The Niger Delta Development Commission has laid a total of 2.2 trillion Naira budgets before the House of Representatives on Thursday. The budget will cover the year 2021, 2022 and 2023 to take care of years that the Commission operated without a board. Before laying down the budget before the committee, its chairman, Honourable Tungio Jo, reminded the managing director and members of the board present that it is the desire of the committee that whatever budget is presented must be debt that takes the general interest of the people of the region into consideration. The role of NDDC is not just to provide Sukho, but the role of NDDC is to provide sustainability, to provide development and to reshape the destiny of the Niger Delta region. I sincerely hope and I pray because this is your first budget as a board that under this board you will go back, update your Niger Delta Development Plan and implement critical projects that will add value to the lives of our people. The people of Niger Delta, they are in need of hope, renewed hope. In response, the managing director of C of the Commission acknowledged the cooperation received from the committee since the new management took over despite making lots of distinctional situations which have since been corrected. Capital expenditure performance, greater portion of Commission's available financial resources were directed to completion of critical infrastructure under emergency gravitation of railroads in the Niger Delta and clearing of waterways in ecological sector. In view of this, a total of 129 billion was paid on the preventive projects programs in the fiscal year which elapsed March 31st 2021, putting the performance at 32%. That was established to bring Sukho to the people of the region and we expect nothing short of that. So we have told them this is a budget of renewed hope. It has to bring back hope for the people of the region. So we want to see viable projects. We don't want to see monkey box projects. We want to see viable projects that we as a people can be proud of. We want to see regional projects. We want to see fantastic projects. We as a people of Niger Delta must do things right and I think they've heard that very clearly from us but as lawmakers, we will not fail in our oversight. We'll make sure they must be accountable for every last penny and the money must work for the people of the region. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


So Yong say what is service design for you? Okay, so my service service design definition is rather kind of a Strict The service is a human activity Okay, so the human activity design is service design but that activity in turn is represented okay by the These activity elements for example who are the actors of that activity and then activity involves a what kind of an object and What kind of a tools and what are the activity itself action girl? Okay, so this comes from activity theory on top of that the what context is About activity for example the context of activity There are the goal context Relevant structure context physical context and psychological context so activity design involves all these activity elements of design and That way that you can talk about the what are the delivery format? What are the actual the delivery scene who are involved and what kind of a tools are involved? so the designing of these whole related things, but I Want to make sure that service design is activity design So product services system product part and activity part kinds of a come together It provides the value. So that is my definition of activity service design So this video is just one piece of the puzzle Make sure you check out some of the other videos to get the full picture And if you'd like to learn how to explain service design in plain English without confusing people Check out the free course that I've got for you over here And if you haven't already make sure to subscribe to the channels we can keep bringing you more videos like this Thanks so much for watching and I look forward to seeing the next video


I think in five years you will begin to see the collapse of fiat. Do you do any kind of research before? Obviously. The political campaign and you running for president, are you going to take any actions with it? Obviously. I couldn't be, but no one's going to let me president, please God. Do you have any assumption about the Bitcoin price? Obviously. So, while the price is going down, who cares, it's a temporary issue. I don't know if it's going to pop, but I can tell you it's going to pop. Tell us the story of you getting into the crypto world. When was that? Why was that? I got into it in 2011 by peer pressure of my friends and past employees. It literally forced me to read Nassatochi's white paper, and when I had done that, I saw immediately the beauty and the power of the mathematics, and I saw that this was potentially world changing. And it just turned out to be, and I hope that the world changes in the appropriate direction because we're sort of at a cusp. It can go both ways. It can go either to the side of totalitarianism or to the side of complete personal freedom, and I'm lobbying for the second option. How would that go with the first option, totalitarianism? Totalitarianism is that we, as a community, buy into the government's demands that they control cryptocurrency, or that they make their own cryptocurrency and insist that that is the only one that we use, whereas they have no real power to stop us from doing what we want. My fear is that we will fall into the same old habit of being sheep, not wanting to be outlaws or revolutionaries, not wanting to take risk, and that we will accept what the government's proposed. And then it's all over. And how can we prevent that? By understanding, by information, by education, by self-awareness. At three o'clock, this is what I will be talking about. You've got a big platform on Twitter. How many followers? 850,000. So you've decided to promote cryptocurrencies, right? Well, I've decided to promote. I tell people what I believe, what I'm doing, and what I believe in. Things like the medical currencies, like DACA-DEMI. I mean, health is certainly everyone's primary concern when we're not healthy, right? It's a very important part of our lives. And to have products like DACA-DEMI's cool emotions, which even moves it into the area of psychology, let's assume that a tragedy befalls us, and we're about to jump off of a bridge. You have the option of pulling out your phone. They have applications that are working right now, pressing the button, saying cool emotions, and a psychologist appears. It says, what's your problem?  Why don't you step down from the bridge and let's talk about it? That's power. It's free, for the first one, at least, that will save so many lives. Will it not? Or on the medical side, you fall down the stairs. You think you broke your arm. You push the other button. The doctor says, well, show me your arm. And he goes, no, you probably just sprained it. If it still hurts you tomorrow, if it spells up, go to a doctor. That's power. So you should understand that with the platform as big as yours, you have a lot of influence on price of any particular currency on people. So my question is, do you do any kind of research before posting? Obviously, because these are the things that I'm interested in. These are the things that I wish to have my company invest in themselves. So sure, of course I do. I don't go around just nearly willing of posting things. I have a preference for privacy coins. That's just my personal preference. But there's a reason for it. Many people do not know that if you use Bitcoin or Ethereum, let's say you and I have a transaction. I need your wallet address, nor does the sender. You receive my wallet address in the transaction. Forever after, I can look in your wallet and see how much money you have, where it goes, and what comes in. Now, if people would look into your bank account the same way, you would not be happy. And yet this is the reality. With privacy coins, that's not possible. No one can look in you and I can have a transaction. The only thing you know is that you did receive the Bitcoin or you did receive the cryptocurrency and that I did send it. And that's all we need to know. So obviously, I would like a world a little more private than what we have now in crypto. So they say, why are you promoting privacy coins? Well, you would too if you truly understood the problem with the current coins.  And when I get 500 people in a few days recommending that I look at something, I'll look at it. Do an analysis and if I like it, I'll talk about it. How do you do an analysis? My company has an audit division that actually audits companies. We look at the website, look at the founders, we check out the founders to make sure they're valid, that they are who they say they are, that they haven't been in legal problems, that they haven't scammed people before. We look at their project, their product, and say, is it a good one? Is it even doable? If it's doable, can these people do it? So we do a full audit. You've had a thread on Twitter about the exchange hip agency. Can you elaborate on what? Well, again, when a large number of people are all saying the same thing, and they will say it to me, obviously, because my people that read the tweets or read the DMs and emails listen and come to me, if we get 2,000 people complaining about the same company, then suddenly we start checking it out. Because you can complain about somebody, but it could be groundless.  Can you give us proof? And yes, they've been stealing, or not outright stealing, but stealing in very subtle ways, keeping your money for six months. What are they doing with it during that time? Charging and exorbitant fees to get your money back. So no, they're not a good company. I'm sorry. Did somebody from HBC try to contact you into? No, of course not. No, that's typical of companies that are scamming people, because if they contact me, I'm gonna say, hey, look at this, explain it. Well, they don't want to explain it. Are you going to take any actions with it? Listen, I think they've lost so much business, they will just disappear on their own. Okay. Is there any other exchange that we need to look up to, or be careful about? Do you say you receive complaints? We do, we do. Until we can absolutely verify the validity of complaints, I don't want to say anything. Okay, fair enough. Where do you stand on centralized versus decentralized exchanges? Decentralized, obviously, because we have to have them in order to totally free ourselves from potential government control.  With decentralized exchanges, no one can do anything. What do you do when 10 million people are all participating in this exchange, not even aware that it's happening, it's in the background on their smartphones, or their laptops, or their desktops. You cannot shut that down. And then, we will have ultimate power. So, the political campaign, and you running for president at 2020, is this happening? Yes, of course. No, I ran in 2016, and it happens, okay? I ran on the libertarian platform as a libertarian. This time, I think I'll win it, but it doesn't even matter. The last time I still got the national stage, I was on the national debates for the libertarian party, and I got to say what I wanted to say. And last time, I was talking about lapses in cybersecurity. This time, I want to talk about personal freedom, and how cryptocurrency can help us achieve that.  