Welcome everyone. This is quantum healing with Candace and it is the 29th of August 2018 and I've been looking forward all day long, actually more than that, many days long to be able to welcome my wonderful friend David Manning with me here today. We're going to be talking about trusting the field and that's what many of you out there as healers and even if you're not a healer with a shingle hung out and helping others, we're all healers really. We're healing each other this time on the planet and trusting the field is such an important topic and that's what we're going to focus on today. So let me introduce David Manning to you. David is a wonderful energy healer, a great friend and a real voice of what's going on in the world. Again, energetically as we move into this new age, welcome David. It's so nice to have you. Candace, I really appreciate the invitation and as always, it's lovely to connect with you and to get to chat with you and I've not really done a Facebook Live before. So thank you for initiating me into this whole field. So yeah, I really appreciate it. You're welcome, but guess what? I'm going to have to say, you're incorrect about that. We did a little Facebook Live in a park together. In Regent's Park and that was the first one, a very brief little introduction, but this is the first official one that we've done. So yeah, I appreciate you're pushing me into this because it is something that I've been intending to do for a while. And I always watch, you just churn these things out, you do them all the time, rescuing animals in the garden or on the street and there's a Facebook Live running around with your phone. And I'm just amazed at how impromptu you are with all of that. It never ceases to amaze me. Well, thank you. I think all the time in my mind, well, there's a lesson here or there's something interesting about that that I want to share. So I guess that's kind of how I end up doing that. But what I wanted to talk to you today about is this amazing idea of trusting the field. You sent a newsletter out about an event that you're having pretty soon and I love the way that you introduced the event because you talked about the fact that you were not writing many notes and you were just going to trust the field walking in and then you described the magic that was there. And as much as I'm interested in the event, which I would like for you to tell everyone about that, of course, I am so interested in that bigger concept of trusting the field, not only when you're getting ready to present, but really all the time, right? Yeah, and I can't say I'm there. I'm not living in that space where I'm trusting the field all the time. But I have had quite an intensive training in this process of trusting that what needs to happen, what needs to be said, what needs to emerge in any given situation will be there. You know, so years ago when I was first starting leading classes and teaching for want of a better word, and it's not that's not an accurate word at all. But I was leading I was I was up front in a class and I'd be walking into the class thinking I have no idea what I meant to be doing here. And then and as I would walk into the class, I would feel the energy would download into my field as to this is what we're doing tonight. Or sometimes there would be I would be walking up the stairs into the class thinking, what are we doing? What are we doing? And bang, there it would be the class would lay itself out in my awareness. And it was like, often I would literally be scrubbing down notes the day before or the the evening before. And then those notes would disappear. I would lose them, they would fall out of my pocket on the way to the event or whatever. And again, I'd be stood there thinking, what are we doing? What are we and something would happen? And that wouldn't that was never an easy thing for me, because I'm not a natural public speaker at all. And it's taken me a long time to just move through the layers of fear around standing in front of a group of people and thinking, I have no idea what I'm going to say. But over time, then that, that trust deepens. And over time, you know, the blinkers of fear that are here, sort of fall away. And there's a much wider experience of, oh, yeah, the field has got this. And I'm just a part of the field. And when I step forward as a leader, if you want for an event, then I become the spokesperson for the field. And so now what I do is ask the field, okay, what is it? We want to communicate here for this. I do a lot of work at a place in London called the College of Psychic Studies and they liked their program is organized months in advance. And we're doing that now, I'm just having to prepare notes for classes and workshops that I'll be running there in six months time. And I hate that idea. It freaks me out that I'm pinning myself down to something now that I'm not doing for six months time. But again, over time, I've learned to trust that when I'm asking what is it we're going to want to communicate in six months time, what emerges and it usually emerges very quickly. And I scribble down a paragraph or two of notes about what it is. And then I forget all about it. And I come to be, you know, at six months time, I'll show up and think, Oh, look, look how appropriate that was, I wouldn't have known to do to plan that far in advance. But now that we're here at this event, and it's perfect for now. And so that process happening over and over again has really taught me to trust the process and trusting the field is the same as trusting the creative process that that something will show up that wants to emerge that's going to be useful for whoever has parked their backside on a seat and is is waiting for something to unfold, you know, so it's it's been a an ongoing process and one that is a very rich source of learning. But I think anybody that's doing this sort of thing can relate to it. I've just never been one of those people that I was never allowed in a sense to make copious notes and do a presentation step by step in that way. So and recently, it's got more intense in that I have started to run bigger events, longer events that run over four or five days retreats. And the first time that this happened was last last October in Morocco, again, run through the College of Psychic Studies. And we went, I was there a day before the event was due to start and the night before I was lying in bed with this awful, awful panic. And all I wanted to do was pack my bags and leave a note on the bed to say sorry, I can't do this. I've got to go home. And I had a sleepless night because I was in this horrible state of fear, really unpleasant. And then I walked into our meeting room the next morning. And as I sat into the chair, I thought, Oh, this is going to be perfect, because I could feel that the field was present. And it knew exactly what needed to happen. I didn't have a clue. All I have to do is show up empty enough so that the field can work through me, the field can communicate through me what what is wanting to be communicated. So I have some questions. And one of the things that that brings me to have you to talk to us today about all of this. You know, we work in a in some ways in a similar way and in some ways in a little desperate way.  It seems like you're so natural at it and you do it so well so fluidly. But when we as quantum healing practitioners, when we do these sessions with with clients, and and you know, I just released the class of the on quantum healing class, and and we go over all the different things that can happen and all the different things that might happen. And and we we kind of look at all of the different pieces of types of experiences that can come through and how you might handle that. And what I'm noticing is that we are trained, especially in the Western society, we are trained to of course, intellectualize and pre plan out things using our mental faculties all of the time. And I know this. And of course, I accommodate even in this thing, because we're trained that way, I was brought up that way, we all were. And we're trying to kind of break out of that, right? So even doing something like these quantum healing sessions, I have a notebook and I have these processes. But when you're sitting with the client, what I'm talking with a lot of other quantum healers about doing is you have all of that training, you have all of these things you can fall back on, but then just set them there and do exactly what we're talking about today. Trust the field. Yeah, just kind of see what comes up. And, and, and I love the people in our community so much their hearts are so big, they're waking up, they're wanting to assist others.  But we're still wanting to intellectualize a lot. And so what I was kind of hoping, you might, it maybe it's impossible to do, David, you tell me, how do we begin to do something as vague as this thing called trusting the field? How do we, it's such a big thing to say, right? It is. And it seems, you know, when you're doing it, it's the most natural thing in the world. Because I look back now and realize my whole life has been a preparation for this in a sense. So I have to acknowledge that I've done a terrific amount of shadow work. There's been a lot of really deep excavation of the type of wounds that many people don't even begin to look at, you know, long, deep, painful run ins with addiction, cancer, sexual abuse, all of these sorts of things that I've really had to work thoroughly through my system. And that I know now when I've done that I can hold space for somebody else. And I can trust that whatever is wanting to emerge in their field, the personal field. I can hold space for that because it's happened, it's already happened in mine. And when we've cleared our personal field of something, it means that from my perspective, eternity shows up in that space and says, look, I'm here with you, you're not on your own in this. And that's my experience, you know, that I am backed up by the whole of the universe in this. So when I'm working individually with a client, again, all I do is watch their field. And there's this flow of what I call grace through my field into this. And all of any protocols I learned and there weren't many I have to admit, go out of the window and I just watch the field, the interaction of this flow of grace that comes through my field, and how it interacts with the personal field of my client. And so I've done that for year after year after you're watching that. And again, really trusting that process, and seeing what miracles happen when I move out of the way and give up control. And of course, that's a big challenge for us because we're trained to be in control. A big advantage for me was that I didn't, I didn't go down the, the intellectual path. I graduated from high school in American terms in, in British terms, I got A levels, but only just, you know, I didn't study. I was too busy down the pub drinking every night. So I did, you know, I didn't engage my intellect