I'm going to pop it, I'm going to pop it into speaker view here, everybody. Hello, hello, hello, hello, everybody. And welcome to the first ever digital non-binary acting methods workshop. My name is Joe Michael Rezes, pronouns they, them, theirs, and I will be facilitating this evening. I am a PhD candidate in theater and performance studies at Tufts University and a working actor and acting instructor with experience teaching students from elementary school through adulthood. The workshop today is sponsored in part by a grant from the city of Boston mayor's office of arts and culture opportunity fund with sponsorship and hopeful future collaboration with the education department at company one theater. Today, based on a book project I have in progress, we will be exploring gender in actor training and character development. Through a few exercises, we will cultivate queer energies, discuss returning agency to the actor's body in rehearsal and performance spaces, and explore how sensation, memory, and failure can offer new vocabularies in the actor's craft with special attention to queer and trans artists in the space today. For those of you tuning in from home, welcome. Today this stream is being live captioned and we encourage you to participate in today's activities and conversations from the comfort of your own space into whatever capacity you feel best and most supported. So I'm just going to screen share one more time. Oh, dear. Even after so many years, everybody, I feel like Zoom still is Zoom. Here we go. Screen share this here. Some organizations take a look at here. While this workshop is not held in physical space, I would like to acknowledge that this evening of work is being conceptualized, created, and now viewed on the ancestral land seized from indigenous peoples across the world. I hope we recognize the necessity of honoring and understanding the histories of the indigenous land we occupy. Through this acknowledgement, I hope to pay respect to those communities, families, and their elders, regardless of time. I recognize that this acknowledgement alone is fully insufficient and in no way can undo the legacies of violence and displacement of indigenous people. Through this ongoing practice in our ever more digitized world, I ask you at home and in the workshop today as well to also uncover truths on the path towards decolonization and reconciliation. While we stream through the airways, the land is still occupied. This evening in particular, we honor our queer, trans, and two-spirit indigenous siblings holding space for the complex intersections that indigenous people face as gender non-conforming individuals enduring the violences of settler colonialism. Tonight, in active practice of reparation, I ask everyone to join me in donating to the Native Justice Coalition's Two-Spirit program listed here, which engages in decolonizing gender roles and identities within Native First Nation communities, and more information can be found at www.nativejustice.org slash Two-Spirit. Moreover, as this is a workshop sponsored in part by the Boston Mayor's Office of Arts and Culture, I ask that anyone with the means to do so match my $25 donation in support of a local organization here in Boston, the Theater Offensive True Colors Out Youth Theater Program, and out-of-school community-based theater program to train queer youth leaders with special attention to Two-Spirit, queer, trans, black, indigenous, and other artists of color. Thank you so much, and I know with the screen share that things get a little bit weird with other things blocking it, and I have my notes in front of it, so here is this. If you haven't gotten a chance to look at it here at the links, we're going to wait a little bit so you can take that in. Take a photo, take a screenshot if you're watching this after the workshop later, and here we go. All right, stopping the share. Okay, so can I ask all of the participants who feel comfortable to turn their cameras on, to turn your cameras on? Hello. Hello, everybody. I am also joined today, not just with you all here in the workshop, but by my lovely assistant facilitator Tatiana Emery, who is a theater maker graduating from Tufts University in spring 2022 with a major in theater and performance studies and education. I'm passionate about education and its intersections with the arts. Tatiana looks forward to continuing a journey as a working artist and teacher. Tatiana, can you introduce yourself today? Yes, absolutely. Hello, everybody. I'm so happy to be joining you. My name is Tatiana, you see the pronouns, and I am really excited to be a part of this workshop and to help bring Joe's wonderful theory to this Zoom space today. So we're going to go around and introduce ourselves, name pronouns, if you would like them used in this space, if you feel comfortable sharing them, and answering our introduction question, however you see fit. Our question for today is, how did you arrive at this workshop? What was your journey here? This can be a how or a why or a what answer, however you see fit. So we'll go around, we'll say names, pronouns, if you're comfortable and like to share and answering the question, how you got here today. So I will start by answering the question and then I'll popcorn to someone and we can just pass it around. Sound good? Awesome. All right, Tatiana, see the pronouns, and I got here today by climbing a rickety set of stairs, and I would love to pass the mic to Josiah. Hello, everyone. I'm Josiah. My pronouns are he and they, and I got here today by taking many different subway trains, and so glad that I can be here literally right into my apartment like two minutes ago. I'll pass it off to TJ. Hi, my name is TJ. I use they, them pronouns, and I got here today, finishing my nap at 445 and walking into this room and sitting on this chair. And I will pass it to Kit. Hello, everybody. My name is Kit and Ray. My pronouns are they and or she, and I was invited to this to attend this workshop by Joe, and I was curious and exploring acting and seeing other queer non binary faces. And I'm so excited to be here and share with you all. And I'll pass it on to Vee. Hi, I'm Vee. My pronouns are they, them, and I got here by just like putting a blanket on the ground so I could kneel on it. I'm going to pass it to Connor. Hi, my name is Connor. I use he and they pronouns. I got here through a long week of work that I am very glad is behind me. And I'm very happy to be here. I'm going to pass it on to Abby and Margaret. Do you want to go first? Yeah. Hi, I'm Margaret. I use she I got here because I'm such a huge fan of Joe and Tatiana. Hi, I'm Abby. I use she her pronouns. I am also a huge fan of Joe and Tatiana. Hi, I'm Caitlin. I use she her pronouns and I have the same reason as the two before me. Oh, and we will pass it to who hasn't gone. Yeah, go ahead. Hi, everybody. My name is Gelfana. And I go by they and them. And I'm here because my dream um project is to see like queer woman in like a old martial arts type of um project and yeah. Amazing. Thank you so much. Is there anyone who hasn't had a chance to introduce themselves? Cool. Awesome. We are so happy to have you in this space today. We're so excited. So we have a larger group. So we will move through the workshop with volunteers as needed. But just keep in mind since we have a couple of folks here today, be mindful of the space you're taking up and stepping up in and stepping back as needed. And we want to encourage everyone in this process to ask questions and ask for clarifications as they come up. So if you have a question about the theory about the process about the activity, if you want something repeated or just have any general questions for Joe and myself, please feel free to private message them to me in the zoom chat. So I will pop up underneath Tatiana and you can select who you will be sending it to just be mindful that you're not dropping it in the group chat as it were. But if that happens, it's totally fine. I will just be keeping track of all of our questions for us for this session. And for those of you watching the live stream, if you want to drop any questions in the comment section, we will be happy to answer them after our stream ends. Amazing. Thank you, Tatiana. Thank you all for being here. I know that like 5 p.m. on a Friday on the East Coast is like not the most successful time for literally any of us. And I'm barely able to be here right now too. Schedules. So I'm just so grateful to all of you for being here today. And for those of you watching either after this has happened live or happening live right now, just thank you so much. It means the world. Just wanted to talk a little bit more about the project and the project outline and where this was born out of and why it's happening a little bit. So beginning in around 2018, I began thinking with trans artists in greater Boston via stage sources, gender explosion initiative. Gender equity was being fought for, developed and really, really investigated by gender explosion when I first arrived in Boston in 2018. Specifically for safer rehearsal spaces and accommodations with special focus on terminology, gender neutral bathrooms and representation rehearsal rooms. I also began noticing in my classrooms, though, from universities to the public school systems within New England, that non-binary and trans students were not seeing themselves necessarily reflected in the histories of actor training within the Stanislavsky system and its derivatives. And this continued when I worked with a lovely team of teaching artists with the Yale Dramatic Association for students at New Haven High School as well, just students not seeing themselves reflected in that lineage of work whatsoever. So the scope of this project is really to address the Western colonial binary conceptions of gender I feel are deeply embedded into the character development, gender bending and play I see in acting classrooms. I find that ideas of presence and power in rehearsal spaces lean towards the masculine which creates sometimes violent and oftentimes hostile environments for actors looking to play with gender or embody queer and trans characters within theater as an institution. I'm curious though, because I have you all here today as well, what your experiences are with how you have navigated being either queer, transgender, not conforming in rehearsal or performances, and more specifically, have you ever felt that your training or learning as an actor has been able to account for gender expansion at all? Open question to the group. I know that's a big question, but these are big topics, but anything come to mind. It could be an instance, one little moment. It could be a good thing as well, it could be a joyful moment of being affirmed in a rehearsal space, but really anything, how have you felt about gender and performance? I think gender performance has been something that I've always wanted to explore, but growing up, socialize as a masculine person, through having a trans feminine experience and not being equipped to embody that as a child, is being able to start to look for spaces or carve out spaces that can affirm me and can see more Black trans folks and Black trans women out on different shows. I think that visibility in increasing that's really important, so it's a part of the reason why I also came here to explore and expand and