Are you going to talk about it? That's all I want to talk about. See, I don't want to be president. I couldn't be, no one's going to let me president, please God. However, I've got the right to run, if I have enough support, and I definitely have enough support. So you're going to use the exposure that you have to talk about cryptocurrency? Yes, that I will legally have access to the national stage. Okay. I had enough support last time. I've got even more support this time, so I will have access to that stage. So you'll be talking about cryptocurrency as money, or as a way of freedom? As a way of freedom. Only privacy coins, or? No, it has nothing with privacy versus non-privacy. It has to do with the concept of us taking control of the financial systems that we live with. Right now, we have none. The financial systems are controlled by governments, the Fed, people in power. They get to choose how much money's in circulation at any time. They get to change interest rates. They can deflate or inflate. We're not free. If we have a permissionless transaction, government's not involved. Do you think it will happen? Because we've been saying that since the invention of Bitcoin. Well, that's because you're young and you're anxious, and you want things to happen immediately. So we're talking about the long term? You know, I think in five years' time, fiat will be on its last legs. It will disappear in five years. But it's a pretty short time. It's not because it's been happening for 15 years, all right? That's okay. Or it's been happening for 10 years already. No, it's not a long time. Not even a short time. I think in five years, you will begin to see the collapse of fiat. Collapse, meaning we're going to see it again? We're not using it anymore. For example, when the demand for a currency disappears, the currency disappears. I mean, the currency's value goes from whatever it is to zero. That's what I mean by collapse. So we've recently celebrated the 10 years of Bitcoin. Of Bitcoin, right. What would you say about the state of the industry? Are you happy with where it's going? Because it's been 10 years already. Well, when you say the industry, that's a very broad statement. The Bitcoin industry. Well, as a Bitcoin industry, see people are always thinking that there is a Bitcoin incorporated. Or, you know, I know what you're talking about. Okay, number one, I don't think that Bitcoin will be the number one player in the field of cryptocurrency. Number one, it's not private. When people understand that it's not, they will start to migrate. Number two, it's not a Bitcoin industry. And it's not, it's a cryptocurrency industry of which Bitcoin is simply a moving part. What do exchanges do?  It's simply one cog in a very massive wheel, which is dependent upon all the other cryptocurrencies. So, as this becomes more and more apparent, Bitcoin as the name for what we're doing will simply be one of the coins in the crypto industry. That was my question actually, because back then it was called the Bitcoin industry. That's right, but it's really the crypto industry. That's the more proper term. You've mentioned that it's not going to be the first one. Are you talking about any particular cryptocurrency in the market or just... We can't predict that. Something may crop up six months now, which is the end all to end all. As we go, that's it. That's what we're all looking for. But it doesn't have to be one. There doesn't have to be one currency. There can be a thousand cryptocurrencies that we all use in exchange. And why? Because some people prefer this over that, speed of transactions. Some prefer low transaction costs. Some people will prefer the functional features of things like Dockademic, where I've got the coins and maybe I'm trading them, but gee, I think I broke my arm and I'm going to put a couple in the slot and call a doctor, right? So, and many of us may use a dozen or more, or all of them. Wallets in the future will support every currency, I believe. And so we don't have to think or worry about, oh my God, this versus that.  And they'll go, you know what? The best coin for buying ice cream is the ice cream coin, or whatever. And it will do the exchanges for you and you will be completely oblivious. All you'll know is you have a crypto wallet and it makes all your decisions for you. First of all, how do you make your assumption about the price? And the second one, do you have any assumption about the Bitcoin price yet? The Bitcoin, I have definitely made an assumption about the Bitcoin price. So how do you make a decision on price? It's very simple. I mean, I'm a mathematician. As you run the numbers, the number of people using Bitcoin and the number of transactions, it's escalating tremendously. That's the true value. So while the price is going down, who cares? It's a temporary issue created by artificial pressures. So the true value is going to eventually be based upon usage. And if you track the usage curve, a million dollars by the end of 2020 is conservative. And simultaneously, keep in mind, all right, as more and more people use cryptocurrencies, they flee fiat currencies, which devalues them. So keep in mind, a million dollars in 2020 may not be a million dollars in today's dollars. And so while Bitcoin is rising, the dollar is deflating. So a million dollars in the end of 2020 may only buy you a toothpick. I'm not sure, okay? I hope we won't get to that. Okay, so, and the last question is like, you said million dollars. Is this going to be just the jump or is it a permanent price? Because it was the only one. I have no clue. I don't know when it's going to come. But listen, if you apply enough pressure, like if you're blowing up a balloon and you keep on pumping air in, I don't know when it's going to pop, but I can tell you it's going to pop. Coin Telegraph, like, subscribe, and hodl.


Okay, this is James P. Madonna of Megalife21. I am doing this video for my very large, fast-growing Facebook group called Holistic Health Talk, and for the internet. This is how you can make, write it home, homemade cream of whole grain hot cereal. Okay, you can use any grain you want. In this case, I will be using Bob's Red Mill Organic Camout. It says here the traditional grain of Egypt. Okay. And there it's got Egypt blackened out, Bob's Red Mill. Of course, you can use anything, but try to use organic. I do, I usually do this with brown rice, or I also have a bag of Bob's Red Mill Organic spelt, which is originally from Germany, but whatever you like. Take the bag, alright, and you cut it open, of course, and pour it into a fine mesh bag. The whole thing, as you can see, it's long, like very large thick rice, and actually it's shaped like spelt and oats, too, in elongated shape, but this one is darker brown than oats and spelt. From what I understand, Camout is an ancient type of wheat. It is older than the wheat grain, and it's related to wheat, but a more ancient grain. Alright, let me get it all. Now, what I'm going to do here is I am going to rinse it very well. I do this with all the grains, even brown rice, before I cook it. Alright, so what I'm going to do is I'm just going to let it flow into the counter, and the water will continue to overflow until the Camout is completely washed. Instead of me standing here holding the counter, I find this easier. Try not to put the water pressure too high so you don't lose any grains, and that's pretty much it. It's just going to start overflowing, you know, lower the water, and it will wash eventually. After it's washed, I'm going to dry toast it in a stainless steel pot, okay, and that will be the next step. So I'm going to take a break now in the video. Okay, the Bob's Red Mill Organic Camout is rinsing out really well. I have it on full blast of water, and the stainless steel bowl with a fine mesh calendar, and I'm not losing any grains. So the next step would be dry roasting in a medium-sized to large stainless steel pot. I always wash my grains very well, even if they're organic. Okay, this is part three of how to make your own homemade whole grain hot cereal, cream of hot cereal. And what you do is you pour the washed whole grain, in this case it's Bob's Red Mill Organic Camout, which is an ancient version of wheat. Okay, in this case I'm pouring it into a medium-sized stainless steel pot with the flame on low. All right, there's one of my two wonderful six quart Presto stainless steel pressure cookers. I have two of them, all right. So what I'm going to do is I'm going to keep on stirring this until it gets pan toasted. When it's roasted really completely, then I'm going to let it cool down and grind it into a farina-like texture in the blender. Okay, now I'm finishing up the dry pan roasting of the Bob's Red Mill Organic Camout, getting it ready for the grinding into a fine farina-like texture in the blender, later on after it cools down. Keep on stirring it every once in a while. You hear the sizzle? That's the water evaporating from the heat. Okay, don't put it on high though. Keep it on a low flame, low to low-medium, all right. I can't stand electric stoves, it's a good thing I have a gas one here. You just stir it every once in a while, so the roasting is even. You want to really roast it well done without burning it. There's no oil in here, nothing, so you want to keep on stirring it and cooking it, try toasting it until all the water evaporates, and until it actually gets toasted to be a very dark brown. All right, I'm just going to leave it there, and then after this, we will grind it in the blender, of course after it cools down. Okay, it is done. The organic camout is done, it's all finished, dry roasting in a stainless steel pan. I turned off the flame, I'm going to let it cool down before I grind it in the blender or if you have a ninja or a food processor, whatever you have, usually a good blender with a strong motor is good enough to convert the whole grain into a hot cereal, a cream of whatever, it's going to be a very fine grind, and as you can see, the camout is well done, like I said before, dark brown, all toasted, and I'll just let it cool down before I grind it. Okay, here's the last step, grinding the very well done dry toasted Bob's Red Mill Organic Camout, it can be any grain you want, doesn't matter, I'm just using this camout as an example, very well done, dry roasted, and I'm going to grind it into a farina like texture, so it becomes cream of camout, so what I'm doing now, pouring in the grain, okay, there's still a little condensation left on the bottom of the pot, that's strange. Well it was a lot, I did the whole bag, cover it up and put it on, let's see, I guess I'm going to try it on grind, okay, you get the idea, instead of boring you with the whole entire process, I keep on moving it around, I take the blender out, the glass container and I shake it, so whatever grain is left on top will get ground up, and that's it, then I pour it in a large ziplock bag or plastic container, there is your ready to go organic whole grain hot cereal, in this case cream of camout, organic, Bob's Red Mill, okay this is James P. Madonna, just saying hi to two of his five Facebook groups, which this video will appear on, everything is food and holistic health talk, and I owe a lot of thanks in regards to this recipe to my good friend and macrobiotic expert from San Francisco California, Mr. Dan E. Mount, bye bye.