because I was very traumatized as a child and was out of body, in effect, dissociated. So it was difficult for me to concentrate in school. I was always ashamed of that. But now I realize that that out of body experience held gateways and lines of energy open into other realms that are now very useful. Then I just thought I was a complete flake. But now I realized that that, that too was part of the training. So I think in order to do this, you it's the same old, same old, you have to do your shadow work, you have to clear your personal wounding and make space in that. Because if we haven't, we're perpetually going to be frightened, we're perpetually going to be needing to control, and we're not going to be trusting the beneficence of the field, we're not going to be trusting that the universe has our back. And that's ultimately all this is about is trusting that the universe has got me, I am held in the, the wider field of universal benevolence that holds us all. But it's about, and I'm being trained in this to a deeper and deeper level every day, just trusting that the universe really holds me and that I am, I am loved by creation itself. I am an intimate part of creation, relating to other aspects of creation in this crazy world that we're engaged in. And that trust is what deepens for me all the time. So it's basically it's just about engaging in the spiritual process. And it's the step by step by step process. But how I work now is very different than how I worked 15 years ago, you know, my trust has been stretched and expanded dramatically over that time. So wherever somebody is at is, is perfect, but it's, it won't be where you're at in six months time. So, you know, when you were in that letter that you put out in the, you know, the, the upcoming event, the news letter thing. Yeah, it's so beautiful. It was, and I'm sorry, if you guys are hearing my, my Facebook thing go, I don't, I don't know how to turn that off right now. Sorry, all of what that's many of that is wonderful people here talking about what's going on with our, with our conversation. I'm afraid if I turn Facebook off in the background, we might blow up the show. So sorry about that. Anyway, for people who are new to this, right, you know, you in your newsletter talked about, well, Native American spirits came and then these other things you were able to see. And I can already hear and think those out there who were like, well, how can I trust the field? If I don't see things like that, if I'm just now trying to hear my own intuition and follow my own heart and, and feel my own energy, we are so trained to be cut off from that. Yeah, totally. I mean, from the very beginning when we're children, we are trained to be cut off from that. And as I sit, and I've been here seven weeks with my daughter, we're talking a lot about, and she's, she's going to be homeschooling her children. And one of the main reasons is, is whatever that is, it's, it's almost in, in our opinion from what we can see, that's even it's getting worse. It's, it's even worse, the, the system, the itself, it wants to cut you off from that even more than when you and I went through it. And, and, and more so when my daughter went through it, and, and now to the nth degree when my grandchildren are going, growing up in this world. So what are some things that, that you might tell? I mean, anybody who wants to trust the field, but maybe even, or more so even, I think about this show really is one speaking to so many of my friends who are practitioners out there. What would you suggest some ways of thinking, or opening or softening to be able to, to do that could even be? Is there, is there anything to do or not do? You know, and then, and then you have to kind of laugh at that, because that right there is a protocol and intellectualizing doing something that we're saying, don't do that. Yeah, and you know, but, but there are things, you know, I mean, there are hundreds of thousands of books written about this process, the spiritual unfoldment process. And that's all it is really. So I would say, some of the things that really worked for me was the understanding that everything that has ever happened, or will ever happen in my life, is happening to help me evolve. And that moves you out of victim consciousness, perhaps more quickly than would otherwise happen. And it helps you to see things from a different perspective.  There's a part of you that can breathe and trust and think, okay, this is happening for a really good reason to help me evolve.  But the next time the fear levels will be less, you know, it's this sort of thing of recognizing that even the most difficult challenging situations that we grow up with are designed to help you become who and what you are, rather than have been put there to limit and wound you. Sometimes the wounds are made to be so ridiculously in your face, that the only thing you can do is walk through them because it's like I'm either going to die, or, or let go of this, you know. So that has been a really significant thing for me, is that just the willingness to accept that everything is designed by life to help me evolve. And that leads me into, or just to see the beauty of all of these situations. But again, looking back, I can see how even the books that I really liked have been sort of dropped along my path to help me see how this works. And my type of awareness, which I have to say, I thought a lot more people would be working with these expanded fields of awareness by now, but it still seems to be taking a while to really come online in in the collective. But wherever we're at with our, I don't even like to use the word psychic abilities, but our expanded sensitivity is going to be perfect. But there is always room for expansion. And part of that is trusting to that there is, you know, the personal field is held within containers of limitation that are the identity structures we have built up over many, many lifetimes. Those are in a sense, what have to loosen and dissolve in order for us to expand into this amazing sense of being held by a bigger field. There isn't a shortcut for it. You just have to accept that where you're at is totally, totally perfect. As I said, it'll be different than where you're at in six months time. But if you ask the field, show me how to show me how to trust. Show me how to expand into this sense of allowing, because that's all it is. It's an allowing of the natural wisdom that we're all immersed in every second of every day, just allowing that to present itself trusting that it knows far more than I do about any given situation about what's going on in that person's energy field, you know, it has the information, I don't. I'm not, I'm not clever, I'm not wise. And maybe there's a lot of use in for me not training my intellect, not going to college, not getting a degree, spending far too much time drinking and smoking, you know, doing all the things that you shouldn't do. Because that left me perhaps with less of a complicated intellect to break down. Maybe. Maybe does that make sense? It does. And you know what? So of course, as you talk, and maybe that's why this is so wonderful, you, the connection of you, the things that you're saying, bring up some things for me to think about. And I find it absolutely amazing. And maybe it's just because I'm so fond of you. But you know, I love being in your energy field. There's something about listening to you that, that brings things up, that brings things, you know, up for a lot of people. And that's why maybe we gravitate to listen to other people, maybe either one on one or in groups or whatever. But do you know, when you were talking about spilling coffee and being completely unprepared, so you were describing that? Do you know something happened? That triggered a memory in me as I'm listening to you. When I was five years old and in kindergarten, so that is 52 years ago. Yeah. 52 years ago. I remember standing up and I was supposed to sing. My Bonnie lies over the ocean. My Bonnie lies over the sea. Yeah. And I couldn't remember after like the first say, I couldn't remember what it was. And I'm standing up there. And there's, you know, all the parents are out there. And I'm like, and then I just start laughing. There's like the microphone there. And I just start laughing. And I'm laughing hysterically, because I can't remember the words of the thing. And I should. And I started to be very afraid and wanting to like be my pants or whatever. But I just started laughing. But do you know that I can still see that audience? How they were laughing to but laughing? Because it was actually wonderful. It was a much better show for me to have forgotten those words. The tension was broken. They were laughing. I was laughing. I didn't have to remember anymore. We all had so much more fun. And I don't think I have thought about that. I can't even remember the last time I thought maybe not since I was in elementary school. Have I even thought of that? But look what being in your presence talking about trusting the field did to even my own intuition or my own sense of being given a gift, right?  And it was the best thing ever completely unplanned at age five, right? And a lot of us would have integrated that experience as a huge trauma and shame and a massive wound that would have taken, you know, endless amounts of therapy and healing to get over and a real big block in the throat. And so the fact that you just were a natural child and laughed, stop integrating as a wound. And it became maybe a gift because you have no problem in talking in public. You do it very easily. Huh? Yeah, it didn't bother me a bit for whatever reason. And I do you know that I actually a little bit wondered why I was always like that until maybe today here after talking with you. So once again for helping me to understand, understand myself, you know, another thing that I talk about, when I talk about with practitioners about dealing with dealing with clients or being in that situation is feeling a little bit like they have to fill up every bit of time with something that there can't be moments, even small moments of silence or quiet. What do you think about that? Does that come up ever? Did it used to for you? What used to come up for me was performance that, okay, they're paying me money.  Not that I ever was particularly. But over time. And I think this happens for most of us is that you really get to see how extraordinarily wise is the energy field, the system, the wisdom of the body, it's all it knows what it needs to do to unravel and heal itself, you know, animals do it very naturally, they shake, they shiver, they, they run, they roll in the grass, whatever it is, you know, when they've been wounded. And animals don't hold onto physical wounds or pain in the way that human beings do. But we because we've got these complicated emotional systems and mental bodies, everything gets shot and stored and held and because whatever in the West, and in our civilized societies, we're trained not to process these things naturally to intellectualize it all. So again, it comes down to trusting the personal energy field and the wisdom of the body that it knows exactly what it needs to do.  