oxidation, this color appears, so the color is inside and by a process of water and the right temperature and getting the oxygen out of the dye bud, the color gets on the material just by just putting it out of the dye bud. In this material itself, the color stays for 400 years. So it's really, yeah, it's a very, it's a word without any meaning anymore, but it's sustainable. So the colors go really well in modern environment but also in these 18th century museum chambers. They go really well with the China and they harmonize. The colors also have, I mean, tots at once to me, the work in the color palette has no ego. I think that's right because it goes its own way. It harmonizes with the environment. This is a piece, it's an artwork made out of Asian indigo and also very intense. You can mix rich palettes and the indigo has, yeah, this type of blue is, I mean, it's incredible rich and you really get lost when you look at that color. Residential pieces, too, and this was a work we put in a garden. Two years ago we made a garden at the Chelsea Flower Show. I don't know if you know it, but it's really, in Europe it's a big thing. I mean, four million people watched the BBC and I think we had a garden there. We had a Dyer's garden and we won Silver Guild, which means not guild, but because we were debutants and not British and the reason we didn't, that was the reason we didn't win gold, but they were really shocked by the, we had put nettle in the garden. And nettle is a classical dye plant.  So it was really also funny. This is a work we made last year. It's Penn University in Philadelphia. It's in the library also. And the work is called Fields of Transformation. It's a triptage. So this is, yeah, this is one of the three. It's the biggest piece we ever made. It's 16 meters, six high. We rented a school for it. And it was really interesting also because it's a one-piece fabric.  So it's really an incredibly big piece. So it's site-specific work. It refers to, the neutrals refer to, I mean, what's in the library. It's a source. It's the legacy. The blues, the indigos here, they refer to intellect. And if you would combine sources and also intellect, you need, I think, empathy, warmth. And the yellows made out of waste, waste of onion skins. They develop a very rich palette of golden color. So the three together, it's called the Fields of Transformation. A recent work installed at the U.S. Embassy in Wassenar, near the Hague. It's an interesting work because the briefing of the architect was to make really an autonomous work, but also it could have a message inside. And it's called the metamorphosis of the butterfly, referring, of course, to the blue, to the indigo. When the color comes on that fiber, it really has a, yeah, it's because of oxidation that color comes. You could say it's a metamorphose. And also, I mean, if you would look on a human or a more psychological aspect of metamorphosis, you could say also when people are in development or in growth, I mean, it's always important that you still be open for new influences or that you are willing to change or willing to develop. So that's also in that work implicit. The implicit message in that work is, yeah, it's a way that people, if you would like to be in development, that you would be open for changes. A lot of hand stitching to embroideries really emphasizing the dynamics of a movement. This is a color we also use a lot. It's called matter. Matter is a plant. The root is, that's where the color comes from. Matter is one of the oldest dye plants also. I mean, there were also diggings from Pompeii, but also in Mexico, but in graves of Tutankhamun, people found rest materials of matter. And it takes three years for the plant to grow and then two years of drying. So it takes five years before you have that color. So you can believe it's really a richness, which is incredible in time. I think it's something you, I mean, this is the oldest, the only plant who has this long-term development. The palette is also incredible. This is the work, I mean, the part of the process for a work for that exhibition, Fashioning Felt. And this is also how you can see how I make the work.  This is a lot of work. We comb all the materials. I mean, this is my painter's palette, you can say, and then composing it in a constellation. And then here, later on, water is being added to it. The fibers open up, and then by a mechanical friction process, they intertwine. You have that fabric. 15th century paintings, Jan van Eyck, you see, I mean, it's not a red, it's matter. And the Dutch were, I mean, we were famous for this color. I mean, because of the soil we have, it was in the Netherlands, it was in the 17th century, it was our most famous export product because of that. This is not site-specific work. It's an installation. It's a nomadic installation, meaning that it's a work which will travel. I started with developing ideas about making a not-specific artwork three years ago, and it's just been exposed in the Netherlands because we are in the North, we are part of cultural capital at the moment. And the work is called Woven Skin, Woven referring to connecting to communities, to different topics, and skin, really, there are 60 skins forming this artwork. The skins, I mean, what is a skin? A skin, you could also say, a skin is a protector.   