It was a really busy weekend. I actually had my meetup with all my subscribers here in Tucson this weekend. It was amazing. We had such a fantastic time. I made a big post on my Facebook group about it. So definitely if you're not in my Facebook group, join us. That's typically where you can keep up with me a little bit more day to day. But it was a busy, busy, kind of hectic weekend. And then last night I actually went to dinner with my boot camp group for one of the girls birthday. So it's been a whirlwind. So I'm tired. This is the first day in a long time that I haven't wanted to get up at 4am to go to boot camp. But here I am. Here I am in the car going to boot camp. I'm going to make sure that I am in bed early tonight to get a little bit caught up on sleep. I've been going to bed pretty late, nine o'clock, 10 o'clock. That's late for me. Normally I'm in bed by eight. So I'm going to get some... I'm going to get caught up on sleep tonight. For sure that is my plan. I also have a very busy day today. I have coaching calls. I'm going to lunch with a friend. I'm going to take you guys with me throughout the whole day today. I need to make a run to the post office, the UPS store, maybe the women's shelter to drop off some clothing. I'm going to do a quick kind of go through of my closet. I have about a half a bag of clothes between Troy and I to donate. So I want to do that. Today I have laundry to do. It's going to be a busy day, but we've got some really good food today. A yummy dinner recipe. So I'm excited to take you guys with me. I did make my protein coffee this morning. I drink about half of it. I'll finish that when I get home and then we will have some breakfast. So off to boot camp I go. I'm hoping I can make it through this workout. I really have been trying to push myself at boot camp. I'm just a little extra tired today, but my thought is if I'm getting up at 4 a.m. I'm going to kill it at boot camp. So let's do it. I am home from boot camp. I just finished my protein coffee and I am so hungry. So I'm going to make a spin on avocado toast. So I'm going to use the Western bagel. This is the alternative bagel in plain. I really like these. They have fiber, they have protein. It's 120 calories. It has seven grams of protein and 10 grams of fiber. It's my last one of the plain. I bought a whole slew of the alternative bagels. If you order from Western bagel, make sure you get the alternative. Those are going to be the lower calorie, lower point option. So I'm going to get the, I'm going to have the last one of these and go get another bag from the garage fridge and put it in my bread box. And then I'm going to put some avocado on there. Some everything but the bagel seasoning. One egg. I'm just going to cook that in my little microwave egg cooker. And then I have some fruit. I have a mix of apples, blueberries, strawberries and raspberries. So I'm going to weigh out about 100 grams of the fruit and that's going to be breakfast. So here is my breakfast. Oh my gosh, this looks amazing. I have 100 grams of the berry mixture. One of those Western bagels, one egg and 30 grams of avocado. This looks incredible. So this is going to be my protein-packed, fiber-filled, healthy carb breakfast. I was just cleaning up and organizing my office before I head into my closet to get together those clothes to take to the women's shelter. I'm heading to lunch with my girlfriend here shortly and my new heater that I just got from my office came in. You guys, I'm really excited about this. I wanted a heater that was not only effective, but it had to be completely silent because I film in here, I do coaching calls in here, so I can't have the background noise of a heater. And I also wanted one that was safe for my dogs. You know that they spend a lot of time in my office. So I wanted to make sure that I had a silent, safe heater that was small and portable and compact. I don't have a lot of space in my office. So I wanted to make sure that whatever I got was something that wouldn't take up a lot of space for storage and for function. And of course, I can easily tote it around my house wherever I may need some extra heat. I have the Suncoast Heater and wait until you guys see this. This is completely innovative. Something new to the market, something that is not only aesthetically beautiful, but it's extremely functional, zero noise and zero light. It has extremely fast heating speed. In fact, it only takes three seconds to reach its specified temperature. There's P1, P2 and P3, 750 Watts. P2 is 1,050 Watts and P3 is 1500 Watts. So depending on the speed and the amount of heat that you want, you'll adjust it either with the remote, the app or directly on the fan. Far infrared heating on a large area. There's no light, no wind and no sound. For me, I like having it in my office because again, there's no sound and there's no light to interfere with filming and coaching calls. I also love that there's no fan. So it doesn't blow dust around. It doesn't blow your hair. It keeps your skin hydrated and comfortable like unlike a lot of heaters that will dry out your skin and our skin already dries out a lot in the winter months. There's an app and voice control and it's actually compatible and Suncoast is compatible with your Alexa. The front net of the heater and the back cloth are made of aramid fiber used in aviation which can prevent scalding and better protection for elderly children and your pets. I love that it has a really nice quality leather carry handle. It only weighs seven pounds. So it's extremely easy to move around your house and but honestly, my favorite features about it are the fact that it can be controlled by remote or app. It also has three different heat settings, no noise, no light and no wind. That is something that I've never seen in a heater before. So as soon as I saw the Suncoast, I knew that that was going to be the perfect one for my office. Now, you know, I live in a warm climate but we get chilly here in the winter and my office is honestly the coolest part, the coolest room in the house. So that is where I plan on keeping my Suncoast heater. You can pick this up right off of Amazon. I'll link it down below with the link. Any discount codes and any discount information, it'll all be linked down below for you. But I highly, highly recommend the Suncoast heater. It is going to keep me nice and toasty warm this winter. Conor, do you want a special bow? Do you? Do you have a bow? Do you want a special bow? Special bow? Okay, come on. I know, let's go. Mommy's going to stop working for a minute and get you a special bow. Get the go, go, go. Go, go, go, go. So right now we have these smart bones. We kind of go back and forth between these ones and the ones wrapped in chicken. I buy them on Amazon so I'll link them for you. There you go, little turd. There you go. So I've been getting a lot of questions on my cold brew. I share it a lot in my what I eat in the days but I haven't showed you recently how I make it. I'm getting questions on how much grinds do you use? What cold brew do you use? So I actually just finished up my cold brew so I'm going to make a fresh batch so I'm taking advantage of that to show you guys how I make my cold brew. So I actually use the large 64 ounce cold brew off of Amazon. It's a little pitcher. It has a lid. It comes with the funnel for the cold brew. I'll link it down below for you. I used a metal funnel. I bought these off of Timu. You can use any funnel. This is going to just help you control the grinds as it goes in to the filter. And then for cold brew I only use Dreg Up. I talk about this a lot. I tried so many different cold brews. Grinds, the ones you buy in the store. I hated all of them until I discovered Dreg Up. And I love, love, love it. I just finished my third or fourth bag. So this is a brand new bag and this is the cookies and cream. All of their flavors are so good. The coffee isn't bitter at all and then the flavor just is on the light end so you can put your favorite creamer in there but you can drink it black as well because you do get a little bit of that flavor and it's just this natural subtle flavor. It's so good. So I've never tried the cookies and cream. I am so, so excited. So let me bring you down and I'll show you exactly how I make my cold brew. This smells