Now, there's an advantage for me in terms of seeing patterns and structures in the field and how energy is moving through those, but we're all capable of that. I really believe we're all capable of sensing in our own way, won't be the way that it is for me, because we all have our own capacity to have our own capacities and capabilities that have been trained in this and other lifetimes. But it's about, again, giving space for those to emerge so that we're not constantly overriding the subtle signals that are landing in our own field in our own body about what's happening, what it is we most need to do to support our client in their process. So it's the willingness to just get quiet and listen with that inner listening to what your system is telling you, and to what their system is telling you. And that is the field, you know, that's the field in your office, in your practice space, in your workroom, whatever it is, that you're, you're paying attention to. And doing that, because the field always wants us to expand and evolve. So it will always take you into bigger fields of experience. As you get used to one thing, and as you get comfortable, then everything changes, and you're not allowed to be comfortable for long, it's okay, we move on to a bigger field of experience. And I know you know that well. So, so yeah, trust the process of life, because that is the field in itself, it's life itself, that that is the field that we're, that we're removing our separateness from all of these layers of identity holders, with an idea that we are separate from each other, and from from life itself, in a sense that we're needing to control it and life is coming at us. But life is actually emerging from deep within us. And it gets filtered through all of these layers and the less of these layers or the less the more permeable these layers are within us, then the more free flow there is the more sensitivity we have the more awareness of what is going on for my client or the group field in a room or something else that I have awareness of and work with a lot other deep collective fields. And I get to feel into those and see some of the currents that are emerging in that but I don't for one minute, claim to see everything just a tiny tiny portion of what actually goes on enough to keep me interested and then give me stuff to do. So So as you're talking, I'm thinking about a few things that you're saying now. Yeah, there's some people asking about your YouTube channel. I said, I'm not sure you have a YouTube channel. And someone's like, I found it. You have a YouTube channel. You have a YouTube channel. I'm not. I haven't been particularly active on my YouTube channel, but sign up for that. And I will I am intending to become more active again on my YouTube channel. Well, you know, we can take this video and I will be putting this on my YouTube channel because it's cool. So I can pop it online as well. That's great. Absolutely. Absolutely can do that as well. So going back to what we were talking about though, the subtle part about it. I think that's a really important word, you know, to try to be soft enough in your presence in your own presence with your own self to allow the subtle things to come through. I love also the words that you use permeable.  So I'm constantly giving myself this lecture about really just like pay just paying attention to my, you know, my muscles.   It's helpful and nourishing. But that's where some of the subtle things can come in and and play themselves out the way they may in your own, you know, since I, you know, you talk about structures and you talk about flow. And again, these are big words that to some people out there, they hear them a lot that they're not sure. Well, what does that mean? And it's, but you don't want to be so much that you're defining it. Well, it is when this happens, because if you get to where it's so defined so tightly, then it won't match somebody else's and then they think they're doing it wrong. So that's why these are like, these are vague things, you know, for me, they're, they're kind of memories and there's analogies always going on, you know, hence my body lies over the ocean that, you know, that comes up, it comes up as a story. But there's so many different ways. And I was thinking too, when you were talking about the permeability and the subtle fields, when, when we do these, these beyond quantum healing sessions, very often wonderful storylines come through storylines or or experiences or very linear types of expansions happening by understanding situations and relationships and things like that can happen. But there's this other part that's happening and it's happening more and more in these sessions where clients will go into a place where they're like floating in fields of color, they're floating in fields and or or there's a big light here and they're in ribbons of pink and purple or whatever. And then they're coming out of it, not always, but they're coming out of it with both sometimes practitioner and oftentimes the client going, it didn't work. It didn't work nothing. And it's like, Oh, my God. No, don't say that because it that is part of it working in this new way that we are opening up to this is that is stepping into an expansive different field, right? It doesn't always have to be this linear thing. Totally from my perspective, that's really a beautiful thing you've touched on because I think we're starting to move beyond the stories into and the stories are a layer that have held us locked, you know, the stories of past lives. Each of those past lives is an identity a layer of identity that believed itself to be really important in that lifetime, as important as we believe this identity that we're wearing in this lifetime is and yet none of them are particularly real. But they've held us locked in fields of limitation for a long, long time. And now we're starting to move beyond those storylines recognizing well, I'm not my stories. I'm not the wounds that I've accumulated over however many incarnations. And we're dropping into the places that we're not wounded into those fields of light that are both external out there in the universe, but also internal, we're dropping into these deeper places that aren't bound by the structure of the stories that we've carried. And that's really, really important. And it's the earth.  I do that a lot. And she has told me, okay, I'm not holding your history any longer as a species. We're done with that. So the trauma fields that we've stored in the earth, and in our own personal field. She's telling me that's over. That's done there's nothing more to be learned by doing that. Now, there are the fields of wisdom that we have also stored in the earth that are now waiting to integrate because collectively, we've done enough of the excavation we've done enough of the trauma recovery process so that we can now start to really integrate the fields of wisdom that that we are the lifetimes before we were so deeply wounded.  And it's really important, you know, so I think that's beautiful to hear that you're getting more and more of that experience where you're just finding your clients in fields of light because I think that's really important. And I was told years ago, David doesn't really exist. David is just a construct. It's an identity you're wearing, but there's no such thing as David. So don't pay too much attention to David and what his needs are. Because and it's, you know, when I first heard that, it's like, that's a shock, you know, because I really believed in David. Or I didn't, whatever. But I really believed in that structure. And now it's much more permeable than it was, you know, I don't need to take so much notice of David. And I that allows me to be shot through by other fields of energy that wouldn't move through this system. If David was very tightly arranged and holding on for dear life, you know, it still does, but it's, it's much looser in in the overall fabric of my makeup. And I think that's where we're all going is this. I remember reading in a book by Barbara Brennan, her first book, Hands of Light, her work is amazing. If anybody needs to look at books on healing and the structure of the energy field. But it was something and I won't remember this properly, but allow. We're remembering how to allow ourselves to be lightly dusted by form. And that's it so that we are these extraordinary fields of light that are lightly dusted by form. And that is beautiful because we are the marriage of heaven and earth, we are infinite and eternal spirit coming into matter. And we have felt overwhelmed and imprisoned by matter. And now we're recognizing actually that because energy comes before matter and everything is energy, in fact, as we remember ourselves primarily as energetic beings that dip in and out of physical experiences that dip in and out of various bodies over vast periods of time, then we can allow ourselves to be lightly dusted by form rather than locked in and bound by form. And that's, that's very beautiful when that starts to happen, I think. That is, I don't remember reading that. I've read some of Barbara Brennan's stuff, but I don't remember reading that as amazing. So as you're saying that, and I'm thinking, and the dust should be stardust, right? And it is, isn't it? It really is. We are twinkling, sparkling prisms and fractals of light that, that are those beautiful ribbons, you know, and there's when you were talking about those ribbons of like the image I was getting was the, the northern lights, you know, what we call the northern lights, it's that, that play of light, perpetually moving, perpetually creating something new. And we get stuck in our histories that kill us in effect, because we die of, we die of those wounds that might have happened centuries ago, but they're still pulling on our life force that should be available to keep us vital and new in this moment rather than feeding our history from 5000 years ago. But we all still, we were talking a few minutes before the call even. Many people are talking about this idea of feeling a great purge or an unraveling. But I mean, haven't we used those words for years now? Just kind of perpetually. And somehow we think that, okay, so when that's over, we're going to be done, right? Next one comes, and it comes and it comes, and it comes, you know, it's happening more smoothly, don't you think it, you know, it doesn't have the same intensity. What used to take me two weeks to move through now moves through in two minutes, you know, so it, and that part is also about trusting the field, trusting the process. It's like, oh, yeah, I've been through this 100 times before, I don't need to cling on to this, because I know the movement of this through my field, through my body, I know how this goes, I drop