So it will travel. It will also come to New York, but first it will go to Palermo, Sicily, in 10 days. It will be part of Manifesta 12, and we will have site programming too. We will do educational programming, with, for example, Bangladeshi women. They have a fantastic way of weaving. I mean, they have incredible qualities in weaving coral into their fabrics, but also communities from Nigeria. We will work with high school young children. I mean, also see how they express themselves into working with their hands. This is a painting from Rembrandt. This is Anish Kapoor, and this is just recently discovered in February. It's the oldest Neanderthaler artwork in a Spanish cave. So it's very interesting. Also already in that time, I mean, people had these same related pigments. The work also travels to New York. I already said it during climate week. We will have a lineup with speakers, dialogues, panels, people who are involved and connected to the studio. There is a card on your seat. You can also see the program there. And after that, we will go to, it's the end of September, we will go to Soma Center for Food and Agriculture, and we will do a weekend programming there, foraging, making a lot of incredible colors. I give a lecture to, and you can find information also on that card. The landscape in the Netherlands was dominated in that 17th century by these barns. These were drying barns for the matter. So the root state of the two years before they were used for these color pallets. The studio in the Netherlands is in the north. It's 40 minutes from the sheep, because we have different lands there. And next to my Dias Lab, we have a collection garden. In that collection garden, we shelter 70 to 80 different species of plants and herbs, historical. Some are very rare, indigenous. Just the purpose of that garden is to connect to the dyers directly, because if they die, I think it's important that they see where the material comes from, that they can also make drawings of the plants that they just see how the plant develops. And also it's interesting sometimes if we have visitors to see how different plants, how they develop. This is a work for a restaurant, referring to food, edible dyes are being used in this work too. So it's very important that the plants we grow, that they have a relationship with the soil. So we don't grow exotic plants. Plants don't belong. They have to be rooted in the land or in the landscape. So the matter is one of them. And also the indigo, they do really well in our environment. We also grow flax, not specifically for dying, but since this year, we are part of a curriculum in a university, a fashion department, and the program is called rooted textiles. So we will have, in September, we will have students coming to us and they will work from the flax plant to a yarn. I mean, how do you do that? And there are only, I think in the Netherlands, only five people who still know how to do that. Also the materials, how to make a yarn from this flax plant is very interesting. So they're changing now in the Netherlands, more and more curricula, because it's important to understand your source, when you are a fashion designer, it's important, if you work with a linen fabric, at least I think it's interesting that you understand how much effort it takes, I mean, also how to produce it. So we are in the middle of this. I mean, these are our neighbors. This is what happens in the Netherlands, I think also globally. We call it green desert. It's due to industrialization. The land is really, I mean, and also artificial fertilization. This is how the landscape in the North looks like. It's monoculture. There are no flowers. There are no bees. I mean, there's nothing.  So we thought it's important to, I mean, we cannot change the North, but we can also, at least we can do is make an impact on the landscape. So we do that here. We have a farm. So the small black thing, the dot is our farm. We have a nursery there where we grow also from sea to plant. And here at the farm, we have a variety of vegetation, diascamomile, but I think also a lot of different species. We work on the land. We plow with horses, no machines, because also due to intense machinery on the land, I mean, in the Netherlands, when we have rain and we have a lot of rain, I mean, we have the level of the water in the land is really too high. So it really floods over. So it's not that we want to go back to the medieval time, that we want to show also, I mean, a different way of, and also different economical models if you potentialize spaces and landscapes. The variety we harvest, a lot of crops, sunflowers you use, not only the seeds, but also the flowers. And here is the glass house I spoke about, the nursery. It's from Belgium. It's a 20th century glass house. It was the last of, I think, five and we could rescue it. There are a thousand glasses in that glass house. And what we do there is we, because we have a lot of wind and rain, I mean, it's really hard also for plants or seeds to really develop. So we grow them and then they go. We have a collaboration now with eight farmers in the area in the north. And so the small plants go to these farmers in the north here. And the whole idea is that we scale up, I mean, not in the farm, because we want to work together with farmers and the crops are alternative crops for monoculture. And we would like to increase these crops too, because it's important that the landscape in the Netherlands, I mean, in the north, I mean, we have to radically change. So the crops are being used for the artworks, but also very new is that we have, we have developed, we're working on the development together. I don't know, maybe some of you would know it. It's called TIGLA, MOKEM. It's an old ceramic company in the Netherlands, quite famous.  