radically envision different avenues for myself and other people. So great question, I love this. Yeah, Josiah, go for it. Oh, I actually did have something to say, but I was applauding. And playing off of that, I think I really valued what you said around creating your own space. I think that's really such a big thing because I think when I first heard the question, all I could think of was all the violent spaces that I've been in, especially in higher education. I mean, I know a lot of us have went through our in Tufts University, so I had my own experiences there with these ideas of not necessarily feeling like there is a space to be non-binary, that there is a space to be trans, that there is a space to explore experiences beyond the limited experiences of the writers, of the theatrical makers, of whoever, whoever, especially in historical pieces, and especially as someone who studied musical theater. So I think that's really kind of where I've always been, is how can I carve out that space? How can I make that space for myself? And a lot of times it comes to stepping back and realizing that sometimes that the the work or the emotional labor into it isn't worth trying to create this rehearsal room, trying to teach professors or masters in their field. So that's kind of what first comes to mind when I hear that question, Joe. Okay, great, great. Okay, I'm gonna, I'm holding on to that, holding on to that. Okay, anybody else? I want to try to synthesize this. Yes, yes, yes, yes. Anybody else? Please, please share thoughts. I'm gonna write mine in the chat just for time, but yeah, but I have a lot of thoughts about this because I come from a devising background where we use the body and as like the first impulse, and I'm just gonna say it now, never mind. I'll be quick though. Like we start with the body and like you would think that that's such a freeing space because it's like, this is my body. But then you think about how people see your body and then it's like, and then they say, well, is this character that you're portraying a man or a woman? And it's like, I don't have the, I'm not equipped. Right now, I'm trying to just play a tomato. Like that's, that's what's in my head. I'm just trying to play a tomato. So, so like, you know, the idea of like what's going on here, what's happening here, and then how is that being read by the audience?  And it's, it's really frustrating. Because even when you're doing something that you feel like it's fully embodied to you, sometimes people, they just don't, they don't see it. Okay. All right. Thank you all so much. Okay. Sometimes I was talking to Tatiana about this in an in-person workshop. Sometimes the ideas just feel like they're sitting in the head and being in community like this is just, wow. Okay. Thank you all. Thank you so much. Thinking about carving out spaces, thinking about imagining elsewhere's and thinking about representation and also thinking about questions of embodiment and valid, invalidating embodiment within a space. I'm hearing, I'm hearing all of this. I just want to move quickly, very, very quickly into this manifesto that kind of started this whole project off. Tatiana and I are going to read back and forth this little manifesto. And then we're going to move into some graphics that hopefully will become starting points within this project. They are by no means set in stone and they are not done by any means, but definitely something that I think will be the basis of a lot of the exercises that I've been developing for this, for this book project about returning that agency in a space to the actor, the individual. And I think you'll see why. But I'll get to reading and I'll just stop talking in a tangent. Great. I believe that the individual on stage has the capacity through imagination, collective creation, memory, sensation to embody not just character within tension and motivation on stage, readable to fellow cast members and the audience, but within genealogies and histories of queer kinship. The body is a vehicle to locate the self within the context of these histories in the context of the stage world and to experiment with how the body is perceived, questioned and liberated from the confines of spectatorship. In this way, non-binary acting methods prioritizes failures of legibility on stage and off, working through the joy and messiness of the aesthetic in all character creation practices. This is a devising of the self. In collaboration with a playwright's script design, the work of a director and an ensemble of actors, fractals, or the name of the exercises embedded into this text, fractals are deployed in and out of rehearsal to craft character from the ground up, linking the self to the past, the past to the present and the aesthetic with the future.  This work is not a practice in passing, nor is it a practice in transcending the need for gender. We dedicate ourselves instead to the ideas that gender is a full joyful mutable and on a spectrum, as liquid, as ink in a bottle, as dry as ink on a page. Gender was historically and is presently policed, colonized, and manipulated by the violences of white supremacy. Gender expansion has been performed and lived by generations to undo, refuse, and refute the colonizing, anti-queer, anti-black, and anti-indigenous forces of white supremacy. We honor those whose gender performance is a testament of strength. We honor those whose gender performance is a letter of love. We honor those whose gender performance is always in flux. We honor those whose gender performance is met with violence. We honor those whom we have lost to such violence. We remember them as we play. We play. Playing with gender is not new. Playing with gender is drag. Playing with gender isn't always drag. Playing with gender is joyful. Playing with gender is painful. Playing with gender has a legacy, has ancestry, has ancestors, has elders, has futures. Playing with gender is our right and our privilege. It is not just a game and it is only a game. Let's play. So that was a thought bubble that kind of burst one day and I wrote it all down and then I started making up a bunch of exercises and synthesizing things that had happened in classrooms with students of mine and just trying to make things feel more right in the classroom especially. So talking a little bit, well let's stop talking. Let's get into one of the methods. So this is Chaos Calm. This is one of the methods that is deeply indebted to a lot of theater practitioners and acting instructors of the past. If you're familiar with An Bogart's viewpoints, similar to Soft Focus but we're thinking expansively with the body through this method of Chaos Calm.  You can be muted or not for this but just know you're going to be imagining your body undulating in some ways. However you feel best. You can stand for this. You can sit for this but this is Chaos Calm. We're going to be thinking about the queer potential of energy in our bodies right now. I am not necessarily saying that the metaphysical aspects of this I fully necessarily believe in in this moment or tomorrow or yesterday but right now I want you to give into this as much as you feel safe and comfortable to do so. Our bodies, ourselves, have energy potential. Close your eyes for me please if you can. Take a deep breath in and out and another deep breath in and out and for those of you watching at home you can do this as well. Now I want you to imagine the energy housed within your cells.   Take a deep breath in and out. Those cells are also made up of other particles that move in and out of those cell walls in and out of your body with all of the other elements around you. Take a deep breath in and out. I want you to imagine the energy in every atom in your cells in your body and now I just want you to imagine them vibrating with potential energy and that vibration begins to move the atoms around and move the cells in your body beginning to move the tissue in your body, the bones and the muscles and you can feel yourself vibrate. The energy stored in those atoms are making you move.  Allow that energy to vibrate your body in whatever shape you can imagine with your eyes closed. You can expand and contract to whatever shape you can imagine that energy taking form as. Allow that vibration to shift faster and slower. Take a deep breath in and out and now take the energy of that vibration and release it on a hum. And I want this hum to be the most comfortable hum for your voice, for your throat. You're not performing for anybody else right now. You're not performing for me or the group. This is just the sound, the pitch, the tone that feels most comfortable in your body in this moment. Let it feel warm. Allow that energy to fill up your body on a hum and let it get louder and louder with the vibration in your body. Allow your your body to move with that energy and the hum as it gets louder and then let the energy slowly release.  Take a deep breath and out and in this moment you might feel lack but there's a lot of potential in this loose space after all of that momentum and energy and open your eyes. Hello. Hi. So that's Chaos Calm and well I just want to hear from you. How did that feel? Did that feel like anything at all? I've done this a couple of times already in person. It's a different experience with a group. Doing it alone is a little bit different across Zoom but how did that feel? How does your body feel? That's amazing. I really liked it. Great. That's good. Anything else? I liked I guess imagining all the cells in my body with the energy. Good, good, good. Great. Lovely. I think done it both in a group setting and this time on my own. I found that there was a really nice connection between body and voice especially in thinking about pitch and aligning what was comfortable for my body, for my throat and letting that come out in the sound. It was a very centering experience. I think Connor popped that in the chat as well. Thank you, Connor. Yeah, lovely. So Chaos Calm came out of this idea that I think ideas of being centered or calm in a space and ready to work or ready to labor theatrically. Those ideas I wanted to throw that not necessarily throw it completely away but allow a centering exercise to be one that is based in an idea that energy of momentum doesn't necessarily have to sit in the binary either. That being full up of energy and being in a lack space of energy is just a spectrum as well. So this queer energy source is something that comes from our own body and we can use it as we see fit on any given day. And you'll see across the board as we go into some of these other activities that really the idea behind Fractals is this queer energy source and returning the agency to the actor's body to create the parameters within which to work, within which to create art. So whatever you are feeling in any given day, you can bring yourself your whole self or parts of yourself to whatever you are creating and that is enough and that is what you are bringing to the space that day. So KS-Com is just one way in to start rehearsal and rehearsal, break up a rehearsal but just a little centering exercise. So here we go. Fractals, what are Fractals? We're going to share a screen. Again, this is Joe trying so hard to make things make sense. Ah, okay. So, hi. Fractals, Fractals. According to the Fractal Foundation, which I found out was real, a Fractal is a never-ending