down, I need to take a rest, I need to go to bed for an hour, and it flows, you know, I need to drink water, go for a swim, whatever it is. And we get to know how, how our process moves. And we don't linger in victim place for a long time, we move out of that because that gets boring. And things just move, you know, and slowly, slowly and quickly, quickly now, we just move through those patterns, so much more smoothly, so much more easily. And I think, as a collective, we're really in this cusp, this year is now moving us out of that deep purging into something much more beautiful. And I think, you know, for a lot of the planet, maybe they're not doing this work, maybe they're not up for this sort of evolution in this lifetime. I don't really know. But for those of us that are deeply engaged, then enough work has happened in the collective field to allow us to shift into a different phase. And I think that's where we're at now on the cusp of really shifting into a different phase. And of course, we're all at different places on that spectrum, because we're all at different levels and points in our evolution. But, but I think this is a really significant point now, moving beyond the stories of wounding into the remembrance of, of truth, which is, which is beautiful. You know, we are extraordinary beings, having a deep, deep experience of limitation. And I think we're sort of done with the experience of limitation. And now we're remembering vastness. And that's uncomfortable, when you've been contained very tightly for thousands of years, to uncontain yourself is a, it's an uncomfortable process. We all know what it's like having pins and needles, because we've sat on our, on our feet for too long or something. It's a bit like that, but on a, on a mass scale. So yeah, it's, it's a bit tricky, but, but we're getting there, I think, You know, when going back a little bit to the, the idea of the color fields and the light information, you know, we hear the words over and over again, feel, light, trust, holding space, you know, and when you're first maybe waking up or listening to some of this, you know, there's a lot of eye rolling and, you know, what are you talking about?  But, but the words that we use, most of us tend to use, they really have these, these bases, the base, you know, it really is light. It really is light, you know, and it's not a metaphor, it's, it is this thing, you know, and, and it is this thing that's going on in us and around us.  So it failed, you know, she's telling me about this, this experience she had with a separate practitioner. So, you know, it failed. So now I'm looking for somebody who's better at this. And, and of course, I'm counseling her and talking about what my perspective is. But then I'm remembering a client of my own that I had that found herself in the identical place, like, you know, there's this light, and then there's these ribbons in this color. And with a little more softness and with a little more acceptance and allowing of the information, the imagination to sort of be tickled into helping us use words to be able to communicate to each other what's going on here. What ends up happening for this particular client is she follows these, these colors follows these ribbons. And she descends into this experience where she says, this is the tapestry of the Akashic records. And she is then able to and I'm on one thread of it. And, and she's and it was the most spectacular it didn't really have a storyline like no protagonist, no past life or whatever. But she was experiencing this, this big place, this big idea, this big maybe wisdom and knowing and understanding. And it was because she wasn't pushing against her expectations or trying to make it a linear thing. Whereas maybe this other client who may have been in the exact same place, don't know, of course, but because of expectations and wanting to pack it into the construct and the definition of what something valuable, a valuable experience in the way that she knew from before. You know, I'm watching some people start to be able to break free of that to go, it doesn't have to look like what it did for others. It doesn't have to look like what, what these other people said it can look like something completely different and be just as valid without this comparison thing. And it's important to recognize that how it was for me six months ago. But it won't stay like that either, you know, so we can't go into an experience expecting the same results because it might look completely different. I have clients that show up for, you know, session after session and none of those sessions are the same. They're all totally different. And I have to show up putting my expectations of where they're at and how things are going to be to one side, because I have no idea what's happened to them in the intervening time and where the energy wants to take them in this moment. And it's always a, well, it is that thing of trusting that process for me rather than going in there with, okay, this is what we're going to do this week, you know, this time. So it's, yeah, it's a constant, constant education in dismantling any ideas that I might have about how this needs to be and how this needs to go. And giving up control, because control is deathly for this, this process, you know, there is no control. And the less we need to control, then the easier things can, can flow. But all of us are out and out control freaks, you know, our structures, we need our safety, we need to know what's going to happen with the next bit of money is coming from where the next meal is coming, you know, we need that and that's okay too. But the deepening process into life has got me I'm held in these fields of life. When that really starts to penetrate and take hold, then, then magic happens, you know, because those fields of life are where the miracles lie, not in my notes and in my protocols. And all of that stuff is great. And it's done with the best of intentions. But it's, but it's, when we break out of those protocols, that the magic really happens. It's interesting to be that you talk about the tapestry, because I'm just literally preparing a series of workshops for spring to happen in London. And I'm writing about the tapestry of life at the moment, which is what I've always seen this, this beautiful weaving of every thought and every action we've ever taken, form this extraordinary tapestry that is our energy field, our personal energy field, but also the tapestry of life that we get to present back to creation and say, here, this is what I've made of this 7080 years. And, you know, if I look back over my tapestry, a lot of it is pretty threadbare and knotted and tangled. And now I'm starting to work with more consciousness about how I'm weaving the colors of my life, you know, and, and how I'm allowing the universe to to be the weaver rather than, than me, in a sense, you know, so yeah, I'm intrigued by that tapestry coming up again. And a lot of the people, wonderful people who are, who are listening and watching them and trying to watch over here, Samantha, Karen, and Linda and Donna, sending you kudos and saying how, how wonderful it is to hear some of these ideas and that they agree with you about giving up control. David, you've got some events coming up. Tell us about it. We've been talking for about an hour now. So we really ready, my God, that's amazing. I was thinking maybe 15 minutes, I hadn't even looked at the phone. We're on for about an hour already. I'm just shocked that the toddlers haven't blown through the door already. My phone keeps ringing. It's rang like seven times since since we've been going. But that's neither here nor there. Please let us know what's coming up in your offering. Okay, this Saturday, thank you for this opportunity this no, this Sunday, the second of September, I'm offering a teleconference, which for the life of me, I can't remember it. Oh, it's fine. So it's about the reweaving of naturalness. And I was just doing a, a five day retreat a couple of weeks ago. And again, it was that thing of trusting the field, being told day after day, session after session, we've got this, you know, don't worry about this, we know what we're doing. And in one of those sessions, a Native American field of wisdom came in and said, we want to help people to reweave themselves back into the natural fabric of life. We are going to be placeholders for all of the indigenous tribes on the planet. And for all of the tribes that people have belonged to over their incarnational history. And I was given instructions on how to do this place and beautiful Native American type music. And just invite people to lie down and invite those fields of energy in and of course, as soon as they came in and from my perspective, the room was full of Native American shamans who are working with each of us as individuals, then come in the crystal fields they want to participate, then the nature spirit fields they want to participate, then the fields of tree beings they want to put so and we are at a genetic level related to all of these levels of reality. And of course, our process over many thousands of years has been to separate ourselves out from that integrated field of wholeness of life and regard ourselves as different as special. That phrase and man shall have dominion over the earth as cause so much chaos on this planet. So we're this is what I'm going to do. They made it very clear that they wanted to do this with a wider field of people as well as the group that worked together in London. It was a very, very beautiful event and it will obviously necessarily be different doing it as a teleconference. But I know sort of how that goes. So that's what I'm offering on Sunday. It will be this re weaving of the field of naturalness and being woven back into some of the deep connections that we have that have woven a bit or that have worn a bit thin for us that we have slightly disconnected from. So we're coming back into a deep, deep connectedness the body and the earth and all of the fields of life on this planet. So that's going to be lovely and then the weekend afterwards I'm running a a two part piece on the Saturday and Sunday, which is about becoming visible. And that's sort of a workshop. Again, I ran it in person. It was a one day workshop and I'm offering it as an online event for a wider field of people all over the planet. And that's you know, we've got this idea that or I should be visible. I should be writing a blog. I should be running workshops. I should be writing a best selling read whatever it is. But from my perspective, the way we all need to be visible first and foremost is at the level of frequency. And the night before I was running this workshop in London, I was traveling up to London on the train and I was just gazing out of the window and it was a beautiful evening. The sun was setting and as I was gazing, this large angel showed up in my field of vision and made it clear that he wanted or it wasn't a agenda, but it wanted to participate in the workshop and it wanted to offer an activation of the thymus gland and said, okay, and who are you introduced itself as the angel of radiance. And it was there to help us unfold this, the thymus gland, which has become atrophied for most of us as we as we move beyond puberty. And from what I was being told, the thymus gland is meant to be very active throughout our life and to help us anchor into an anchor, fifth dimensional fields of frequency and radiance into our bodies. So that will be a part of that. But that's a really deep, rich piece of work that takes place over the Saturday and Sunday. So those are the two offerings I've got coming up online over the next couple of weeks. And you can see those. You can find us on Facebook or on my website, which is www.DavidManningEnergyWork.com. Perfect. Yeah, we were just being asked in the chat over here how people can get involved and listen to your wonderful work. And David has some pre-recorded offerings.  