So we are making natural glazes from the crops. So it's really interesting because it's a Japanese tradition and we hope that we have the collection ready next year. So then the farmers are really motivated also to produce more of these crops. I think I'm nearly to the end. Questions? We have time. Oh, okay. So we have time for a couple of questions from the audience before we head back upstairs for the book signing, and we are going to ask that you use a microphone. So if you have a question for Claudia, please just raise your hand and I will run the mic to you. What's the most difficult color to get from nature? Sorry? What's the most difficult color to get from nature? The color. Difficult, hardest. The matter. The matter is quite difficult because it's so explicit. I mean, you can make a, you saw the palette of reds, but really the intense matter, it's quite complex and also desolates that color of that root because it was in there for five years and that's really, really very difficult. Thank you. That was fabulous. Thank you. I want to know, can you say more about how you tap into the tacit knowledge? How do you record it? Do you have protocols?   I mean, it's also very personal. So how do you transfer knowledge and how do you define, how do you articulate? I mean, how do we store that knowledge? So sometimes we learn from elderly people or from people with a different background. Sometimes we learn from students, I mean, we had students from India, it's in their DNA. I mean, they have a different perspective of how to make colors. I mean, I think they heard from parents and grandparents in their tradition. I mean, when they said together, I mean, they share stories. So when we, once we had a student from India and she was working on a color and she went out with a pot and in the sun and out and you know, we had no clue. I mean, but after, I think, two weeks, she made this incredibly color. I mean, you could describe, we have no words for that, even defining a color in a language is even also difficult. But so we said to her, I mean, can we make it repetitive? I mean, that's also interesting. I mean, we have to, yeah, we should be able to redo it again with a new crop. So always finding ways to, yeah, to archive experiences. That's very personal. It's really complex. When we read now also recipes from the 15th century, you cannot repeat it. It's very complex because there is a lot of information missing. And this is the essence of developing a program of that missing information because it's a personal, you know, expertise or I mean, or luck or a crop in the year, you know. So, yeah, to get a finger on it is really complex. Yeah. Do you know about the making a knowing project at Columbia, which is doing that very same thing with knowledge from 15th century? I heard about it, yeah. Yeah, I heard about it. Yeah, it's really hard to record it and archive it. Yeah. Yeah. Yeah, it's interesting to connect to that too. Yeah. Any other questions? I had a question just about the volume of the production that you're doing because your pieces are extremely large and obviously you're talking about the difficulty of matching color and how many batch, dye batches are you making of a single thing that you're obviously achieving a match and it just seems, obviously you're saying it's hard and it seems incredibly astounding that you can do that and the kind of difference of serendipity of when you see something that is really successful in working saying, oh, wow, we're going in a new direction because of this, but can we replicate in scale? So, if you could talk about the volume of your scale. It's an interesting question because when we start working in a small dye lab, we had this, you know, how do you say this, really not too large pots and then for the project for the library of Amsterdam, we had developed tailor-made really huge dye bath, like you could say semi-industrial, but putting more material in the dye bath, I mean, when you have a recipe and you scale up, I mean, with factor, I don't know, a thousand, it doesn't specifically mean that you get the same color, so that's what we developed. So, we did that, but the color was completely different. So, then we scaled back again the batches of 100 grams because I think you have some kind of control on it too because this really huge dye bath where you could put, I mean, 30 or 40 kilos of material in, it was difficult to, how do you say, to control because it would go to the bottom, it would burn a bit, I mean, so it didn't mean, I mean, more or bigger but it was not specifically more effective. So, now we work with, you know, small portions and that works really best. I mean, there's a lot of time too, but the quality of the material is more effective at the end. But since we have, I mean, the whole process is in the studio, so people are very often surprised about our lead times. For U-Pen at work, it took us only, I think, a few months making it because the dyes can work today and I mean, the crops have been harvested. I mean, we don't have to wait for suppliers. I mean, we're completely independent so that makes that the lead time is relatively short. Do you have a breeding program for your sheep? Yes, there is. You said there were so few still in existence. Yeah, but the difficulty of the Netherlands is that we are really small.  So, we have to maintain the quantity because the heat land is very rare.  It's tiny. So, the essence is that we keep the breeds really, you know, healthy and that, yeah, that it exists and that it maintains. I was just asking because of climate change, how it's affecting your plants from year to year. Yeah, the farm, I mean, we work on a biodynamic, how do you say, ground. So, we have rotation systems. So, until now, the vitality is still really good and we are, I mean, we didn't have these really dry summers and these really cold winters. I mean, I think it's changing also in the Netherlands now, but for now, I think we're really good. But for future, I don't know, but I think we have to experiment with it too and then we have to adjust, I think, some of the crops to the new climate, yeah. I'm just wondering about your team and how diverse it is in terms of scientists and, you know, naturalists and people. It just seems like it's so, it must be very large. I'm curious how you develop your team. That's very different. And we have designers. We have sometimes architects. We have writers. It's