pattern. Fractals are infinitely complex patterns that are self-similar across different scales. They are developed and created by repeating a simple process over and over and over in an ongoing feedback loop. Driven by recursion, Fractals are images of dynamic systems, the pictures of chaos. Geometrically, they exist in between our familiar dimensions. Fractal patterns are extremely familiar since nature is full of Fractals. For instance, trees, rivers, coastlines, mountains, bodies, clouds, seashells, hurricanes, et cetera. Just so everyone knows, oh, there's a weird window Fractal happening. Anyway, just so everyone knows, I don't know anything about math. So just I don't know anything about geometry. The name Fractals just came out of me thinking through my synesthetic brain of conceptualizing a lot of concepts as physical objects in space and unfortunately, gender to me is glass. So this is what happens. So here we are. This is a graph. In this graph, here is the idea of the Fractalization model of thinking about gender performance in the craft of acting. This is my understanding of how the exercises in this book are going to scaffold onto themselves. This is not by any means a perfect understanding of gender performance in daily life whatsoever. This is my understanding and model of gender performance in the rehearsal room and on stage that I think is beneficial in helping specifically queer trans and non-binary actors thrive in that environment. So if we look at this little graph over here, the first out of character would be an understanding that an actor has a certain light cast upon them over there on the left. That is the idea of being out of character. That light passes over the actor's body. It's an imaginary light and sends the image of that actor that light reflected off of the actor's body out outward, outward over here, somewhere out into an audience beyond beyond the body itself. So that would be out of character. In a traditional model, as I understand a lot of presence-based Stanislavski derivative acting methodologies, the actor is still over here having light cast on their body reflected off of their body. And as I have studied a lot of acting texts as I have taught them, I have come to understand this prism, this pyramid, to be the character that blocks the audience that is over here from the actor. So the character blocks the actor. A shadow is cast onto the audience that indicates the character's gender to the audience. That being said, it is still a shadow. This is a solid triangle. A solid pyramid is blocking the actor. But there's still a shadow, which means light is still passing into the audience indicating that that actor is still there. So that's where I think we get into a murkiness of thinking about gender bending and drag and historically thinking about binaries with how bodies are perceived by audiences as this shadow is cast onto the audience and understanding how bodies function. Down here, things get a little bit more complicated with the fractalization model that I based this book project around, which the actor is still over here on the left. But we have a series of prisms rather than a pyramid of character that refracts and fractalizes. I know that refracting and fractals are not the same. We have to go with it. Suspension of disbelief, everybody. But the idea that these pyramids have this fractal pattern, as we see here, repeated triangles, the character is still here in the center. But light is able to pass through. The light of the actor's gender is able to pass through pretty fluidly and scatter across all of these different audiences that could perceive gender in some way. So the self, the cast and collaborators prior to the character, so that would be the gender of the actor is being perceived by the actor. So Joe, the actor, perceives Joe the actor. And the cast and collaborators also perceive Joe the actor. Once Joe gets into character, the cast and fellow characters perceive Joe's characters, gender. And I myself am also Joe perceiving Joe playing the character, that character's gender. We'll get into how that functions in just a second. So here we go. Joe, maybe hopefully easier here. Ah, great. Gender, rehearsitivity as an idea. So we have the actor and we have the character over here. The line between the self and the character, the actor and the character, starts to blur a little bit when we start thinking about gender in this way, at least I hope. But what I hope this motive in rehearsal does is allow us to really think about how gender is being performed in a rehearsal space and in a performance space without always having to rely on how the audience and spectators are going to perceive a certain performance. We can start thinking about gender in a way that really, really, really prioritizes how the actor hopes to embody character in rehearsal and beyond. So I know the graphics. It's a lot. It's a lot. I understand. But here, as we see here, the actor performs a certain gender to the cast and collaborators. The actor performs a certain gender to the audience and society and culture. And the actor performs a gender to the self. Over here, the character performs a certain gender to the audience. The character performs to the cast and fellow characters. And the character performs to the actor. I'm going to stop the share just for a second. The reason why these six gender performances, while complicated, I think for, especially I think some of my undergraduate students, even just this semester that I brought this up to on a whim just on a random Thursday. And we were just writing things on the board and it was like, have you ever thought about this? I think with the book project and modeling these structures in rehearsal, we'll get to a place where we can start having conversations about what students and what actors would like to prioritize in any given rehearsal when developing a character. So that means with six potential ways of thinking about the self and the character, if on any given day, a student has, I don't know, if there's a student, me, let's take me, Joe, hi, I'm Joe. And I'm the actor coming into a rehearsal space. And I'm having a trauma response to playing men. I don't want to be a man. My character is a man and I'm not feeling comfortable playing a man that day in a space. I can come in and work on the three gender performances that are centered around me and not the gender performances of the character that I am portraying that day. So activities in the space can focus on me and not the character. So again, always meeting the actor and the student where they are at on any given day. Another way that I think we discovered in person was a great way Tatiana of describing this as well was I had a student once embodying a very high femme character. And this was a cis woman playing a very, very high, high femme wearing pink all the time. And I think a great example of this would be like Elle Woods playing Elle Woods in a rehearsal space if you want to go with a traditional understanding of Elle Woods, right? And if that actor came into the space in my classroom and said, I don't know how to play Elle Woods because that femininity isn't the type of womanhood that I understand. That's not the type of gender performance that I understand in my daily life. This model doesn't necessarily only apply to trans and non-binary students and actors as well. It applies across the board. It frees us from having to think about gender as something that only pertains to some people, but is actually something that pertains to all. Trans studies is for everybody, you know? So that's the model, right? So six gender performances every time you walk on stage are happening, everybody, unfortunately or fortunately, I haven't quite decided. And I think in the coming months as I keep developing these exercises, I do know, though, that being able to have the agency over what you want to work on on any given day has been wonderful for me as an actor and seeing my students do it as well has just been so joyful. Has this made some sense? At least it's, again, circulating in the head and Tatiana and I was like, here's a graphic and we looked at them and then printed them and then they were out in the world and now it's here. So great. For those of you watching from home, if you need to go back and screenshot those, do so. They're not copywritten yet, so don't distribute them. I don't know. I don't know anything about copyright. Anyway, great. Here we go. Let's move into an exercise now because that's that's that's the way we go with this. So one activity that comes out of the book is something called self-similarities. So fractals as a repeating shape are self-similar. So they replicate and then turn outward, right, in different shapes and different patterns, but they're self-similar in that type of mirroring and repetition. So self-similarities as exercises are something that I want us to focus on in rehearsal rooms as well. Just like that energy with ChaosCon being stored within the body, we can also focus on ourselves, especially queer and trans folks, that we might not have source material. We might have to carve out spaces for ourselves, but we can still do deep source work for ourselves when developing character by doing self-similar work with sensation and memory. So this is a childhood memory exercise that we're going to do everybody with emphasis on joy. There are two childhood memory exercises, one on failure and one on joy. I feel like on a Friday we should do the one on joy. So I want you all to think back to a childhood memory based on an object that brings forth joy in your body. Examples, flying a kite for the first time, eating an ice cream cone on a summer day, Tatiana brought into the space in person recently hula-hooping successfully. It was a wonderful gesture. Locate the story of this memory in your body and distill the story into three repeatable gestures and one line of dialogue. Does that make sense to everybody? Does everybody have that? So we need three gestures that can be repeated. And by that I always tell students all of the time you can't flop like a fish onto the ground because you can't do that more than a couple of times without really hurting yourself, right? So just do repeatable gestures, smaller the better, especially within the zoom boxes, I think. But three repeatable gestures and one line of dialogue. So take like a minute or two, explore them, play with them, and yeah, we'll come back in about a minute. Great? Play, play. You can turn your camera off, keep it on, and be ready to do great. And for those of you at home watching, thank you. And also, as everyone is preparing their gestures, you can also do this at home. I know I won't be able to see your gestures. I feel very blue's clues right now because I can't hear your response. But if anyone at home wants to comment what gestures they were working with, I would be happy to take a look at those afterward. Or Tatiana, one of us, would definitely do that after the workshop today. Great. Lovely. Tatiana, because you have done this before and before everybody else's hopping back, do you have one today that you would like to share? Yes, I do. I have a, I was an only child when I was younger. Bear with me. I had a single trampoline, a trampoline for one. So that is the object I'm thinking about today, and I'm happy. Great. Great. Do you want to, can you demonstrate just quickly? I'll pin you, and then we'll see how that goes. All right. I'll put it on speaker. Incredible. I'll make some bigger gestures. Amazing. Great. That's amazing. Can everyone come back as you have your gestures? Lovely. Also, round of applause for Tatiana for going. Zoom is still awkward, everybody, and that is okay because it is an accessible form of community, and that is why we love it. So if anybody else wants to share their gesture, we're going to get into why embodying this is what the potential of it is, but who wants to go? I'm eyeing the group of three because I think that would be fun, but also anybody else, anybody else, feel free to jump in.  