There's an events tab and there's a free offerings page.  I worked with Sound in the meditations 20 years ago. A Native American shaman dropped into my field and said, I want to sing healing ceremonies for the bodies that show up. And I was not impressed at all. I didn't want to be having to do that. And he actually said to me, but I'm you in another lifetime. And that really allowed me to trust again, trust the field. And that sort of gave an internal permission for those sounds to express themselves. And now I've never trained in the use of sound, but these sounds, I think of them or I experience them as universal sounds, life sounds in effect. And they dismantle energies and coagulate energies. And they do all sorts of things. And people experience them often very profoundly. So the sound is a big part of what happens. But again, it isn't a thought out process. It's just a part of an instinctual approach to holding these fields. So yeah, that's always a bit of of the magic that unfolds. I love what you do in sessions with your sound.  I think that's in itself some of the biggest magic that that you have to offer the world. Well, thank you. Likewise, I'm blown away by your work and the sessions you've done with me have been, I've had a really deep impact for me. I know you're booked up way, way, way in advance. So, but I would say to anybody, you know, book some time with you because but the whole process of quantum healing is phenomenal, isn't it? Because it just takes us out of the linear sequence to that space where miracles can happen I think and where we get to connect dots through vast strands of time and pull things together. It's totally beautiful, totally magical. Yeah, big tipping my hat to Dolores Kenan because her books made such a difference. Oh god, changed everything, changed everything but there's so many more people doing this work right now. Excuse me and what I always like to say is, you know, there's some of us out here who are, you know, we've made enough of an impression that we have, that we have some bookings ahead in time but there's so many more people coming on board and the most important thing, it's not so much the experience. It's not so much how many videos or whatever. It's the energy and the intention in the heart of that person and I have seen some of the most brilliant and beautiful sessions right out of the gate. Right out of the gate by somebody who is just aching to help other people. They may have been doing, I don't know, banking or counting or some kind of work that they didn't like for so long or maybe they're doing this on the side and they finally feel like it's worthy of what's going on in their own heart and that is so powerful. I'm telling you it's just incredibly powerful. Some of these people who are being told, yes, you can do this. There is not a thing.  Which one of us doesn't have that? Exactly and just, there's just not a problem. The way we've got it set up, you can refer back down and the whole thing is just be there, you know, just be there. Well, David, thank you so much. I think we're going to wrap up the show right now. Thank you for everything and before I go I want to thank very much my good friend Greg Prescott of in5d.com who makes this show possible. Thank you so much, dear, beautiful, wonderful Greg. Superb. Greg in Florida, lovely. Absolutely, yes. Yeah, thank you Candice for inviting me. I've really enjoyed this and it's flown by. I had no idea that the time was going so quickly. It's been really, and it's always really helpful because I never know quite what I'm going to say, but it helps me to clarify things for myself, you know, when I get to talk about it because often I don't. For me as well, for me as well, the same exact thing. Coming together like this helps that. That's why I love teaching so much. You know, teaching, I'm always then better at whatever it is I'm doing, but I think most teachers out there, they realize that's why they're in it, right. You know, they just get better whatever it is. I'm intrigued to see what you're serving for. I bet maybe you're new. I know exactly what you're about. Candice is waiting for a grandchild here. Well, yeah, but no, that's not it. This is all stuff going on back. It can't, you know, before getting on I'm like, is everything all set over there? Yes, yes, yes, yes, yes.  I can't have an hour. But it's okay, everything's fine. It's all cool. You can trust the field, huh? Yes. I hope it didn't show you too much on my face. No, it's all fine in a little humorous. Yeah, you're beautiful. You're beautiful. You're so beautiful too. I love doing this. Let's do this more often. I would love to. I would love to. Don't go anywhere. I'm going to keep you online, but I'm going to say thank you so much to my Facebook friends and see you on the next show. Thanks, everybody.


Hi everybody, this is Dave Vellante. We're here at the new Wikibon studio in Marlboro, Mass inside theCUBE. We're here with Craig Nunes and Sean Kinney of HP. Guys, welcome. Yeah, thanks, Dave. They're very thin, Craig Nunes. You're looking great. Thanks, yeah. Thin provisioning, thin guarantee, that's right. That's good. He lives it. I like it. Yeah, that's good. Marketing all the way. Right on. So we're here to talk about the new HP announcement, the August 23rd announcement. You guys have been busy. It feels like we were just at HP Discover. Just yesterday, I mean, just the great event. You guys have recovered from that for the most part. And we had theCUBE there, of course. Yeah, right on into the next thing. So the summer has always been a big time for three-part announcements. You've kind of been on that cycle, and here we are again. Sean, you have a variety of background joined HP relatively recently, right? Yep, over a year ago. Just ahead of the three-part guys. So, well, anyway, welcome, guys. Appreciate you guys coming on here. So why don't we start off, Craig? Tell us a little bit about what was announced today and then we can dig into it a little bit. Sure, yeah. So we announced a couple of things. One is kind of building on what we talked about in June. We introduced our Converged Storage architecture. And what we talked about Converged Storage is really being storage without boundaries and kind of driving storage much more closely to your applications and breaking down the boundaries between server storage and networking. We're kind of taking that to the next level today in announcing peer-based storage federation for HP storage. And what that is really doing is, again, delivering on that storage without boundaries theme and really allowing our customers to turn on data and keep that up and running wherever it might land, wherever they might need it to be. Peer-based storage federation, one big part of our announcement, the other big part is a platform extension to our HP three-part family called the P10,000 v-class. The HP v-class, a three-part v-class, is a platform that delivers new scalability for your virtual machines. It delivers really untouchable efficiency in terms of some of the new enhancements we've driven into silicon and software. And we kind of view it with the peer-based federation capability and everything that the platform has brought to bear over the last several years, the benchmark for federated tier one storage for Cloud and Virtual Data Center.


who loves that page, it can't just be me, right? So these are some of the homemade stickers I made out of digital backgrounds from the digital background exchange I did with Shell C, Bayagrob, NAL Art. These are from Shell C's Art, and I love them, FYI. I love the combination two of the snowflakes and the hexagons in this journal. I've done them before everything is sticky because, you know, things aren't really dry. There's one. I need to get some wax paper in here. And there's another one. So I have one more set left that I'm gonna work on, but I love them. They look great. So anyway, I hope this gives you some idea of what you can do with a journal like this. It doesn't have to be about drawing, painting, or that kind of art, although I do have some of that in here for the most part. It's stickers and collage and actual writing, which I am loving very much. And I hope you are too. I hope you like watching. If you're inspired to do something based on what you see in this video series, I certainly would love to see what you're doing. Share it on social media, tag me in the post, or you can always send me an email, a private message, and I would love to see what you're doing. You're welcome to share it in my Facebook art groups, A Life of Art and Self-Expression, or My Creative Year. The links for which are in my link tree list of links in the video description, along with a bunch of other stuff is in the video description, including ways to support the free content here on YouTube, which I certainly would appreciate by shopping in the Etsy store, or Patreon, or the PayPal tip jar, or YouTube community membership, something. I would appreciate that very much. And that's reminding me I need to update the scrolling supporter list at the beginning of all the videos. Anyway, I love this journey. I will probably keep doing something like this for the foreseeable future. I do something like this for my daily drawings, which include, does include a little drawing, but it's got what got me started with a quote. I probably will keep doing something like this for a while because I'm really enjoying it, along with other stuff that I do. So anyway, I hope that you like it, and please be safe, be healthy, be creative. Please wear a mask, big hugs for you all this weird December and 2020 that we've had. Hopefully we don't have too much more of this in the future, but who knows? But we can handle it and stick through it together. I have all confidence. All right, that's it for the moment. Go out and have a great day everyone. Don't forget to like, share, and subscribe, and do something nice for yourself because you deserve it, and I'll see you later. Bye guys.