very diverse, not specifically trained as a textile artist, but more people who are, yeah, very interested to connect to the practice of the studio. We have farmers, but we have also some social workers because we have also a social program. We developed in 2014. We have a group of young children working on the farm doing art programs, so we have also a social aspect to the studio. It's very holistic, you can say. So, but more and more, unfortunately, there are more and more people on publicity branding and marketing than in the workshop because, yeah, that changes too. I mean, when I started working with my material, I mean, people expect more. I mean, we really have a concept. I mean, the clients they want to see, I mean, virtualized in the space. I mean, it's also due to a lack of imagination, I think sometimes. So, it's been hard also to, I mean, it's difficult to be changed, I think, in that sense. So, it's very narrative what we do. You have to sell it, you have to say, this is like a wine. You have to value the color. In 2017, the wealth was more, you know, greenish. 2018, you have, it has a different tone. So, you have to, you know, educate also people. We have time for one or two more questions. I wanted to ask about your normal day and what that looks like. Like, when are you on a farm? When are you making artwork? When are you researching and reading? When are you thinking and when are you, like, talking with other thinkers? 5.30, I'm up. One of the fantastic things is working in this, you know, rural setting is no shops, shops, nothing. I mean, so, we are completely focused on the work. So, it's really effective too. But I admit that I very often work in the weekend when I'm alone. And then, I mean, I still make these artworks. I mean, the handwriting, that's still my contribution to the artwork. All the processes before, like the cardings and the spinnings and all these processes. I mean, that's a teamwork. It's a community work, you could say. But I still have, I mean, I love to work in the workshops. I mean, seeing, developing colors and also giving a feedback on it or when we work on a project, working with a team of designers. So, yeah, it's very collaborative. But I have my evenings and my weekends when I close myself up and just, you know, need time to reflect and to work alone in the workshop. It's very full with a lot of activities too. But also, you could say more and more focused because I think it's interesting because for, yeah, for my harem, we have developed, connected to the project, a fantastic range of, we call it the biodiversity rugs. They will be launched also in the fall. And also new color ranges and new color palettes have developed. More contemporary color palettes. What is a contemporary color? So it was also interesting to have dialogues about my team and also with you. I mean, how does a contemporary color look like? I mean, so it's interesting. It's very diverse. Workday is really very layered in practically hands-on work or reflecting with the team and, yeah, think of the new perspective. So, yeah, very, very different. Sometimes in the farm, bread baking too or helping out. But, yeah, also keeping a bit of a focus also especially for this project now. Hi, it was really fascinating. I'm really interested in the relationship between the tectonic wall, the actual wall and the textile art as the wall covering. Especially when you talk about site-specific textile art and you cover the modern architecture with very locally rooted artwork. Do you see something symbolic in that or what do you think about the relationship? I think one of the most, yeah, I would say complete works is when you are in a dialogue with the architect from the beginning of a project. So then you can really, yeah, it's not an application. I mean, very often it's an application in the building because I think 80% of the projects are about, you know, for example, we do a lot of hospital work in the Netherlands, concert institutions and very often in these kind of spaces or environments. I mean, people feel that they're really cold or inhuman or using the materials not really appropriate for these spaces. I mean, a building like a space where you have to wait before treatment. I mean, how does it look like? So very often after a building has been constructed or after people have been using a building, they come to us and say, I mean, can you do something about the atmosphere or the acoustics? So I can say these are not the best examples of my work. But we do our best and try not to make a big impact also, I mean, on the architecture because it's already existing. So we work really well when you have all the materials of the architecture, the philosophy of the architecture, the briefing of a building or even, you know, yeah, especially for example when you have a work in that library at Penn. I mean, it's also about education. I mean, so the work should breathe out or even, I mean, that's students who come there, that they are curious and that they ask questions about the work. It's also very interactive in a sense. So it depends very much also on the different, you know, buildings. So hospital work or restaurant, I mean, it's also about, you know, making a space very appealing and I don't mean that in a luxurious way, but also about the curiosity, I think. Where do the colors come from? What is the story behind it? And you want to, I think it's interesting that people are, yeah, questioning themselves and also because these colors or materials are not naturally in our environment anymore. So making an impact on a small way in the building. Thank you, Claudia and thank you everyone for joining us this evening. We welcome you all to continue the conversation upstairs in the Great Hall over a glass of wine. Claudia will be signing copies of her new book, which are also available in the shop.