Great. Yes. Round of applause. Yes. Okay. This is lovely. I would love one more just to play with. Anybody? Anybody care to share? I'll share. I won't tell. Round of applause. Would you mind sharing what it was? I'm so... Yes. I used to trick my younger sibling, and I used to try to talk to my younger sibling, instead of playing more with my Barbie dolls with his GI Joe dolls, and I will always have to be like, I won't tell, but I would, and that's horrible, but I did knowing it was a gender performance thing that he was supposed to be doing. This is so exciting, everybody. Okay. Okay. Oh, I love this so much, everybody. Okay. So pulling from childhood memory, there's something, and I know on our further reading slide, we'll talk about it, but Jack Halberstam's queer art of failure, thinking about childhood, thinking about the possibilities of bumbling, stumbling, failing, falling about. The generous space of childhood. I love locating that, especially for queer artists, finding the joys of the past and pulling it forward, the gestures, the tones, the lines, and things that we can pull into characters in the present. So thinking about self-similarity is the next thing that would happen after doing a reflection, a reflection on the past through self-similarity, and how it then either doesn't sit correctly in your body now, or does feel good, enjoyable in your body now, we would probably walk around the space together, trying on this gesture. We can't really do that in a Zoom space, but we would live like that for a bit, a number of minutes, and see what works, what feels right, what doesn't feel right for the character that we're creating, or just in our bodies in that moment, depending on, again, what part of the prism you're working with that day in the rehearsal space. The next thing that we would work on is something called echo rhythm. So an idea of movement as an echo, an idea that energy, again, is this echoic thing that can grow and shrink and build on itself, and that energy can multiply, but within the self. So imagining the gestures and feelings in your body as something that is self-contained, you yourself, based on that chaos calm that we did before, you have the energy within you to restage this moment. You also have the agency to alter the shape, the dynamic, and the emotion on a certain spectrum, and we can build this energy vocabulary within an echo chamber. So how I imagine this in a space, because I'm on a Zoom box, is kind of helpful. If I were to turn around, and this was a solid wall and not a piece of fabric, I would turn around and echo rhythm as an exercise would be, and you can all do this in your own time if you find like an alleyway or a wall or another room in your house somewhere, you can do this. Again, don't disturb your neighbors unless you feel like you need to. And go somewhere with a solid wall, you can do this now. I think Tatiana, I think it'll be best if you demonstrate this, especially with the trampoline, because you've done this before. But what you would do is repeat one of the gestures over and over again, and the energy of that gesture. So one that would be fun to do would be my sister dropping a bowl of cake batter when I was young. This is a joy, this is a failure, but it's a good exercise. And she said, oh no, the cake batter, very straightforward memory. And she spilled the bowl of cake batter.  Very much inspired by Brecht in a lot of the repeatable gestures, but freeing us from understanding ideas of the silhouette of how bodies are supposed to be perceived in silhouette and in shadow, and instead thinking about how we can repeat things to get new information out of gesture. So oh no, the cake batter and dumping a bowl could get louder, it could get more, the bowl could get bigger, it could get more and more energized, it could get smaller and quieter. There are so many possibilities for thinking about how the energy might change, but it should be a natural progression. It shouldn't be something like oh I know that whoever is instructing me today wants me to get louder and louder and louder, that's not what we're looking for. We're thinking about creating a spectrum of energy in the room that you feel comfortable working within, so that vocabulary can come back later, and I can say remember when you went up here we should go back to that space, or remember when you got quieter and the energy dropped when you got to the end of your echo chamber, that's where we want to go today. So again, building this safety net, this echo chamber of your own limits and parameters as an actor, rather than being prescribed like a one to ten scale, which is traditional in the classroom nowadays, because what is a ten, what is a one, and who is setting that scale, especially with inability and neurotypicism, you know what I'm saying? I think allowing this echo chamber to speak for you and reflect your own safety and comfort. So Tatiana, can you demonstrate just quickly how you might imagine an echo chamber of this trampoline gesture? You don't have to. If you're like, I don't know today. No, absolutely. I'm happy to. Great. So I'll stick to my ending gesture off of the trampoline. My phrase is I have no room to flip. I'm going to aim at the wall that is past my screen. I'm looking at a bed post here, but here we are. No room to flip. No room to flip. I have no room to flip. I have no room to flip. I have no room to flip. I have no room to flip. I have no room to flip. I have no room to flip. I have no room to flip and let's hold there round of applause oh I'm way to flip the energy and uh oh that's so exciting um so another way that echo rhythm allows us to free ourselves again from binary conceptions of of of talking about gesture and talking about energy um uh is the idea that in a lot of spaces I know for myself that I've had the note from directors time and time again especially when playing men um in straight men in particular it's like make that more masculine make that more powerful and the in the idea there is that power is rooted in this like cis men idea of masculinity right like that is where power is is rooted um and freeing the notes from gendered ideas of energy and power that is also something that we're looking to do that the the vocabulary that we're building is that gesture did this as you built it in the echo chamber grab one of those and pull it into the space right we don't have to start gendering like the the way that Tatiana went like this because this doesn't or when Tatiana in our in-person workshop brought in hula hooping and then let go of the hula hoop moving your hips isn't inherently a gender thing right we don't necessarily have to think about it in a binary conception um not that we have to throw gender away completely because we can always fill ourselves up with gender when we want to but as a baseline I think removing it is something that would help many many people feel more comfortable in rehearsal um in a classroom um great character wise to the possibilities of thinking about energy in an echo chamber too there are like nine different characters that came out of Tatiana's um piece just there that I could as a director help push in different directions or one character at different levels of of comfort with the idea that was happening in that scene at any given moment so again playing with all of that with him echo rhythm everybody wow I feel like what a Friday activity that we're all embarking on right now um but anyway um so that is that um so we are at we're at six o'clock I'm going to be cognizant of time um and I just want to pop over uh to our idea of modeling structures um so modeling structures everybody um did everyone bring a poem today did you bring a poem oh my goodness this is amazing you all are the best um so let's grab our short poem um for today um so I want you to think about the since now the light's coming in over here all right um I want you to think about the sensations held in the piece that you brought today um imagine that this poem um is a painting or a musical composition or a sculpture and I want you to take this poem after you read it through um on your own and then I want you to set it in front of you as if you were looking at a piece of an object that you were going to paint like a still life painting um or an object that you were being inspired by to write about um or you know something along the lines of still life right inspiration a muse of some sort what world in this poem can you perceive so recite the poem as you would existing within the world of that poem who is who is reciting this poem imagine the contours and fragments of the poem the way the aesthetics inform how your body moves as you read it and feels as you recite the poem so you can turn off your camera do this a number of times but really think about what the aesthetic world of this poem is and this is again that you can turn your your cameras off for those of you at home um this is uh an exercise that can be done with a poem um the exercise uh as I have written it so far and experimented with it um also works really really well um with monologues so in an acting classroom it would also work um but we don't have much time on this new workshop to develop character through a monologue or you know workshop monologues in the way that I would like to so we're focusing on poems today um but if you're at home and you have a little poem um that you would like to work with um follow along with us that would be lovely and I have a couple just in case people forgot to do oh we have a question hot deanna yes we do it was in relation to the activity we just did would you like to save it for the energy actually let's let's do it right now great we asked a why a wall and not a mirror for echo rhythm so the reason why I I have decided on the wall um is that I wanted to think about how sound hits like a solid wall but I think that a mirror or a window like something see-through could also you know work as well um I also think um that there are other activities and exercises that work on mirroring the self with a mirror um and I wanted this one to be about energy as it is being sent against the the physical wall and metaphorical wall ahead so something very very solid but it could definitely be a mirror as long as you can imagine the weight of the object coming back and forth to you the weight of the um energy the energy of that moment coming back and forth yeah a mirror would be fun though that we should we should test that out at some point maybe I'll do that oh yeah oh I guess this this would be a good time to I'll I'll repeat this again with the goodbyes but for those of you watching at home um you can go to my website www.jmresesres.com um backslash