Hello, my name is Joe Tiarina, Applications Engineer for ST Microelectronics. In this video, I'm going to demonstrate just how simple it is to get your STM32WB ZigBee device connected to a commercial ZigBee Hub like the Amazon Echo Plus, which many people already have in their homes. The Amazon Echo Plus has an integrated ZigBee Hub and acts as a ZigBee coordinator, and it can allow other ZigBee routers or endnotes to join its network. Then you can use the Alexa user interface to control your device. To get started, make sure you have the software tools installed. The CUBE programmer to update the corresponding ZigBee stack, the CUBE IDE for building and programming the ZigBee user application firmware, the CUBE WB package, which is where the ZigBee stack and examples reside, and finally the Alexa app on your mobile phone to use as a user interface. You can also refer to the tools installed video number three of the STM32WB getting started series for step-by-step instructions. You'll also need a Windows PC, a Micro-B USB cable, a WB nuclear board, an Amazon Echo Plus, and an iOS or Android mobile phone. Once you have all the software tools and hardware ready, you'll need to start by updating your WB nuclear board with the latest Fuzz and ZigBee stack. For instructions on how to do this, you can follow the instructions in the release notes found in the STM32 CUBE WB package, or you can follow the stack loading video number nine of the WB getting started series, which you can find in YouTube. Next, download the STM32 CUBE WB package from st.com and unzip it. Then find the ZigBee on-off server distributed example and open the project by double-clicking on the .project file. Give your workspace a name and click Launch. Close the Information Center window to see the project workspace. Then open the app underscore ZigBee.c file to edit and change the channel mask to WPAN underscore channel mask underscore 24 MHz to scan all 802.15.4 channels during the network discovery, since we don't know which channel the Amazon Echo ZigBee network will be on. After the edits, save the changes and build the project. Then download and debug to load the application program on the WB Nuclear Board which should be connected to your PC with the USB cable. Click Switch and finally run the program. Now that we have the WB Nuclear Board running the on-off ZigBee application and within range of the Echo Plus, we can now command the Echo to look for new devices and connect. We can do this from the Alexa app installed on the mobile phone. Make sure to restart the server by resetting the WB Nuclear Board after the Echo has started to perform the device discovery. If everything goes well, the WB Nuclear device will be recognized as a switch and we can command to turn the board's red LED 3 on and off from the app user interface. I'm now going to delete the device as I want to also show how you can use the Alexa voice assistant to do the same. Alexa, discover devices. Starting discovery, this will take a few moments. Power on your new devices now and if you need, turn on first switch and you can control it by saying turn off first switch. Alexa, turn on first switch. Okay. Alexa, turn off first switch. Notice how the app syncs up and that's the discovered switch device as well which we can also control it from us before. I hope this demonstrated the power of ZigBee's interoperability and just how simple it is to get started developing a ZigBee project with the SEM32WB Wireless MCU. Our ZigBee ecosystem includes much more so if you would like to learn more, please visit st.com or submit any questions through our online support channel or community forums. Thank you for watching.


Hello everybody, and welcome to another hobby-cheating video, and today is going to be a little bit different. Today, we're going to take a look back at Golden Demon 2022 here in the US, talk about what we learned, my own experiences, and hopefully help you if you decide to enter the contest in the future. So, let's get into it. So, it's in the books, as I'm recording this, it's actually been several weeks, which is good. I wanted lots of time to process my thoughts. I know a lot of people made videos right on the heels of it, and those were all great, but for me, it was an interesting experience, and certainly one that I didn't walk away with completely thrilled. That's just when you don't walk away with any trophies, spoiler, I didn't win any demons this year, but that's fine, such as life, you know, isn't a thing that makes you happy, so I wanted plenty of time to think on this, to reflect on my own painting, what I was doing, and how I could do better in the future. Because it is certainly still a contest that I enjoy, that I respect, and that I value the artistry that goes into, and want to do my absolute best for, and so usually that means thinking it through and preparing. So let's talk about my results first. Indulge me just a moment, I promise we'll get to the good stuff. So let's talk about my results. Now I had eight entries. I shared those all with you in a previous video, that's linked up above right now. Of those, three of those, all of them were finalists. I had three of them become commended, which is great. They set up a new tier effectively this year, so they have been using commended entries in the past, but more in a scattered way. This was the first year we saw commended entry as an official level. So you enter, you can make finalists, the next cut above that is commended, and then the final cut is the three winners of the Golden Demons. So I had three of them make it to that category, which I was very happy about. Not the three I was expecting, but that's kind of the nature of the contest. Probably the I was happy with that the piece that I was most sad not to see Bring Home a Demon was, of course, my slanish night, as you saw as you saw in that original video. I was pretty excited about that piece, had put a lot, a lot of work into it over time. And so it was sad to see it not bring home a trophy, but I'm still very proud of what it was all the same. One of the pieces that I created that didn't actually get commended was my dual piece. So this is my shellaxi versus a bloodthirster. And I really enjoyed this piece. It was very try hard. All in all, this is probably 150 to 200 hours of work. I took it multiple places, had it reviewed by different judges, got lots of different feedback, touched it up and touched it up and touched it up all the way to the point where a few days before the before the competition, I was actually removing the figures and reattaching them to sort of change the composition some. So it had a lot of effort put into it. And to see it not make it to Commended was unfortunate. But I learned a lot and we'll talk about that and what I learned from that experience later on, because I do still think the piece has potential and I'm going to keep working on it. So two of their books, you've all seen the winners. But if you weren't there, you didn't see what all of the commended entries. And I do hope in the future they'll take pictures of the commended entries as well and share those out there, not just because some of my pieces would have been shared by a photograph on the site. That would have been cool, but really because there was a lot of really awesome work in the commended entries that didn't get shared out to all of you. And that's a shame other than maybe people taking pictures with their phone or a camera through the glass cases in, you know, not the best lighting. They're not really ideal for sharing people's pieces. And I just would love it if they shared more of the art out there. One of the best things about this contest is how many very cool entries it brings together of, you know, games, workshops, figures. And so I think they should take pictures of all those commended entries and share those out as well. It would just expand not only the number of artists who are happy because they're artists being shared, but also the inspiration out to everybody else for just looking at some really, really cool pieces. So what are the specific lessons I took away from this? Looking at the winners, looking at the commended, looking at the competition, talking to the judges. Well, for me, it really comes down to four main categories. Number one, good painting matters. It matters a lot, but that is a very amorphous term. Good painting, as applied to this particular contest, consists of a certain set of criteria, expectations and so on that I think you need to understand if you're going to compete in this. The Slayer Sword winner of the Skink by Gavin was truly an incredible piece, absolutely deserving of its honors and brilliant, but it is a very specific style. I would call it heavy metal times 200% or something like that.  And it is to be respected, celebrated and highly commended. Gavin is an awesome artist. But it's the, the other thing I noticed about it is that it's not a particular style that they want when you say good painting, but a particular execution. I think some people get the mistaken sort of concept that it has to be heavy metal to win, but that's clearly not true. Look at John Margiata's gold piece in the vehicle. This thing is very far away from anything you'd see on a box art cover or anything heavy metal, and yet it won its category. But the execution here remains the same, and that's the trick. With Golden Demon, what's important isn't the sort of traditional artistic tricks and things like that, as I'll mention later, but instead it's all about that clean execution. What ties Gavin's piece and John's piece together is that both are equally masters of their individual techniques applied extremely cleanly, efficiently and over the whole piece. And that leads us to number two, clean technical painting. Now I don't mean clean like the model looks clean. The aforementioned knight is certainly not clean. Sam Lenz's Gasgul Thracke is certainly not clean. He's rusty, he's beat up, he's scuffed and scarred, as would befit, the orc leader of such a massive war. But it is technically executed all over the piece down to every tiny detail to the same level, and that is all done very cleanly. That is the important part to understand here.  So weathering by realism isn't really important, or quote unquote realism in general I suppose isn't really important. That's not what's being evaluated on here. Instead what's being evaluated is more have you completely applied your techniques all over the thing to the same standard down to the smallest details. And that's a really important distinction to understand because that leads us to number three. And number three is that some of those artistic things that you might see in other competitions so very direct lighting or OSL or whatever, you know realism when it comes to weathering or patterning or stuff like that. That isn't really as relevant and in fact might actually count against you at best. It's going to be neutral. Instead what matters here is that flawless execution. The smoother everything is, no blends, no brush strokes, unless they're doing something like weathering or something like that. And then that has to be evenly distributed around and everything brought to the same level. In the initial video I talked about Golden Demon being a subtractive competition. What do I mean by that? It's a subtractive competition because you're not going to win based only on the virtue of your art. You're not really looking at the piece and saying this one's more difficult, this was more artistic so we're willing to forgive flaws. This isn't evaluation of something like ice skating in the Olympics where you could fall in an ice skating routine and still win a gold medal. If you're doing four quad jumps and in the fourth one in the back quarter of your program you fall, the judges actually think that's probably expected. Those are nearly impossible jumps to execute once let alone four times and deep into your program you're exhausted. If the rest of your program was highly proficient, technically and artistically beautiful and showed all the rest of your skills, they'll forgive you that flaw. That's not really going to be the case here. The flaws will set you to the side. So having any kind of roughness or unfinished areas or things that aren't by the way unfinished I mean not taken to the same level as everything else can very much count against you. Difficulty isn't a thing. If you paint the smaller thing better it wins. It doesn't matter if someone did something twice as big, three times as big, three times as more complex that's irrelevant. Difficulty isn't taken into the equation. What matters is the execution and I think that's a hard thing for a lot of us sitting on the outside to wrap our heads around. But category by category over and over again you saw cases where the larger, more difficult piece was set to the side because of a flaw because the smaller, easier to execute piece and I don't mean that with any negative to the artists who chose them. They chose that piece because they like it or they wanted to paint it or whatever was then chosen. What this effectively means is Golden Demon can have some landmines.  