incredible by the way. I smell cookies. I smell cream. So you go ahead and put the funnel in the cold brew pitcher and then I add my metal funnel as well. Now I do one cup of grinds for the 64 ounce pitcher. So I go ahead and just measure out my cup and then I just dump it slowly into the funnel and then it goes into that mesh funnel that's part of the cold brew pitcher. I just find that this keeps it a little cleaner. I always am spilling grinds and I don't want to waste any cold brew. So using this funnel just really helps not waste any of the grinds. I will also link this little three pack of funnels from Timu. So now we've got the grinds in the cold brew jar. So then I just fill it completely full with water. I fill it all the way full and then pop on your lid and then close it. Here's what it looks like and you're actually going to set it out on the counter for 24 hours. Do not put it in the fridge once the 24 hours has passed. Then I empty the grinds into the garbage and then put it into the refrigerator. When I go to drink it, I'll fill my glass a little over half full with cold brew and then like I said you can add your favorite creamer right now. I'm using the zero sugar peppermint mocha. I love this. You guys know that I always stock up on this during the holidays. Top it with some ice. It's so good. It's so smooth and it has this rich coffee flavor and then you get the subtle notes of whatever flavor cold brew you use. This combination amazing. I will make sure that I link drag up and my cold brew pitcher as well as the little funnel set from Timu down below for you. So I'm going to have a yogurt bowl as a quick snack. I have a couple hours before I'm meeting my friend Melissa for lunch. So I made a pretty simple bowl. I have the chobani. Let me flip it. There we go. Zero sugar in blueberry and I added that to the bottom. Again, I have that fruit. This was left over from my meetup. So I did a hundred grams of fruit. I did 10 grams of granola. This is the, oh, this is the apple one from Kroger from fries. They're seasonal apple. And then I bought this blueberry white balsamic vinegar in two back during my meetup. And the girl said that any of the fruity vinegars are really good drizzled on a yogurt bowl and she is right. It is so good. It adds a tang and a little bit of sweetness. So I have 10 grams. You can see it drizzled right on top. So that's going to be my morning snack. All right. I'm in the car. It is just before 12. I'm running a few errands before I meet my friend, Melissa for lunch. Alrighty. First stop is the post office after mail appeal and a package. Next stop, the donation to Daisy's. Such a great cause. If you can find a women's shelter in your area to donate at least clothings to, it's just a better option than Goodwill. We take our household stuff to Goodwill, but this is perfect because battered women have the option to get affordable clothing and sometimes even free clothing. I actually donated a pair of Michael Kors boots. I've had them for so many years. My mom actually bought them for me when I lived in Washington and they're kind of like a rain style boot and we don't really get rain here.  So I donated those. A lot of the clothes that I get sent in PR, if I don't like them, I donate them. I also like to go through my closet about every six months and clean it out. If I haven't worn it in that season. So what I did is went through and got rid of all the summer clothes that I didn't wear the entire summer because clearly they're not things that I reach for. And then after fall and winter, I do the same thing. And then I also tell myself, if I'm going to get a new clothing item, then something has to go. So one in and one out. All right, last stop before lunch is the UPS store. I just have a quick little Amazon return. So change of plans. The bistro that we were going to go to is no longer. It's actually now a pizza place. So I've been here a couple times with my in-laws. It's actually in a Best Western hotel. It's the 19th whole bar in Gros and it's super delicious. So I'm going to do the Santa Rita chicken without the Chipotle mayo because I have a feeling it's going to be spicy, but it sounds amazing. And I think it comes with fries. So I'll probably bring leftovers home to Troy. I think you should, I think you should stay up with your neighbor. Yeah. I am done with lunch. We were there for two hours. I showed you what I got. So I got this chicken sandwich and fries. I ended up eating half of the chicken sandwich and maybe five or six French fries, which was so good, but it was so filling because it was a big breast of chicken. It was cooked really, really well. Good seasoning, nice and juicy lettuce, tomato, onions, and pepper jack cheese on it. And then this really good mayo. It was just really, really filling. So I actually have the other half of my sandwich and my fries for Troy. And that way he can eat that when I get home. That's one of my tips when eating out is cut your meal in half, cut your sandwich in half, cut your burger in half, put half of your fries away, ask for a to-go box right out of the gate, put it in the to-go box because it's unlikely that you're going to reach into the to-go box for food. Just eat what's on your plate.  So that's exactly what I did. So it's already 3.30 p.m. So I'm not going to have an afternoon snack since I'll be eating dinner here in the next couple of hours.  I have a little bit of computer work to do. I definitely need to refill my water and I'll be back for dinner. So for dinner tonight, I'm going to make a pizza. I actually got these flat-out crusts from nettrition and I just threw them in the freezer. I do that a lot so that I can just take out one as I need it. The entire pizza crust is only 130 calories and there's five grams of protein and you get five crusts. These are really, really good size. They actually remind me of a flat bread. I'll link nettrition down below with 10% off. That's where I bought it. You guys already know that's where I buy my fiber gourmet. I love nettrition. I'm going to use some of the Trader Joe's light shredded mozzarella. I have some turkey pepperoni and some pizza sauce. I have my oven warming up to 375 and I have to preheat my crust. It says here on the back, it says preheat your crust for two minutes, top it and then bake it again for four minutes. So I'm actually really excited about this new flat-out pizza crust. All right. Pizza is done and that was literally the easiest dinner I've made in a long time. I add a little bit of Italian seasoning on top. I did a serving of the pizza sauce, two servings of cheese, one serving of pepperoni and that Italian seasoning on that flat-out crust. I'm so excited to have these. You could do breakfast pizzas. The possibilities really are endless and for 130 calories, you can't beat it. So I'll put points, calories, macros here on the screen for you. So it is the end of the night and I'm going to actually have a protein bar for dessert. This will be my second protein supplement today. These are one of my favorites. I shared these in my recent favorites video. These are from the brand Fulfill. This is the Chocolate Peanut Caramel. 150 calories, 15 grams of protein, amazing, amazing, amazing macros and they are sweet. So they give you kind of a candy bar vibe. I've been buying these off of Amazon. It's way cheaper than buying them singly in store. So I just ordered two cases, one of which was this Peanut Caramel flavor. It gives me all the Snickers feels really, really good. So that's going to be my dessert. I'm putting me for today's What I Eat in a Day on www. I hope you enjoyed coming along with me today, seeing all the good food that I ate. You can eat out on a regular basis and still lose weight. That is one of my favorite things about macros and calories and just making it a really sustainable lifestyle, not a diet. I had a fantastic lunch date and don't forget tonight's dinner recipe is on my website. I'll put my website at the top of the description box along with nutrition coaching, links and discounts to everything I shared with you today and my other favorite things. And like I mentioned, come join our Facebook group. That's how you can keep up with me a little bit more day today. Thank you so much for watching friends and I'll see you in the next one. Bye.