forward slash contact um and send and send an inquiry um about um booking a non-binary acting methods workshop for your theater company school um wherever wherever you might want um to have the style of workshop um I would be happy to come um and and and share materials um with your students or actors yeah that's great all right everybody else in the space when you're feeling up to it you can turn your cameras back on and arrive with me hello all right so would anyone like to share just a recitation of the poem as they would if they were living this poem within the world of this poem and by that I mean if it's a poem that centers around the idea of a rainstorm um you know it could be that you're amongst the rain right you're you're dodging the rain right it could be something as as as straightforward as that um but yeah anyone anyone want to embody this poem and perform it for us right now I'd be more than happy to great please uh this is for context this is a poem that I created six years ago and I like found the other day and I was like why not so lately I have wondered what is it about me that you see how I glow against the canvas for all to know I watch as you stare at the crown of hair that I wear proudly and fluidly crafted with care thick forests of twists and turns reach up and touch the sky they ascend towards the light and become one everlasting burst my sparkling crown fit for a queen perhaps the skin that covers me it's like silk rich in glock and chalk full of melanin and creamy like chocolate milk glistening in the sunshine of the day and everlasting in my own special way everlasting sunshine and a world where black people exist in the future and liberation thank you so much oh my goodness okay uh I want I want to just start working on this poem and working into the modeling structure but I want I want to hear one more poem and then we'll work both poems um and this is this is the last activity we're doing today just so everyone knows um so if you want to share within the space please do so because we're we're focusing on objects and modeling um now um and I know I know we mentioned playing a tomato yes yes tomato yeah that's kind of what we're doing right now so if you want to share I would encourage anybody who wants to share their poem because we'll work it in just a second anybody oh I can go if no one knows but Connor I feel I feel your energy Connor come on oh no no no no no no no no tj uh um so uh I'm only going to read the first paragraph of this because it's long but this is a supermarket in California by Alan Ginsberg what thoughts I have of you tonight Walt Whitman for I walked down the side streets under the trees with a headache self-conscious looking at the full moon in my hungry fatigue and shopping for images I went into the neon supermarket dreaming of your enumerations what peaches and what penumbra's whole family shopping at night aisles full of husbands wives in the avocados babies in the tomatoes and you Garcia Borca what were you doing down by the water melons beautiful beautiful I would love one more too I would love one more if someone wants to go because then we'll have some examples of where these poems can go through this is after please Connor but I was going to say it but then I saw Connor straight so I'll say my story quickly yeah tj you won't you celebrate with me what I've shaped into a kind of life I had no model born in Babylon both non-white and woman what did I see to accept myself to be accept myself I made it up here on this bridge between starshine and clay my one hand holding tight my other hand come celebrate with me that every day something has tried to kill me and has failed that was Lucille Clifton thank you everybody for just jumping in here and ah I just wish we could all be in a little a little studio together doing this it would be so fun okay so we have three we have three pieces now presented into the space perform beautifully all of them all so so wonderful the exercise now with within this idea of modeling structure is thinking about how we can model character a little bit different because these poems you all brought in yourselves not necessarily something that you don't want to be performing right um or a character's monologue that you might be wrestling with because you don't quite understand where this character is coming from modeling structures as an activity here within within fractals is the idea to then start exploring the aesthetics built into the text free of the preconceived notions that you might have about the work not free socially politically or culturally um in the way that you would want to connect to the piece rather freeing yourself from the idea that you are bound to perform it in a certain way that you have historically been told this is how you need to perform this text right you can perform this in a different way um so the modeling structure would be perform this as an aesthetic gesture built within the text itself how can i say that another way joe in a way that actually makes sense to everyone out in the world so imagine one object or note or color or flavor from the world within this poem you are now that door that flower that elbow that blade of grass that trumpet call that taste of salt water recite the poem as this entity and i want this to to understand even more so this idea of transpossibility here of the queer possibility of playing the object of being an entity of being something outside of preconceived notion how does this transform your body to play this idea this concept your voice your emotional relationship with the piece itself is there more or less to the story here so an example of this happened in my introduction to acting class just a couple of weeks ago where a student performed a monologue um monologues are very rich in that sense because um poems are already full of of imagery that we can play and kind of incorporate into our body naturally monologues feel a little bit more at times i don't want to generalize but at times a little bit more stuck a little bit more rote um in in their performance um and this student performed as a door which is why it's included in this list and it was one of the most incredible things i have ever seen someone perform um because the student actually moved as a door and vocalized as the door opened and closed throughout the monologue just on a whim within like five seconds of me saying you are the door now go um the door moved back and forth and the character came to life as a door and it was just so amazing um but if anyone out of u3 wants to try this in a new way um as an aesthetic gesture within the poem you can't you also don't have to um i know it's been we've been we've been at it for a while now but if anyone wants to try it as a tomato um but i know not all of your poems had tomatoes but one of yours did have a tomato so i saw the seed planted earlier the tomato seed was planted at the beginning no i i know i know i know um we also we definitely don't have to if we don't want to but i'm happy to do a second take oh yes please do once lately i have wondered what is it about me that you see how i clothe against canvas for all to know i watch as you stares the crown of hair that i wear proudly and through the crafted with care thick forests of twists and turns reach up and touch the sky they ascend towards the light and become one everlasting burst my sparkling crown fit for a queen perhaps it's the skin that covers me like silk rich and chock full of melanin and creamy like chocolate milk glistening in the sunshine of the day and everlasting in my own special way a world where black people exist in the future liberation everlasting sunshine thank you so much thank you what were you working with here what what what were you playing with the crown i knew it and i'm so happy about it oh my goodness oh and what what was informing your choices as the crown what was bringing you to this because i feel like the the white gaze and my people like oh that hair oh that crown can i touch it i'm an experience that you can't touch so no you can't have it and no you can't touch my hair this i thank you thank you another another round of applause another snap i thank you thank you all thank you all for for joining today i i can't i can't even express just how i'm just so grateful that everyone is here on the zoom call and talking about this and and thinking about these things because they're things that we should be thinking about and you all are thinking about them in such glorious ways and ah i'm just so grateful i'm so i'm so grateful i don't even know i can't i can't put into words anything else um we only have about 15 minutes and i just want to be quick about something but also be very mindful of it um very very quickly as i pull this up um oh no not that um one last share of this graph um for everybody watching um gender rehearsitivity on this scale of thinking about gender actor and character dynamics within this system of six gender performances within a prism um again returning agency to the actor's body um and the characters that they create this though is a starting point and i want us to understand that thinking about gender is just the way into these exercises that i feel have historically been not talked about in the way that my students um and fellow actors and trans and non-binary folk within the theater community um have had um access to right um i think that this is one way in that being said this matrix of gender and this matrix of spectatorship and perception is a starting point for thinking about race age nation ethnicity this is the starting point um that i have found um in the exercises that i'm building but this is definitely something on a scale that i think will be developed um within classroom spaces where the exercises can be um brought in um and students can can grow and learn hopefully from from these methods um i would be remiss not to mention um this slide in particular i just want to mention my bibliography and the people and genealogies of people that i have been thinking with and developing this work um really really thinking closely with uh Dr. Cheryl DeLuckett's Black Acting Methods Critical Approaches um and her studio and uh Dr. Sweeney Madison's Performed Ethnography and Communication are deep deep deep deep inspirations to my work um as i've been developing um exercises um so yeah please screenshot this at home if you have it um if you can um take a look at all of these uh lovely pieces for further learning um i i stand by uh all of these lovely pieces and people and resources for trans actors as well um continue to explore all of these as well um for for whatever you need um and anybody out there watching as well you can also contact me via my website for advice further learning especially because i know that booking a workshop is not within everyone's financial means so you can always contact me directly um for more information or resources and i'd be happy to share those with anyone and everyone who would care to do so um stopping the share there great questions from the group before we head out comments concerns insults to me recipes fears woes just thanks and gratitude thank you for your time thank you for everything that you are creating and building and letting us all join you today in this sharing thank you thank you for coming today it's it's been i i hope i hope this is not the end of the conversation and i'm going to send out otatiana has a playlist that we thought we were going to play at the beginning but then we realized that if this is going to live on youtube after in the world that copyright was going to be a problem so we're going to send that out to all the participants today so we have something to remember this by which is a playlist of songs that we can all jam to at some point um any other questions thoughts from the group this is really invigorating i like came from like hours and hours of like reading code coding over so just like i just love the switch and it was just such a delight to be able to hold space with you all and thank you so much for bringing all the selves here in the zoom thank you thank you anything else great great ooh spotify link and we'll i'll email it out to you after everything is set and done all right everybody well then we will wrap it up so thank you all um everybody at home for attending the first um hopefully maybe not the last of digital non-binary acting methods workshop here via hall around again um i would like to thank my grant sponsor the mayor's office the boston mayor's office of arts and culture opportunity fund um for helping make this happen um and yeah thank you all thank you all we're done have a great friday wherever whatever time done you're in all right thank you thank you and be well