I wish I could find a statistic on how much time is actually wasted in meetings. I work with some elite-level companies now and I'm shocked at how much dysfunction they have, that they don't necessarily have clear roles on their team and that their meetings are chaos. And that's a lot of stuff I just took for granted being around, you know, coaches that really understood, you know, how to create a winning type culture. So I'm thankful for an opportunity to be able to share these kind of nuggets with those groups. There's just too many meetings in general. I mean, some people hold meetings to plan the next meeting and it's like there has to be something more efficient than we can be doing and, you know, I pull a page out of my basketball playbook, you know, a coach at the beginning of a game is only given a finite number of timeouts and those timeouts are briefed by design, either 30 or 90 seconds. So they don't have the luxury of calling a timeout whenever they want or holding a meeting with the team whenever they feel like it. And I think businesses should follow a similar model, like, hey, don't pretend we can have meetings whenever we want.


It's a great day for football in this lovely stadium. Martin Tyler here, along with Alan Smith. Premier League football is coming right up for you. It's Liverpool against Manchester United. Yeah, thanks, Martin. I think both teams here are going to be positive. They are set up to attack, so I'm expecting a few goals here today. I don't want to put the muckers on, but I am expecting a few. This is the Liverpool side. In goal is Allison. Virginia, Wynaldum starts with Jordan Henderson in midfield. And they're going to go with one striker up front. This is, then, the Manchester United line-up. David Dehaer starts in goal. Harry Maguire starts alongside Victor. Hit it well! I'm not sure how he reached it, but he did and kept the ball out brilliant. That's why this is one of the top keepers in the world. Corner swung in. Off the bar, back into play. Well, I might nickname him Lucky after this. The frame of the goal came to his rescue. And then in the end, what might have been a chance, he's got the ball, the keeper. Yeah, he'll argue he had his angles covered with that first one and the second one. No problem for him. Bruno Fernandez. Well, a couple of star names that we're looking at today. What do you think, Alan? Well, two excellent attacking players. We are treated to seeing. I'm really enjoying good seasons, and I'm expecting a bit more of the same today. Please pass him behind. An excellent chance. More than matched by the goalkeeper, the situation. Great agility, great reflexes there and denying the opposition and the knockdowns as well. The referee has acknowledged the flag from his assistant and given the offside. Aaron Wan-Besacken. Greenwood. Bruno Fernandez. Now Anthony Masial. Still with Manchester United. Trying to work a midfield opening here. Oh, miss Q. It's a very nice night in this part of the world. Welcome to you, big welcome. Nice to have you with us. Martin Tyler here, along with Alan Smith. Premier League football for you, very shortly. It's Liverpool against Manchester United. Yeah, thanks, Martin. Well, we've got a couple of teams here that their strengths are attacking. No doubt about it. So I'm sure they'll be going at each other very quickly. This is the Liverpool side. Trent Alexander-Arnold plays alongside Andrew Robertson at the back. Sadio Mane starts with Mohamed Salah and Roberto Firmino is the one striker. Good finish and what a good ball for him. Liverpool have the lead here. Under some pressure. Bruno Fernandez.