After a woman gave birth to these twin boys, the nurse was confounded by their different looks. In most cases, we envision a set of twins to look similar, if not exactly alike. Perhaps that's what Danielle Wallace's nurse was expecting as she checked on the new mom's twin sons, Jeremiah and Elijah, just two days old in July of 2017. As she took off the newborn's hats though, the nurse realized the twins were not what she was used to. Rather than two babies who appeared to be brothers, she saw that Wallace's twins looked completely different from one another. Before she became a mom, Danielle Wallace had announced her pregnancy on Facebook on the day after Christmas, writing, We will be receiving two of our gifts July 2017. In another comment on the social media site, she had news that raising two babies would be fun. Wallace, who was 23 years old at the time, would be welcoming her twins alongside her fiance, Trey Turner. The Ashtabula, Ohio natives had a long history, they had attended the prom together in 2013 before they grew up and became parents four years later. Their family's story wouldn't veer into headline grabbing territory until Wallace gave birth to their twins in July of 2017. The pair decided to name the babies, both boys, after biblical prophets, Jeremiah Michael and Elijah Lee. Wallace recounted to Fox 8 the moment she realized how special her sons were. She said, The second day that we were in the hospital, one nurse came in and she's like, look at Jeremiah's fluffy curly hair. His fluffy curly blonde hair. Unlike, wait, what? The discovery was strange because Wallace's other son, Elijah, looked completely different. While his brother had golden locks and light skin, Elijah had kinky black curls and his mother's darker complexion. It was no sweat off the new mom's back, as Wallace noted, we all come in different shades and stuff, so it's okay. But there had to be a scientific explanation for the fact that the newborn brothers barely looked related, and there were several possibilities. For one thing, Elijah and Jeremiah were fraternal twins, which meant they grew from two separate fertilized eggs. In comparison, identical twins form when a single fertilized egg splits into two embryos. Coming from separate eggs, then, it's common for fraternal twins to each have their own distinctive features, which could potentially be as noticeable as different skin tones and hair colors. Another possible explanation was that Wallace's fiancé had a very genetic background. Wallace said, my fiancé is African American, he's Italian and he's Czechoslovakian. His complexion was much lighter than Wallace's, and this could have influenced the way the babies looked. Dr. Sean McCandless, an expert in pediatric genetics, corroborated this theory. Dr. McCandless, who is the director of the Center for Human Genetics at the University Hospital's Cleveland Medical Center, said, the more variation there is in your genetic background, where your ancestors come from, the more likely you are to have unexpected combinations and variants. Dr. McCandless's final theory was that Jeremiah could have oculocutaneous albinism, type 2. He said, there are single gene causes of light skin, one of which, OCA2, is fairly prevalent in the African American community. If the newborn did have this gene, it wouldn't affect his health in any way, just the pigment of his skin. By February 2018, though, Wallace had begun to notice more of her son's personalities than their unique appearances. Even though they were only six months old when she spoke to the star beacon in February of 2018, she said they had already developed completely different traits. Blonde-haired Jeremiah took a mellow approach to infant life.  Elijah, on the other hand, loved to move and had begun rolling his way to new destinations. Of course, a mother's point of view would always differ from the opinion of an outsider, and Wallace did notice that strangers reacted interestingly to her son's.  But then, she said, the topic of conversation would always change. And then, once they stop and they start looking at them and stuff, they start asking me the blatant questions. Are they twins? Did you adopt? Is it something else? Are these really your kids? Even with the occasional inquisition, Wallace and her fiancé couldn't be happier with their little family. The new mom did admit to the star beacon that raising twins was rough in the beginning from lack of sleep and constant diapering. But, she said, now it's fun. And even though their varied complexions made headlines, Wallace did say that her sons had a few things in common. They loved their toys, storybooks and cuddles, she said.  While discussing their home life, their dad chimed in to say he was glad they had two boys. And mom Wallace couldn't help but gush one last time, saying, we love having twins, and the twins love having each other. Their grandmother had only wished for the boys, a little bit of wisdom that could make anyone walk a little bit taller. One might be blonde, one might be black-haired, she told Fox 8.


So, Shelley Rosenblum's talk is titled, The Score, Performing, Listening and Decolonisation, and introduced speaker, Shelley Rosenblum, is curator of academic programs at the Belkin Gallery, the University of British Columbia in Vancouver. Inaugurating this position, Rosenblum's role is to develop programs that increase the myriad forms of civic and academic engagement at UBC. Rosenblum received a PhD at Brown University and has taught at Brown, Wesleyan and UBC. And that will be followed by Susanna Vinterling's talk, which is titled, Planetary Sensing as a Deciphering Practice. Susanna Vinterling works across a range of media to explore the sentient economy, cultures and transformations of elements and materializations. While forms and materials trace species and their social in today's challenging geopolitical context, Vinterling's practice reflects upon the political as well as aesthetic entanglements and power structures among human-animal matter constellations. So, Shelley, over to you. Hello, everyone. Thanks so much for coming. Before we begin, I'd really like to just give a sincere thanks to Estrida and Shria and Kathleen and Ella for the invitation and the care. I really appreciate it and being here and everything that's gone into bringing us here together. The talks are a bit brief, so this is really a set of propositions five and their suggestions for things I hope we can continue talking about today and tomorrow is the idea. So, without further ado, soundings and exhibition in five parts was an iterative exhibition curated by Candace Hopkins and Dylan Robinson also during the pandemic. So, 2019 to 2022 were these iterations that featured newly commissioned scores, performances, videos, sculptures and sound by indigenous and other artists who responded to the question, how can a score be a call and tool for decolonization? The scores took the form of beadwork, videos, objects, graphic notation, historical belongings and written instructions and were activated at specific moments. The exhibition was cumulative, shifting and evolving, it gained new artists and players at each location including at the gallery where I work, the balcony. For us, soundings was also a catalyst for continued research and resulted in the score and interdisciplinary network of scholars, artists, activists and publics. We began with a desire to explore how artworks, performance and or ceremony may represent multiple and complex notions of land, territory and sovereignty. The concept of the score as protocol, the practice of deep listening and the embodied effects of sound as it delineates the territory posed critical questions. We committed to moving beyond the mere acknowledgement of land and territory and to offering a paradigm for sensing and listening to indigenous histories that trouble the colonial imaginary. I want to think today about how we how we consume through listening. If we live in a state of hunger, Robinson's hungry listening, how is the gallery implicated in this kind of hunger? How might we come together to mutually sustain one another? What is the work that we are doing that isn't primarily an accumulation of something to be taken up and held by us but instead a way of being in relation? Whoops. I'm thinking about practices through which artists work with and beyond archives and to tell alternative versions with different textures of history. I'm interested in practices that center dirt, land, water, soil, feeling, kinship and ways that disrupt archival logics around distance, separation and objectivity which define so much archival discourse. How can artworks model multi-sensory forms of relation to the past, to history, to other people, to more than human and non-human others? The ethics of those relations are about partiality, about refusing fantasies of full access or fantasies around mastery or wholeness, troubling the notion that you could ever really know another person or history and what it means to do history and to engage in creative practice through ethical partiality. Two, we are in the midst of a moment of great grief. I want to share a story that centers on collective grief and what it might take to get the powers that be to turn their ears and try to listen to what is sounding to hear the collective voices. During the protests against the Dakota Access Pipeline, water protectors staged a powerful action. With elders leading nearly 400 women walked to the bridge over what is now called the Missouri River to occupy the only middle ground between themselves and the police. When they reached the center of the bridge, the women stood together in absolute silence. Yet as John Cage's composition for minutes 33 seconds revealed long ago, silence is never truly silence. Soon other sounds were amplified for those who would gather, the sounds of terror and surveillance. Everyone present could hear the ubiquitous hum of drones overhead recording every move, the buzz of handheld radios and the metallic clicks as the police ready their firearms and prepared canisters of tear gas. The authorities were prepared for the usual forms of protest but not this one. In the absence of words, the women became another kind of critic. Their silence a powerful affront to corporate abuse of power and the inability to think beyond the insatiable need for resources. The women's decision not to raise their voices but to rely on this irreducible presence instead became a destabilizing force. In their silence the women achieved an interruption. Three, the museum is a frame but not a conventional one. Its edges can shift, it creates borders within borders which can act as dividing lines particularly when it comes to questions of ownership, rights and the rehoming of belongings. I'm interested in the excuses developed by museums as to why they can't give things back even when it's clear that they shouldn't have them in the first place and acquired them through dubious means. I've been thinking lately of the concept of repatriation otherwise. The