So, in today's session, we will continue our discussion on demand forecasting. So, if you remember in the previous class, we talked about that what is the need for demand forecasting, what are the different techniques of demand forecasting after the different steps involved in that, then you talked about the methods of the techniques of the demand forecasting, typically more on the subjective part of it. And generally that is known as the subjective or the qualitative methods of demand forecasting and in today's class, we discuss about the quantitative method of demand forecasting. So, to start with that, why we need these quantitative methods for demand forecasting? If you look at, subjective methods can be used only when past data is not available and when past data is available, it is advisable that the firm should use statistical stool as it is more scientific and cost effective. So, if you remember in case of when we are discussing about the subjective method, we also discussed that if subjective method is generally used, if it is a case of a new product getting into a new market or doing some improvement in the market or getting into a specific segment of the market. So, in this case, subjective method is generally more valid because here there is no past data is available. But when the past data is available, it is always advisable to get more scientific, more accurate demand forecasting and also more cost effective demand forecasting. It is better to use the statistical tools so that on the basis of the past data, you can use the statistical tools and you can get a more effective or the accurate demand forecasting. And generally this case typically in the quantitative method, it is more dependent upon that whatever the past data available about the quality and quantity of the past data and that gives more clarity about the accuracy of the demand forecasting. So, when it comes to the quantity method of demand forecasting, essentially it depends upon the time series of the past sales. So, to discuss about this quantitative method of forecasting, we will take first the trend methods and in trend methods, the trend projection. And here basically we use the time series data and what is time series data? Time series data, when we keep the, when we record the information on a chronological basis, may be it is only weekly basis, only monthly basis, only day basis, quarterly basis, hour basis or the yearly basis, when we arrange this data on a chronological order on the basis, may be weekly, monthly, yearly or may be in a hour basis or the day basis generally that is known as the time series data. And this trend projection, this method typically looking at the past data, whatever the trends is being there in the past data, using this quantity method typically this trend projection, the projection will be done on the basis of the past trend of the typical data. So, here the basis for this trend projection is the time series data, because time series data gives the trend, because it is on a chronological order and we get the full set of data and it gives a trend that whatever the behavior of that typical variable in the past time period and after getting the past sales data, the projection will be done in case of the future time period or the projection will be done, what will be the demand for that product in the future time period. So, in case of time series data mainly there are four components, first one is secular trend and in case of secular trend generally the change occurs consistently over a, over a long time it is relatively smooth in its path. So, we know that in case of secular trend means it is equal, if you look at it is a the trend whatever the change in the trend, suppose it may happen that in the time series data, if you have 5 years data, the trend is that may be every year in a particular month it increases or every year in a particular month it decreases or may be in the beginning quarter it increases, in the end quarter it decreases. So, the demand whatever the change in the demand that remains same in case of the secular trend and this change occurs consistently over a long time it is not that it is just changes for one year the next year it is not changing or the third year it is not changing rather whatever is the change it is goes on for a long period of time and that is why this is known as the secular trend and in case of secular trend the change occurs consistently over a long period of time and relatively smooth in its path. And why it is smooth because it is consistent and it occurs for a long period of time then the second component is a seasonal trend and generally the seasonal trend is the seasonal variation in the data within a year. So, suppose this is if you look at we take a product that this is the demand for ice cream. So, what would be the seasonal variation here? So, obviously in the summer season it is going to be high in the winter and rainy season it is comparatively low and this variation will be there throughout the time series data within a year in each summer the variation is there because there is a increase and the other part is decrease. So, seasonal trend is generally similarly if you take the case of the winter garment obviously, the demand has to be more in case of the winter season and less in case of the summer season. So, in this case we need to see the product is what kind of product whether it is a seasonal product and if it is a seasonal product generally the variation is also in the data within a year in that specific season where the data generally being used or the product generally being used. Then thus the third component is cyclical trend and here there is a cyclical movement in the demand for a product that may have the tendency to recur in a few years. So, if you remember about the business cycle we discussed about a business cycle generally the economic activity follows a different path sometimes it goes to the boom sometimes it goes to the recession. Similarly, when in case of cyclical trend the trend also follows a cycle and it increases then after sometimes it decreases and the same increases get followed also in the next time period. So, whether it is a boom whether it is a recession it follows the same kind of variation in next time period or maybe after a few time period that is why this trend is cyclical because this is cyclical movement. So, if it is increasing now it is not that next period it has to decrease next period it has to increase or the next period again it has to increase it follows a cycle if it is increasing now may be after few years or after few months whatever may be the basis for the data on that basis it may increase again. And that is why this cyclical trend is a possibility here is that the tendency is that the same kind of change or the same kind of variation has to recur in a few years. So cyclical movement in the demand for a product that may have the tendency to recur in the few days or few years or few months whatever may be the basis for the time series. Then the last component of the time series is the random event and what is random events? Random events is generally when the variation comes from the random events and what are the typical variations? So, you take the case of your natural calamities your social unrest. In this case there is no trend of evidence has to create a random variation in this trend because the social unrest is happening it is not happening very frequently that there will be evidence in each year 10 times this is the demand when there is a social unrest. It is not a regular feature and if it is not a regular feature the evidence it is difficult to find in the time series data may be it is a social unrest before 20 years and social unrest now. So, since this time series suppose in this case we are taking a time series of data of last 5 years if there is no evidence of the social unrest in last 5 years whatever the variation in this case particularly for the social unrest that has to be random and because this is a random event. Similarly, for the natural calamities like if the flood has happened this year and if the flood has not happened in last 5 years whatever will the effect on the demand that will be of course the effect of because of the effect is on the trend due to natural calamities and it is always the random because it has not happened in the previous time period. So, when the variation occurs due to random event the variation has to be random because there is no evidence of such kind of variation in the trend. So, there are 4 components of price time series data one is the cyclical trend second is the random event third is the seasonal trend and fourth is the secular trend. Now, what are the component of this time series? So, this whatever the component we discuss here if you can put it in the formulate in the equation form then why that is pretty time series that has to be equal to the t plus s plus c plus r here c s is the secular trend c is the cyclical trend r is the random event and t is the seasonal trend and if you so if this can be in the edit addition form or it can be also in the multiplication form. So, the first one is that is t plus s plus c plus r is the additional form and y is equal to t s c r can be the multiplicative form. And if you are taking the logarithmic logarithmic transformation of this multiplicative form then we will get log y is equal to log t plus log s plus log c plus log r. So, here the entire trend has 4 kind of components and this can be done this can be formulate either in the additive form or in the case of the multiplicative form and multiplicative form again we can transfer into the logarithmic form. Now, what are the methods for this trend projection? So, till the time we are talking about the components of the time series data because for the trend projection the basis is time series data. Now, we will see what are the methods for the trend projection and what are the methods for the trend projection? The first one is the graphical method