Maybe your composition was slightly wrong. It didn't sit well with the judges. You had a figure that kind of looked out of place in some way or wasn't exactly correctly set with the rest of the piece. Didn't seem as finished. Those little somewhat sometimes arbitrary flaws, if perceived as a flaw, you're done. You're set to the side. One of the things that I've heard people say is if you have to explain your intention you've already lost. What Golden Demon really teaches us and if you really want to compete to win is you should be minimizing risk. Painting larger, more exorbitant, more crazy things unless you're going to be incredibly proficient in them is often introducing a risk. So there's been the question of why don't backdrops often win. And there were actually pieces this year with backdrops that won. Well the reason was simple because probably the types of people who were doing backdrops were taking more artist painterly approaches to their pieces, which isn't what Golden Demon was looking for. This year we saw Matt enter a piece with a backdrop that was very much still in exactly the way Golden Demon was looking and as far as its execution, its cleanliness, and its overall quality, and so replaced. Effectively, and this sounds more negative than I mean it, paint as little as you have to often. Don't do over exorbitant bases, over exorbitant backgrounds, larger pieces because those just will give you more chances to fail. If you're not sure you can take all of that to the same equally high level, it's just more area for flaws to be discovered. Working in the smallest amount of space on the smallest figure possible gives you the least chance to screw up. Now there are of course some categories where this is counterintuitive, things like the dioramic category where big can often equal good because you can tell more of a story. As always, when you look at something like Ben Komet's piece in Duel, which was beyond massive and incredible the scene it set, there is always room for something to say Warhammer is awesome so cleanly and so clearly and so loudly that even any potential flaws it has are overlooked because it is just so Warhammer, which is part of the competition. That's not in any way a judgment on Ben's piece, it's just it was extremely Warhammer and certainly there were flaws in how it was painted, no judgment on Ben, but I that's straight out of his mouth more or less, but it it was so Warhammer and so good and so big and so impressive and so awesome in what it displayed in this incredible scene from Warhammer's history that in that case those flaws are overlooked. So difficulty, no, but Warhammer is awesome, yes, that can excuse flaws. That leads me to my next point. IP rules the day. Working within Games Workshop's intellectual property is absolutely critical and I mean this down to the smallest detail. If your painting space marines get those battle honors and details and everything like that in the correct place. It's not a time for you to be experimental with how you think something should look, I think it would be cool if my sisters of battle looked like this and had this iconography here. No, it needs to exist within the narrative, the lore, and the scope of the story that is Games Workshop. There were multiple pieces this year that got basically kicked out of consideration that were painted exceptional, but they were kicked because the lore wasn't accurate. Either they used figures that didn't fit within sort of the time period that was being portrayed or they didn't seem to fit directly into their world or they mixed some of the iconography of AOS and 40k in some unclear way or they didn't use the proper iconography in the proper places for the figures where that is extremely well designed and well sort of labeled and written down, i.e. like for space marines where there is an exact place everything is supposed to be on the miniature. So if you're going to do a piece and it has some established lore of how it should look, follow it. Live within the Games Workshop universe. I cannot emphasize this enough. There is nothing you can do and there is nothing that will overlook this. If you do not work within their lore, your piece no matter how good it is, no matter how cool it is, even small details of IP violation can just get you instantly set to the side. So be aware of that as a hurdle. Work within the universe that they've provided risk. I'm not telling you not to try for an awesome piece. Awesome pieces have their own value because in the end some big awesome pieces, your artists are going to see those people who walk around the cases are going to see those people are going to share pictures online and those will inspire and motivate people and I'll talk more about that at the very end. A lot of that might have seemed harsh or make you sad or you might feel like oh that seems weird or unfair. I don't want to get you down or make you feel like I am in any way judging normatively golden demon. I'm not. I'm simply laying out the facts as I see them. Every competition has bias, has sort of a way it perceives the pieces and the types of pieces it's going to promote and put to the top. There's nothing unique or different about golden demon in that regard. That is every painting competition because they are all run by humans. There's nothing wrong with that. The more you know it and accept it, the more you can help set your expectations accordingly and know whether it's the right competition for you. There's nothing wrong with it. It just is. Be aware, paint accordingly and then you'll be happier. Let's end on some happy stuff here. I want to talk about some of my favorite pieces and that's the thing about golden demon. There's so many artists doing impressive work and I really do hope to see the competition here in the U.S. and beyond continue to grow because I find it so inspiring to walk around those cases and see what everybody else has done. I want to share with you some of my favorite pieces amongst the winners. First up is Eisenbrecht. This was Alexandra, sorry I'm looking down, Alexander Dos Santos. I apologize I didn't have his name locked in my head. I really loved this man. This ended up taking a bronze and single figure. I met Alexander there at the competition. This piece just blew me away. I thought it was really, really wonderful. I absolutely loved it. So just incredible work, wonderful use of kind of the light and the non-metallic and how he executed across the piece and converted this character into something completely new. I just, I really dug the piece. I just thought it was awesome. Number two, Sigvald by Caja. Oh, this thing is so glorious. You know that I'm obviously biased. Sigvald being one of my favorite characters and Caja's execution here is so unique. Such a unique voice and this is an example of what I mean. This is so far from traditional heavy metal style, but look at how perfectly this is executed, cleanly and effectively across the entire piece. So for those people who say you only can paint in a heavy metal style and win, I say pff, Pasha. Not true at all. Caja shows us what it means to take her own style and translate it into something that the Golden Demon judges, value, respect, and commend. Beautiful piece, incredible work by an incredible artist. Number three, this great unclean one is the Forge World version from Sam Lenz. Sam is obviously a friend and in my opinion one of the absolute best artists working in the world and I just love all of Sam's work. I had the joy and pleasure of seeing this great unclean one quite a while back and I couldn't wait for him to enter this thing. I was so happy it won an award. Honestly, in my heart it was the gold in the category, but I'm not the judge who makes the decision. This thing was exceptional. I love the banner, I love the palanquin of all the little Nurglelings carrying him, I love the execution of the wounds and the goop and the grime. This is everything Nurgle should be. It was A plus fantastic home run. One of my favorite pieces of the show. These Chaos Warriors from Mamacon I just thought were awesome, cool, minor, but extremely effective conversions on all of them and a great way to put these new sculpts into a really, really, really great unit that just hung together coherently but also each had their own unique personality and style. A really great execution on what it means to compete in the unit category. I did an interview recently with Mamacon. You can check that out linked up above. Not leaving behind unit these absolutely incredible vampires from Robin McLeod. I think a lot of us spotted these. He put these in the case early and right away we knew these were gold in the category. I can't imagine a better unit. It is so clean, so perfect, wonderful execution. Truly Robin just blew me away with this one. It is to me the perfect execution of this unit and the dream of bringing them to Golden Demon realized. From the first time we saw this unit I said somebody's going to bring them to Golden Demon and kill it and Robin did. Last up this sister's war suit in vehicle. I don't think war suits should be in vehicle but here we are. That is okay. That wasn't Will's choice. This sister's war suit is absolutely magnificent. It is beautiful. Will painted this up to the last moment. He submitted this like a minute before the close off on entries and every minute was worth it. This thing is so crispy and clean. I absolutely love the execution on this. I love the light, the minor variation between the front being warm and the back being cold. Just little touches but still done very much in that absolutely in that style that Golden Demon is going to respect because it is executed so darn well. So great stuff. My final thoughts. Golden Demon was a lot of fun this year. I can't claim that I'm super happy of course.  That's the nature of competition. You're always going to lose more than you win. I had such a great time talking to all the other artists, looking at all the pieces and being super inspired. I can't get enough of Golden Demon is my honest answer. I'm thinking about whether or not I want to go back in the fall, head over in October, even though I know there's going to be a bunch of tough competition there as well. But it is really fun. Knowing and understanding the nature of the competition, the fundamental nature of it, I think only helps us all compete in it. There's no reason to set your expectations wrong and then be sad. Win the world of what you can do and can work in and the styles that are acceptable is really quite wide. You just have to work sort of within that right space and you can find great success at Golden Demon. So if you're thinking about it or participating, I do hope you will at some point in the future. It's a lot of fun. I hope to see you there around the cases. I hope to have you show me your piece, talk about it, be excited about it. Let's all be excited about the miniatures we paint and this is just one big excuse to get together, bring together everything we've painted, and be excited about it together. So with that, I'm going to leave Golden Demon 2022 in the US behind and start formulating my plans for the future. Thank you so much for watching this. I really do appreciate it. If you've got any questions, drop those down below. Give this a like, subscribe if you haven't already. If you've got additional help or you want additional help with your miniatures, we have a Patreon focused on helping you take your next step in your hobby journey on review and feedback for you. So check that out. Link is in the description. Thank you so much for watching this one. I really appreciate it. And as always, we'll see you next time.