idea that perhaps our frame of reference is unduly predicated on colonial protocols of the museum instead of indigenous protocols and the protocols of the belonging itself. Here I'm thinking of those who mobilized the potentiality of embodying a belonging as a form of bringing it closer to home. The artist Tanya Luke and Linklater and her collaborator set this in motion in We Wear One Another, a commission for soundings. Here she responds to the Enovi Alluit Rain Parka that she read as a score for performance with two dancers and an amplified violinist. Investigating histories of archaeology, anthropology and repatriation, Luke and Linklater contextualizes her practice and performance alongside and in relation to cultural belongings as gestures toward repatriation. Making a link between the absent body that the parka was made for and her own, the work was realized in collaboration with the parka and the Apache violinist Laura Orttman and dancers Senwyn Gobert and Dana Rosales. Through her extended engagement and the bodies that came into dialogue with new choreographies, new music, new songs were enabled. The first question that the artist asked was how might the parka itself become a score for new choreographies? Before I traveled to the gallery from the Manitoba Museum, Luke and Linklater wanted to visit with this parka. She sat in proximity with it, got to know it, shared an intimacy with something made for and by the hands of her ancestors. She did this by gaining knowledge of it on its own terms. It was made from stitched dried steel gut, seal gut and for a particular person to fit their shoulders, to fit over the shape of their head, to fit snugly around their neck, to keep out icy waters when worn out at sea on a kayak. It was sewn for the width of their torso for the length of their arms. The parka is a trace of them because it was a part of them. While at the museum, Tanya learned as much as she could about the migration of this cultural belonging, how it came to be in the museum's collection. Histories that are layered onto belongings when they come into the museum are often fragmented. They are filled with gaps and silences. More often than not, we know more about the collector than the creator. By simply being with this belonging was it possible to amend some of these silences and gaps and knowledge and its attendant hierarchies? Four. Peter Moran's Indian Love Songs is at once thrilling, haunting and beautiful. In part one of Indian Love Songs, the artist offers a score of instructions to musicians presented alongside seven video portraits. Part two presents videos of recordings of previous iterations of the soundings exhibition. In part three, Parmetta Arraweala performs the score on the violin at the Belkin. The video component of Indian Love Songs can be seen as drum portraits. The featured drums are from the Royal British Columbia Museum in Victoria and each represents someone that Moran has loved in his life and someone for whom he has not been able to fully express that love. Playing in succession in a line and moving at different speeds, the drum portraits can be inflected by the written score on the adjacent wall. We activate the score with our breath and with the extension of our bodies and time. In repetition, we begin to redraw the deep etchings of colonization. Indian Love Songs is a work that rests upon notions of resonance, time, rhythms, loss, access, connection, kinship and knowledge and the complexity of their layered meanings when in dialogue. Moran offers us an intimate view of the worn hand drums. The camera's gaze is archival, perhaps archival is the wrong word, it feels too colonial. The camera is preserving, it is memorizing. In the videos we're not watching the drums being played, we're focused on their materiality, we're observing craftsmanship, care, wear and tear, physical manifestations of knowledge. The camera allows us to study and experience them. A hand just outside the frame slowly moves and turns each of the drums, holding them toward the camera to pan all their markings to reveal their past lives. A tarawalla is playing to each one of them. The score is both a response and an offering to the lives and knowledges that echo from within these drums. Five. The artists I've reflected on today work and think about specific relationships to land that are grounded in material histories, either through indigenous communities as indigenous artists and indigenous ancestral connection to land. The idea of ethical relation across difference is the heart of this research and how I understand the artist's practice as being willing to think across difference in new ways in shapes that can hold different people and different histories without collapsing them, not reaching towards semblance or sameness as the condition for thinking together. For myself, I frame this as a thinking with rather than a thinking about. Writing with is about moving into an ethics of accompaniment for thinking about other forms of knowledge, pardon other forms of knowledge production, which to cite Trinman Ha, think or speak or theorize nearby. And certainly that's about firmly positioning myself in the frame and thinking concretely about my own relation to the work. Thank you. I'm very happy that I made it here and that I'm on two legs and I'm not contagious but I still have to deal with the aftermath as many of us and it might go on and it might be something we have to deal with. I still would also like to thank for the super organization and for all the, you know, being so scared that there's also been train strikes and whatnot, one of the many problems that make us shaky but it always like super, super nice and organized and I also would like to thank for the great energy that is in here. It will be difficult for me to keep up with but I try to give my best and I also have to read. I'm maybe, as it has been said, I'm an artist not so good with words but I'm trying to figure something out here. I'm trying to figure something out that can be a practice and I do have to use words. So being kidnapped by dinoflagellates in Puerto Rico in 2014, I started being sensibilized to a complexity working with a precarious ecosystem of bioluminescent microorganisms. A phenomenon all season found only in various bays in the Caribbean and as Michael Latzuz, maybe the scientific expert on this phenomena, calls it an alarm system for the violent transformations we're experiencing and that was already in 2018. Pietro a fisherman asked me, do the politicians expect the microorganisms to send an SMS? When I was interested in talking about the phenomena with him and what he called the aqua viva, it was not really possible to learn about the stories and the relationship to the glowing base, the glowing base that are a jewel in biodiversity and a proxy for healthy coastal areas but also a source of income for the surrounding community of humans. It also is a source and catalyst of traditional knowledge and stories from healing to a means to defend the coastline against the colonizers. His rage and engagement to emphasize the threat and mismanagement of the bay became the starting point for an artistic research network that I'm presenting here some parts that I hope will make sense for like a practice of sensing in these many traps as the speakers before me have have emphasized. I feel that really like a trap that there's another washing of and another power game where you feel squeezed and helpless. From this encounter with fishermen, stories, rituals and scientists the networking project Planetary Sensing has been woven into a proposal for a sustainable community empowerment in the form of a research and learning hub through citizen science, scientific research, arts and craft. To key collaborators and conversation partners in this project unfolding the bond of social and ecological violence a Tony in Law, a leader, Matt Davis specialized in Caribbean and international environmental law and Denise Ferreira da Silva not formally also at UBC but now at NYU. The focus has been an interdisciplinary approach of social as ecological justice and we propose that with the term coined by Denise Ferreira da Silva deep implicancy as the ethical concept for natural right disregarding the distinction between living and non-living matter. Sylvia Winter's call of rewriting knowledge is an important influence how to avoid the ever renewed and accelerated patterns of sexual and racial discrimination especially in the blue and green economies and the pores of our capital oriented reprogrammed life and health crisis. How can a different cultural structure and biodiversity dual ecosystem and embankment of a coastline be a nurturing ground of intergenerational and international collaborations on a locally specific basis across species. Rewriting knowledge as a deciphering practice towards the human we read Sylvia Winter also as a spotlight on counter narratives and a bridge between a science biological wording and a consent not to be a single being. In the wretched current dynamics we're proposing a practice as a prototype incorporating social physicality technology and science as well as poetry and especially science fiction. Dinoflagellates are embraced as a proxy of the well-being of an ecosystem their sensors themselves but they also give access to a sensory data of a modern humankind a sensing mechanism across species informing about power and energy flows. Scientists, fishermen, currents, microorganisms, infrastructures and the history and presence of maroon ecology. Sylvia Winter and Eyal Weisman and Matthew Fuller define aesthetics in composition with fields of power. What is attended to who's listened to who's counted as having significance what calculus of indifference is operative which structures simply cannot perceive certain things due to their very nature. As a cluster in an ecology with complexity a concept of ecofeminist intimacy composed of particles planetary sensing is embanking a threshold with a glow of bioluminescence while making an epistemic claim in listening to Fisher Fork and the community around a coastal ecosystem who themselves have been listening to currents and the glow for generations. Contrary to Fuller and Weisman we see listening to a network across species and living as well as non-living matter as a political tool and a practice of deciphering not limited to forensics and sensor data analysis but in the presence to the future. In bonding with a clustering microorganisms we question what it is to be human and demand a more complex reading of nature as culture. In the paper referred to rethinking aesthetics towards a deciphering practice Sylvia Winter writes to propose a turn towards a deciphering practice based on new postulate of causality in place of the and I'm quoting human nature causality postulate of our present cultural imaginary in place also of its counter versions the mode of production causality of Marxism and the patriarchy postulate of causality of feminism this new postulate is that of the correlated discursive come