as the name suggests generally in this case the projection will be done in the using a graph. The past values of the variable in the different time is plotted in a graph and movement of the series s s and the future values are forecasted. So, in this case we will identify here we need to forecast the demand. So, in that case we will see what are the two variables to forecast the demand may be on the basis of the advertisement what will be the what will be the sales or on the different or may be in the previous time period or in its specific time period what was the demand for the product. So, time and quantity will plot it in a graph will follow that we will see the series will plot a line we will see the series and after looking at the series we can forecast if this was the trend in the last 5 years what is going to be trend or what will be the forecasted demand for this product in the next 5 years. So, looking at the past trend using the graphic method generally we can forecast the future trend. So, we will just take a graphical explanation to this graphic methods and how generally this trend is the projection of the trend is done in case of the graphical method. So, here we can take time here we can take quantity suppose this is 2005, 2006, 2007, 2008, 2009 and 2010. So, here it is 0 sorry this is may be 10, this is 0, this is 20, this is 30, this is 40, this is 50 and so on. So, suppose we have the data about last 5 years 2010 till or last 6 years that is from 2005 to 2010. So, suppose in 2005 we have 2005 we have 9, this is the time and this is the quantity. So, 2005 it is 9, 2006 it is 12, 2007 this is 10, 2008 again we can say this is 20, 2009, 22, 2010 may be again we can say this is 15. So, now if you plot this for 2005 this is 9, 2006 this is 12, 2007 this is 10, 2008 this is 20, 2009 this is 20, 2010 may be this is 15. So, if you look at here this is the trend for the quantity this is the trend for the demand in the last 5 years. So, if you look at now from 2005 it increases again it has decreases in 2007, again it has increases in 2008, 2009 and decreases in 2010. On this basis now we need to project the future demand on the basis of this past trend. So, graphical method generally first plot it look at that how is the series, how is the movement of the series assessed and then the future value is forecasted. So, now it has to see that why the value is less, why the demand is less in 2007 or why it is following a declining trend in 2010. So, on this basis now the series will be assessed that why in a specific year or why in a specific time period the demand is more or demand is less, whether the same thing has to be taken into consideration when we are forecasting the demand for the next 5 years also. So, in this case graphical method is simply plotting the data of the dependent and the time and the demand in the past time period and after putting it in the graph the series will be assessed and the future value will be forecasted. So, in the trend projection method the first method comes as the graphical method. Then we will take the least square method and what is a least square method. If you look at, if you remember this we discuss when we are discussing about the regression this typical least square method and this is basically a tune to estimate the coefficient of a linear function based on the minimization of the square deviation between the best fitting line and the original observation given. So, if you remember when we discuss about this in case of the regression that we get the error because whatever the regression line and whatever the actual that there is a difference between these two and since there is a difference between these two this gives us the error. So, to minimize the error on the basis of the square deviation between the best fitting line and the original observation generally the method of least square is used and this method of least square also being used to project the forecasted demand and how this demand will be forecasted on the basis of the least square. We will just see that we will find out how we can find out the value of a and b and after finding out the value of a and b on that basis we can forecast because b gives us the slope, slope generally gives us the whatever the whatever the increase in the dependent variable when this typical variable changes and that is why on that basis we can project the demand. So, here we will take the least square method to understand this. So, here y is equal to a plus b x and from there we get the normal equation because this is the case of the minimization we get the normal equation as sigma y is equal to n a plus b x and e x y is equal to a b e x plus b e x square and to solve this trend equation. So, these are the trend equation and on that basis we need to first solve the value of a and b because this is a trend equation and the basis of the value of a and b now we can find out what will be the we can find out what will be the value of the future in the future time period what will be the value of a and b. Now, what is a and b here a is the value of intercept and b is the value of the slope and the value of intercept and slope will decide what will be the demand for the product in the future time period. So, to solve this trend equation we have to solve this trend equation and for solving this we need to follow the least square method and following this least square method we get a is equal to e y by n and b is equal to e x y by e x square. So, here y is our dependent variable x is the independent variable this is the sum of the dependent variable by the number of observation this is the sum of both x and y dependent independent variable divided by the square deviation of square root of the square of this independent variable. So, once we get the value of a and b on that basis now we can project whatever the trend of the future. So, in this case in the trend projection first in the first method we generally do it through a graph we plot the graph in a we plot the dependent and independent variable or the time typically the past time period whatever the demand that we plot it in the graph and on that basis we generally assess the series on that basis we forecast the value of the value of the demand in the next time period. In case of least square method generally we follow the least square method of solving the normal equation finding out the value of slope and intercept and once we get the slope and intercept on the basis of the past data then we can project that project the future a and b because a is the intercept b is the slope on that basis the demand is dependent on that whatever the change in the independent variable. So, once we get a and b on that basis we can plot the we can plot or we can project the what will be the future trend or what will be the future demand for this specific product. Then the third method is Arima method and this is also known as the box and Jenkins method and how generally this Arima method is being followed to do the trend projection. In the stage one the we need to underline the trend in the series removed with the first differences of the successive observation. So, whatever the underlying trend in the series that has to be removed with the first differences we need to take the first derivative of the successive observation. Then stage two possible combination will be created on the basis of the autoregressive term on the basis of the moving average term and the number of differences in the original series of adequate fit into the series. So, there will be possible combination will be created on the basis of the autoregressive term on the basis of the moving average because Arima method is one which also consider the autoregressive term and also the moving average term. So, in this case the possible combination will be created on the basis of the autoregressive terms and the moving average term and then the number of differences in the original series will be adequately fit into the series. Then stage three the parameter estimation will be done and the parameter estimation for doing the parameter estimation will follow the least square methods. And stage four is generally to do the goodness of fit that is tested on the basis of the residual generated repeat if it is not a good fit. So, initially first we do the we will take out the underlying whatever the trend in the series. Then we will find out the combination on the basis of the moving average and on the basis of the autoregressive terms. Then we will do the parameter estimation following the least square method and stage four is generally to do the goodness of fit to find out what is the overall explanatory power of the model. And in this case if you find that this model is not going to fit if it is not fit again we have to start from the stage two where again we have to find out the combination with the reference to moving average term and also the autoregressive term. And stage five if you find this model is qualifying the goodness of fit or the level of significance is acceptable then we will use the coefficient to forecast the future demand. So, stage one is always to start with the whatever to remove the underlying trend in the series and stage three is the parameter estimation on the basis of the combination of stage two and then stage four is goodness of fit and here we need to see that if it is miss fit generally we need to repeat stage two again and finally stage five whatever the coefficient we get on that basis we can forecast the future demand. So, graphic so trend projection methods under quantity method trend projection method is one where we generally use the graphical method or the least square method or the ARIMA methods to project the future trend or project the future demand.