Well, here at the Homido booth, so you launched the Homido, you're the leader in Europe, right? That's right, you're the leader in Europe, you're selling much more than Facebook. Much more Facebook, the product is not out yet, so yeah, if you see this one. So when did you launch this headset? We launched it at the beginning of the year. This is the latest version, we keep improving the product. What did you improve recently? Just the material, the optics, the different settings, you know, IPD setting here, immersion setting on each side. Immersion setting? Yeah, you can change the lenses, you know, if you're near sighted or far sighted, you just touch the lenses by changing this, all those little details. And we're launching new products next year at CES. And it's really affordable, right? 69 euros, 89 euros. 69 euros, and people get the box like this? Yeah, yeah, for sure. It comes with this box, and with this carrying case, and with, you know, lots of accessories. And so people can buy online? It's available online, it's available retail in many countries. Amazon. Yeah, or just on homido.com, we ship worldwide, Amazon, it depends on each country. Are the people on defense of this in the U.S. also? Yeah, the U.S. are growing pretty fast, yeah. I'm moving to the U.S. next month actually, and I will spend a few months in San Francisco just to push the sales and develop. VR is the future of everything, no? I mean, the new media is really cool, and it's cool that you are providing a way for people to get affordable VR experience. So this is very affordable, and if you want something even more affordable, we are launching this, Homido Mini. So it's just a pair of glasses, you clip it on your smartphone, you download an application, a compatible application. The same application you would run in the Big Hair headset? Yeah, yeah, it's the same applications. And then for example, can you see it on the camera? We've got an augmented reality outfit. So you can see like inside the box, you've got like, you should have a video, I don't know. You've got a video on the back of the box, and then you've got like a game, augmented reality game on top of the box. And how's the experience with this? It's a bit like Google Cardboard, you know, that's the way of discovering VR. And then if you like it, you can buy it. What kind of price are you going to sell this? We'll give it for free, you know. It's like a promotion item, we'll give thousands of this for free in a couple of months. And people can also order online? Yeah, also, yeah. For zero euros or how much?  You know, that's really like, Homido is bringing VR to the masses. So yeah, we'll be for free. It's very important for Christmas, everybody needs to be all set up with VR, filming 360 cameras. Are you recommending any 360 cameras? Yeah, sure. And you know, like, re-quoted is a pretty good like 360 camera if you want to take pictures. Then you've got the video cameras. Geo-optic, you know, from France also is coming on the market soon. You've got quite a few products. We have a partnership with the re-quoted, we're selling it on homido.com. And it's taking 360, 720p or 1080p video, right? I'm not sure about the resolution, I will need to check. And then you can just watch. But you can just take a picture with this, and then you download an application from the Homido Center, and you can watch directly in the Homido headset to 360p you've just taken. Nice, and here the booth, you're also showing micro drone. Micro drone, what is this micro drone 3.0? Micro drone 3.0 is a new product from Extreme Flyers. What's special about this one? The special about this one is you can stream from the camera direct to your phone. Depends on Apple or whatever you have. And is it a good flyer? Yeah, the flying is very nice. It's the fastest drone you can get here. Nice. It's really impressive. Whoa, cool. There's a camera streaming inside? No problem. So there's a camera streaming? The camera is streaming with HD to your iPhone or mobile phone. Where's the camera? Yeah, here not, this is the prototype. The other one streams? That's what we did here. Yeah, all right. And there's a new function is magnetic. There is no cable that can not broken the cable. No cable? No cable, only magnetics.  Okay, what would be great is autopilot. No autopilot, we have no GVS. It would be cool, right? So we, you must... Maybe 4.0. So how much is the drone? The drone is 175 when it's come out to the European market. 175 Euro. 175 Euro. All right. And how soon is it on the market? And it's on market nearly the first of December. All right, so for Christmas people will get them? People will get them.


The input gate controls whether the memory cell is updated, and at each time step, the next LSTM can choose to read from it, write to it, or reset the cell using an explicit gating mechanism. Good. The forget gate controls if the memory cell is reset to zero, and the output gate controls whether the information of the current cell state is made visible. LSTMs were designed to mitigate the vanishing and exploding gradient problem. On a wide variety of tasks, LSTMs and GRUs have similar performances.


This video will walk you through the steps of using APA style using the IRC library resources. These resources will take you from format to reference and help you create a perfect APA paper. The American Psychological Association's APA style is used most often in social science, business, and health science courses. Using APA style allows your instructors to quickly see where you incorporated information from outside sources into your papers. It also ensures that you do not plagiarize, which is a very serious academic offense. To begin citing an APA style, go to irc.libguides.com. This will bring you to the library's resources for the most current edition of the style and has everything that you need to write your paper. First, let's set up our paper. Click on the formatting your paper link at the top of the page. This page provides information about APA's requirements for font, spacing, and page numbering. The page also includes an APA paper template that is ready for students to download. We recommend this template over the one included in Microsoft Word because it was created specifically for IRC courses. You can download this template as many times as you like by clicking on the APA research paper template link at the top of the screen. Once you download and open the template, you can see that it provides an example of a cover page, the body of your paper, and your reference page. You can type your own work directly into the paper template or a copy and paste your already started work by using the keep text only paste option. Now that you have your template downloaded and ready, we can use the lib guide to create our reference entries and in-text citations. Remember, each reference requires both an in-text citation that signals where you used information from outside sources, as well as a reference entry that provides additional information about that source. Hover over the reference examples link at the top of the page to select a source type to view. I'm citing a website in my paper, so I'll click on the websites link at the bottom of that list. This page first provides you with an explanation of what elements to include in your reference before giving you examples of different types of websites. For example, if I would like to cite a specific page of the Center for Disease Controls website, like their resources on mental health, I would use the website with an organization as an author example. You can also see that the column to the left shows an example of your in-text citation for the same source. Sometimes sources may have more authors than you know what to do with, or additional information you have to include in your citation. Hover on the reference citations link to see all of the elements of an HPA citation and examples on what to do in each case. You can also hover over the in-text citations link to see more information on in-text citations and examples of different types of citations. Other resources available on the APA LIB guide include a downloadable annotated bibliography template, a guide on how to use appropriate headings in your paper. Once you have finished your paper, click on the submit your paper for APA review link to have a librarian review your paper before you turn it into your professor. Remember, it takes about a business day for a librarian to respond with comments, so please make sure that you allow yourself enough time for a librarian to give you feedback. Need help with other APA questions? We're here to help. Email library at irse.edu or check out irse.libguides.com slash ask a librarian for more ways to connect.