biochemical causality of our narratively instituted cultural imaginaries they're modes of the subject and their forms or ways of life it is these imaginaries and the modes of altruistic symbolic kin relatedness they induce that necessary set the parameters of possibilities in the current climate of ecological racism and violence we identify the necessity to experiment with ways of cohabitation and to activate a node network for making meaning in a different way that can set a different matrix of possibilities with an alliance of complex bio indicator for a healthy cohabitation of humans and non-humans since ancient times we look at the entanglement of communities and ecosystem as a weapon and a shield of embankment against outsourced tourism corruption and the after the effects of climate change how can we suggest new ways of creating knowledge paying tribute to the circumstances of many voices unheard for example with a chest and attempt changing hierarchies of knowledge through amplifying knowledge of cohabitation on the same level as scientific knowledge as an approach to the human we experiment with an ethical principle for natural rights that disregard the distinction between living and non-living matter how can this they and their future living entities a cluster formation of connections be and be sensed in these violent times given the particles in motion what we perceive as identities an artistic organization a cluster a complex of physical sociality not as an ego or an identity but a multiverse across species and cultures connected how can this cluster of refusing to be a single being persist and insist being in the wretched and wake of current dynamics we're proposing to cooperate the experience of others but not repeat the violence of integration in our in a colonial way that our fascist climate situation is propelling based on sensing in a multiple way to form a sensing organ under the surface navigating physical sociality with beings and beings to come as well as ancestral forms of life a situated ontology as a prototype with epistemologies and senses in different layers biosensors which are more than human in the way that they need deciphering through and within technology but they are not themselves human made technology which are for example dinoflagellates their technology that give access to sensory data of a modern humankind in for example sensitizing fishermen to the changes of the currents in a bay where development and construction sites have altered the coastline in a way that's not visible for the mere eye it is a baseline sensing mechanism across species informing about power and energy flows and i'm quoting nedy nedy okura for nature is the best technology the many worlds in hyperethetics and deciphering biomass measures must be taken to open up what's recognized as the political to the sensing and the sense making of people beings and entities that have been excluded and we have to reshape the political again in respect to weisman and fuller for this shared terminology we see sensing as a political practice an anti-imperial and anti-colonial and an ongoing doing one is committed to due to a certain obligation one is born to or an environment with the affordance to closer to a different aesthetics described by silvia winter as deciphering planetary sensing refracts the interrelationship that creates bioluminescence and a high-speed sensing mechanism it's deciphering the relationship between the the narratives we craft about who we are as well as what we're for and the structure of the material world as a situated ontology we aim to rewrite knowledge in the way silvia winter has made us think through aesthetics as a deciphering practice we are cluster composed of massive difference and complexity we are only in connection as a node system a bay a sensor a dinoflagellate a cluster a form we are lying from and in a deep connectedness constantly new because and off the ecological economic and aesthetic differences we make interplay inherit and embank we might try to avoid subjectivation but insist in a poetics in a matrix in the inner sensibility and tactility while certain concepts sorry while certain concepts are shaped and probed in critical and physical ways to more focus on dynamics and transformations allows us to be more tuned with what makes the particle and the planetary navigation possible the currents and the dispositions as well as the material economic and political conditions the dispositions gaia seems to be in and human technology is tackling merely with piles of stacks of data for more exploitation of knowledge and ways of being forming a cluster without a we and the necessary construction and language but more a drifting and a current in its dynamics before linguistic expression which also materially and dynamically is closer to what we experience in the temperature and massive meteorological happenings and they need to be decoded and they will have to be decoded another level of seeing and reaching where critical theory has brought us but shows its limits in the face of fascists and other tornadoes this is not a metaphor but a parallel whether harshness and extremes have become the normal on this planet we have normalized fascist dynamics in europe and i'm german especially colonial long-term politics as in palestine in the form of necropolitics not only on the human species but across all species thank you yeah so again thank you for making us think about sensing in very different ways i just want to open it up to questions from the questions comments thoughts from the audience yeah a question for susanne you used one of my favorite words so i'm latching on to that it's subjectivation and then i'm connecting it to the question around identity and identity politics i think i think we'll be returning to that did you wish to move away from subjectivation do you think of subjectivation as something that is problematic so maybe you can tell us a little bit more about that and i guess thank you for closing on fascism this is something that i would have liked to write about but i haven't been able to um one of the things that i find really disturbing about eco fascism not eco fascism sorry eco feminism this is a a slippage that is actually yes one of one of the ways one of the one of my entry points in being interested in eco feminism was eco fascism actually and um some connections with deep ecology that were there in the 80s and i'm not asking you to speak on those i'm just telling you what's driving my inquiry um which is i guess how do we think about um critique of speciesism speciesism that doesn't take us in an anti-human fascist direction and um and and what would be the political category for doing so because for me subjectivation is something that we can hold on to while not being anthropocentric am i making sense is this enough information thank you thank you um yes i uh i i think these are the crucial these are crucial questions i use subjectivation from particular side of political theory i think it is a big it's it's uh it's very easy a big problem maybe i'm not i'm not an expert on this but i'm using it in this context maybe a little bit like i see the problem of the categorizations and the the problem of um language and identity um as a big trap um and and that's why in in this project or in my practice with all these many collaborators it is trying to escape the subjectivation subjectivation as in general and to see uh but of course you have to say yeah but you're speaking so who are you you know there's a voice that is um i don't know if that answers but uh i i really see see so many traps in these things that uh that i'm trying to avoid the traps it's a bit like being in a you know in a in where where these um the package you have to buy with that would be too big so i'd rather would try to avoid subjectivation especially because as an artist i'm very let's say material skill elemental bound the language is not my favorite thing but i am trained in analytical philosophy where for example subjectivation i think it's one of the main binaries maybe that's a good way to explain object subject is one of the main binaries that were i mean for sure in western philosophy and civilization we're constantly looping back into so when you think of like how can how can we get out of all these out of these washing patterns out of this you know constantly repeated other rings um i think to get rid of subjectivation could be a possibility it's as simple as that actually it's i mean it's not simple but and if this is the alternative form of subjectivation if that is some kind of another way of going about it and i was also wondering if because obviously this this subject can be conceived of in so many different ways and it the subject is conceived of in many different ways by different philosophers and that's before before we even kind of leave philosophy to go into other disciplines and i'm just thinking about the whole kind of idea of there is no subjectivity without inter subjectivity and that that that that can we think of subjectivity as always already inter subjectivity and i was just wondering if if that if if the cluster without a we kind of goes in that direction for you or or if i told him miss miss understood thank you um i i don't think you have misunderstood but i would like to not use the term so let's say for example when you go to particles or the quantum level as you know deniso for example would say and we do have another research group that's very concerned around easy then you like silvia winter you just have causality and then it's more a question of agency and who's you know who is who's who's the agent of this volcano who's the agent of this tornado i think these questions to me are much more interesting than what is you know what is this subject in you know very big in german philosophy and in a lot of the things for example we encounter in that project they're just not circling around these things and then you you get you get more easy away from a lot of following binary concepts there's another question up front and and then i'm just wondering whether mystics philosophers like martin buber with the iron thou concept shifts things to place of reverence because in my mind reverence is a whole body experience a whole being experience and a relational experience beyond a kind of high mind intellectual um exchanges that happen which which are often disconnected or have a disconnect um yeah just wondering well no super i mean i'm not an expert on martin buber this is like it you know but i think just for example the term reverberance or denise uses echo i think these things are much more interesting to think of and you can also have a strong bodily experience as a collective body you know it's like why do certain people feel like i don't know this violence being also connected to some other things that are happening in the world for example you're talking about gaza you just know that this is not just about that there is so like i do really think that there can be collective