one in YouTube land. So when I was teaching a class in Pasadena, one of the lovely beautiful very talented students we had there asked me a question about how to create a crashing looking wave when you have like rocks and other stuff in your piece and I told her that I would demo this and so that's what's gonna happen.  This stuff takes forever to dry I blast mine with a heat gun while it's drawing to help that along but I left some of the angles clear so that it still looks kind of just frosted and not solid but I'm debating on dusting it with a gold spray paint sorry Bowie I know I just scared you I'm sorry my bad I'm sorry but I was gonna see what you guys thought about that before I actually did that bit. Gold rocks or leave them regular earth color I'm actually pretty excited about how these look because I didn't have any rocks or boulders for my ocean waves to crash upon for this demo and I was gonna make some and then I did and I'm super pumped. What's up what's up Kathy, Julia, Jini, Carrie, Melody, Christine, Julie, Stephanie, so many fans thank you guys so much for being here if you're new hi hello what's up welcome please subscribe and hit the bell leave me your thumb if you wish you like the earth color two three earth colors so that we're gonna leave them earth color team cool no more spray paint for now so this is an ocean that I did I don't even know how long go and so we're going to add some waves to it and next level it so everybody likes the earth colors but I want it to sparkle just a little bit so I'm just gonna like lightly dust it so it just has a little bit of that like shimmery you can't even really tell actually oh there you go you can see those like goldy kind of flecks but you can't really I didn't fully cover it just some flecks of gold because who doesn't want to see gold in their hills I think I just made that up but that's fine okay so I'm just gonna hit this with my heat gun to further dry them because we don't want any of the spray paint getting into I cannot believe this will not focus well you can see the gold there anyways so you don't want any of the spray paint to get leaked into your piece some resin I'm going to use some of the new quick coat that's UV resistant not today but as soon as I get that resin in I don't have tracking yet so I'm gonna arm wrestle someone at stone coat slash polytech soon I think anyways I don't know why I said all that but so because of reasons I'm using mixed media girls art resin it is a shorter working time it is thicker but it's still a good resin to use for oceans it's UV resistant I am currently out of it but you can get it from Marcy's shop makes me your girl calm leave her a note saying I said what's up if you do so Christy hey Tim so yes okay I'm gonna make me some white I haven't done this with fireglass making like a crashing wave look so we're gonna see how it works in theory I don't see why it wouldn't work as well as actual rocks other than the fact that rocks tend to be more circular instead of angular and it could mess with the way the heat gun airflow kind of I don't have a word but basically bounces off the rocks and moves the white the waves the water the white so I don't know we're gonna figure it out together and see if this works if it doesn't we'll still make something pretty because we can't I put too much white paste in this but there's no going back now so how is the weather and everything where everybody's from it's finally starting to thaw here in Dallas I only got one day of snow a little bit bitter about that but it's fine I'll see snow in March okay so we have our white I'm going to what is this fondi sweet not gonna do that yet usually I would go ahead and make some color but need to figure out my wave line first usually I tell people to stay at least an inch back from their first wave but I'm kind of doing this as though it is a first wave okay so let's put our this down I don't want to be too deliberate with how I'm applying these rocks because they'll look more natural if they aren't placed they're just there but I need them to be kind of taller so that I can use the airflow to bounce off of those rocks and push out into the ocean I hope that makes sense and I'm kind of talking as I'm figuring out how I'm gonna do this I tried to find all the bigger glass that I had I'm just gonna dip this into this overflow I think I'm gonna kind of trail off this rockiness so it looks kind of like what's it called like a breaker that right when they have just like a peninsula of rocks I think it's called a breaker because I'm pretty sure it's meant to break up waves so you can have like a calm surf area I could be way wrong I have no idea but until someone tells me that's not called a breaker I'm gonna use that word all right I think I can I think I can roll with how we're looking right now ideally I think I'm gonna put some more rock out here so that it's balanced but not even I don't want to do it like this because I would just look awkward yeah I'm just gonna put them out out in the ocean okay so let's make some more color so I'm gonna use just a little bit of my Milky Way or shooting stars so I have some sparkle in my water I'm gonna use just a few drops of my Bondi to get my first color and then I'm gonna add a couple more drops for a deeper ocean tone even though the deep water that I have here is already dark enough so this is what our sparkly water looks like right now I'm using color obsession Bondi blue which I think I have some in stock oh I just got a shipment of color passion and I have a code right now through this weekend the code is restock 15% off just FYI okay now I'm gonna put my light color on bang bang boom I'm gonna add just a couple more drops of the same Bondi to the rest of this mix that I already have and that's gonna build me a deeper color it's the cool thing about these color obsession tints is you can add as many drops as you need to to create a deeper color and it'll always be translucent and when you're trying to do water I feel like that's super important to have translucent pigment you can get all the products I'm using today at our website artist till death com alright so here's our deeper blue it's not that dark but that's on purpose because this is already very dark so you can see here this is the blue I just added and this is the blue that we did first their difference in tone even though it's the same color used just a little bit more product will give you a darker hue the rocks look awesome well thank you hello Kelly I hope you're having an amazing day but we had an awesome birthday yesterday he did the same thing that he does every day just live the life basically I work hard so that I can spoil my pup and I'm just gonna push the resin that I have down up under this a boulder that we made it because it's looking kind of shallow so Marcy's resin is a bit thicker than other ones like stone coat for example so if you do need to thin it a little bit just put it make sure your lids are tight and then put it in a warm water bath for like 10 minutes to thin it out some but keep in mind that when you do that I put way too much Milky Way in here which is bananas since I didn't even use that much if you do a hot water bath be advised that when you preheat your resin you kind of start off the I think it's endothermic reaction that resin does could be exothermic I don't know words are hard and it will speed up the curing process so you'll cut your working time down and Marcy's resin is a 45 minute ish epoxy so do be careful okay so I'm gonna take the white I'm gonna put it down like I usually do where my fresh resin is touching the dry part of the piece in this case it is the first wave just as expected that resin is already like creeping forward right here which is fine I'm just going to have to make sure when I put the board up to cure that I'm leaving it just at a slight angle downward towards the deep water so that it doesn't want to roll forward is there glitter in the blue resin so I put a little bit of the Milky Way or shooting star from resin art in it so there's just a little bit of a sparkle because in my world water glistens and sparkles you know I'm putting just a little bit of white on the water side of my rocks see if I can zoom you guys in a little bit cool hope that's not too zoom in and zoom in okay words are hard today apparently okay I'm just gonna make sure that everything's lined up so you can see it okay all right I'm gonna turn my heat gun all the way on high airflow and high heat highest heat highest airflow and I'm using a concentrator nozzle to give me some Ripley looking waves I'm gonna put my board just a little bit on a tilt on angle so that my resin starts to slide backwards I'm gonna do this side first so what I'm thinking I need to do is make my heat gun airflow face towards my rocks and because the air has to go somewhere I feel like it's going to curl under when it hits the rocks it's gonna go down because I'm gonna try to hold my heat gun at an angle to push the waves back outward if that doesn't work we're gonna figure it out going to do the rest of this area beautiful scalloped wave there I think I don't like this I'm just going to sweep it off then I'll fill it back in with some of the other resin that I have out on the board to da and I'm going to redo this part of the wave maybe I just need to have it face downward instead of directing it exactly at the rocks yeah downward it is so I have the white and the wave where I want it to be but I don't want to mess up this because this may be the prettiest wave I've ever done on this area so I'm gonna take a torch and okay so you can see this bright blue area that's gonna be too hot for what we're doing and then you can see this kind of like pale translucent blue area that comes to about here I'm gonna use the heat that's right here you can't even see where it's at but that's the area I'm gonna use and I'm just gonna lightly kind of tap that area onto the bits that I want to have more cells I want it's doing in my head in terms of e-science is heating up and thinning out the white that's on top while the resin that's under it is colder so it's kind of creating that dispersion in my head that's happening that's the e-science of it and so I'm just tapping that area that you can't even see in the bits that I want to disperse and give me some more cells perf perf perfect leaving it loving it so that is how I address having rocks and a structure and needing to have some crashing waves also if you wanted to create more of a texture more of something different I have my super awesome seafoam blend that I put on this one I don't even think I can peel it off I didn't put it down but oh there's some so you can create some textured bubbles stuck that right back on like I wanted to so all these are a texture I put it sideways you can probably see that it's not flat and so you can wait for this to cure use that seafoam blend and just kind of place some bubbles here which maybe I'll do tomorrow to kind of just add another level of awesome to the piece so maybe not tomorrow got stuff tomorrow Monday Monday if you would like leave me a note down in the comments about if you wanted me to do the seafoam blend on these rocks or maybe I'll film it this weekend because it's gonna have to be time-lapse anyways anyways um that's the video today hope you liked it let me take you down for a little bit too much Milky Way but needs the coral reef put in that I saw you do before yeah so this was just for demo purposes I very much would like to do another like underpainted coral reef definitely going to do that for you guys but for now is that a hair there is some Bowie DNA for whoever ends up buying this piece anyways so here's my wave you guys saw it was just one pass really quick heat but very intense heat and then our crashy wave here and so this rippled scallop look is because of the heat gun attachment I think this is called a wedding cake or the groom's cake on the website it is just concentrate our nozzle anyways hope you guys enjoyed this video if you did leave me your thumbs if you're not subscribed I don't know what you're doing with your life you're already here watching may as well subscribe I don't think you carry so yeah have an awesome weekend and we will see you guys on Monday be kind of one another cuz you never know what someone's going through and always remember we do the tests so you don't have to see I know I feel like I should extend the O's again but I felt like they kind of weren't your favorite things so I was like you say something directly after that oh yeah okay so you guys are amazing there's big boy Bowie talking to his dad oh big boy stretch alright you guys stay safe this weekend share my videos if you think they were sharing and don't forget about the sale and we have classes coming up we have poor with us kits all available on our website we'll see you guys next time bye we did buy didn't say bye bobo say bye yeah okay yeah he's he's over it yeah take him for a big boy