bodies and there can be sensing bodies that are more composed than one subject and i think in you know miss you call it mystics which is great but i would spend this into you know from from very different sufi tradition to the desert a lot that sees that not just around one single experiencing body and that's actually for example what i'm interested in like why you know you can sense with other species not to go into the too crazy but i think this these kind of things like mystics and looking into other ways of experiencing togetherness well i mean i just see one body which is the planet in the cosmos in a in a wider cosmology so in that sense it is one body yes yes absolutely yeah thank you to everybody i have a question for shelly um and i was really fascinated by the um provocation of thinking about the concept of the score as a protocol as you put it and i was curious about how that i a i want to know more about that and i was thinking about that in relation to dylan robinson's work in hungry listening where he in particular um looks at the way that sound was used to produce attention amongst children in the residential school system so listening to the school bell the bell that gets you up in the morning a certain kind of sound that produces a regime of attention that's um a kind of protocol and i guess i was interested in this curatorial project and your take on it as to how the protocol was sort of reinvented in as uh sort of resistant or counter to these other protocols of sound that have been so pervasive in producing us this particular kind of like bodily response to the colonial regime through protocols of sound so yeah thank you it's nice to see you and to see your work in the gallery again thank you for your question thank you um the work the score project is continuing and it's kind of um in its accretion taking on more and more partners and that's a really resonant part of the project what it would mean to continue to think this differently i i showed um raven chicans american ledger um and it was uh very interesting to engage the project during covid to start that way because um we were really thinking about territory and specifically um being on musqueam land at u b c always but during this time campus was um felt empty and from from how it usually is and uh one of the first things we did was sonic responses to space on campus and um and it was the bell tower that interested the most and we started with uh patrick nickelsons article about um colonial time through that kind of capitalist parsing of time with uh bell and schedule particularly in the context of residential school and what would it mean to establish a new relationship to the experience of that sound on campus and um living and doing the work we do within a an academic regime that was always already about a military presence and and a capitalist parsing of time and understanding of body through that space and uh ignoring all the histories uh that had been there so um i think for for all of us thinking that through in the moment of the pandemic ended up a really rich way to start uh the project because we were um it was radically dissociative and embodied at the same time and i think that became a kind of paradigm not a score but maybe a a paradigm or a key to understanding what the work would do and understanding uh protocol generally is really where the score project is going re-understanding and i think that this idea of um that we don't have a blueprint or way of understanding so a score is so highly um the semiotics of a score in the western tradition of course there's room for interpretation but it's a pretty tight tight text and um breathing life into text that undermines the way we would always understand what the textuality does is really what what protocol was about and um unlearning uh lexicon and a whole series of indices of what how things refer i think is the the fundamental um commitment to the project but what it is is understood at each iteration i don't think there's a new there's not in like a replacement thing it's that experiential and embodied way of encountering it each time and the way we're doing that i think is primarily with them following the leads of artists who come and the we invited a streeter for a week we had a listening week as part of this and really what the ask has been for us is really a willingness to be and to sit with and to figure out together but to start from a place of not not providing a product or an answer but really troubling what is protocol and what what does it mean to think of that in aggregate in a in a pretty um wildly diverse group of practitioners who either have no access to what protocol is and i was really interested with um Greta's comment on um land acknowledgments so what does it mean to think about land acknowledgments and territory differently through a different kind of practice that isn't wrote so i think that's where we're still sitting with with the project not with an answer that was a pretty diffuse response i'll chalk it up mostly to jet lag but happy to talk talk more about it thank you for the question um talking about protocols shelly i wondered if you might be able to expand a bit on some of the thinking you mentioned about the the protocols that kind of keep museum objects where they are and um that the excuse is about giving things back and if you might just say a little bit more about that and what you've kind of been reflecting on um well i'm really interested in how this discussion between subject and object is where we started because really that's what the where the thinking is about repatriation otherwise what's so rich in thinking through tennis project i think is not thinking in terms of objects or what's accumulated in the collection not about thinking about things but that's a relation right there so being with the parka was the beat was about repatriation otherwise because it's um it's refusing an objectification and insisting on you know in that example the parka is a subject in the way that she is a subject and that's relational um that is a relational situation but what i meant about that um the protocol there is this this argument uh that we hear all the time which um perpetuates the the control and the discipline the expertise of the curator and the collection and the collector which is that if we if we liberate objects they'll be outside the discourse of um best practices and how they ought to be cared for and the the wild arrogance of um who knows best about how to care how to describe how to talk about what language to use how to behave our own embodied experience um what does it mean to think about cultural belongings and not objects and what is care what constitutes what constitutes care and what are the rules for enacting care thank you it made me think a lot about some of the things that gretta was talking about about settler innocence and there's there being an innocence in museums care of objects and exactly what you've just been talking about and and how do we refuse to continue to ally that perniciousness and shed light on that yeah thank you i think both talks um really opened up visitors but at the same time gave us really concrete things to take away um which is what i really enjoyed about the panel and i think um i i know i have specific questions and i know there will be other conversations that come out from this so we're going to take a break but if you can come back really looking forward to seeing you again so thank you all for your questions


Prologue, there is a person called Tim Unwin who uses social media and he has posted five pictures on Twitter and Facebook He invites you to look at them. There was a young boy who loved running. He loved running He ran at 16 a 2,000 meter steeplechase at the first water jump. He broke his leg and he finished the race Subsequently he did go on to complete the first London marathon as a student at the best university in the world He was inspired by Marxist theory and Harbour masses critical theory scene one a Little boy holding so a little girl holding his blind brother holding her blind brother's hand By a car on the streets of Chakradarpo in what was South Bihar now Jharkhand in 1976 I Was working for a dear friend who was studying the hearts in rural India I was doing my PhD on the mathematical modeling of medieval systems is medieval settlement systems Programming in Fortran and one thing doing wonderful models and dreaming the technology is indeed going to change the world Walking through the hearts talking with the poorest people I'd ever met. I learned that poverty is not about economic growth poverty is about reducing inequality scene two Some street children in Nazareth in Ethiopia playing with my sony via Do you remember this in? 2001 I loved tech those of you here at the new millennium We dreamt who had changed the world we dreamt there wasn't going to be any more war We dreamt that this kit Was indeed going to make the world a better place I Had an immensely privileged job an opportunity to work with people across Africa To understand how they can use technology to improve their education scene three crypto anarchy I Learned how powerful technology was I loved it. I'm a geek. I was programming. I was designing kit And slowly slowly Shue Shue slowly I Learned that this kit could be used to do as much bad as it does good And yet we choose to believe that it will make the world a better place somehow the novelty of the young geek still survives Technology will deliver the SDGs as Ted has said what a load of rubbish Technology will do nothing technology is designed by people such as us for particular interests and It can then be used for good or for bad Please never again say that I see teas are going to deliver the SDGs People creating I see teas or could use them to do something that might help eliminate poverty scene for a drone With a machine gun hence the assassin The drone with the machine gun I Have a young colleague who is a brilliant computer scientist developing the algorithms for search and rescue drones now We could use autonomous drones with face recognition in cluster swarms to take out anybody want now Is that right or is that wrong? The use of technology for development is above all a moral agenda scene five scene five three Afghan refugees In Pakistan Alone the people who we want to use our technologies to transform their lives How wrong how wrong? We've already discovered on this journey this short journey that it is Who designs the technology for what purpose in what interests that is going to change the world? friends we can choose to serve the interests of global capital Or we can choose to serve the interests of my Afghan refugee friends of people with disabilities women patriarchal societies And our greatest gift is a privilege we have had It's the education I have had But not to use that to say I am in some way good or successful It is friends colleagues take away one thing Become the servants of the poor if you really want to impact development through the use of technology