Welcome back to the sports mic zone, we continue with football. Playoff season is around the corner and at the end of the penultimate round of the rare nephew Jamaica Premier League's regular season, only defending champions Mount Pleasant's first-place position is guaranteed in the playoff spots. As it stands, with only one match week to come, the second semifinal spot is still up for grabs between Tivoli and Cavalier, both on 51 points. The interest doesn't end there. The sixth and final playoff spot, which guarantees a quarter-final birth, is still undecided. Waterhouse 40 points is in pole position, to a superior goal difference ahead of Montego Bay United also on 40 points. While following Montego Bay United's commanding 3-0 win over Harbourview on Monday, their head coach, Naira Dos Santos says he had always felt the sixth and final playoff position would be decided on the final matchday. I never had that hope. The difference now, I don't even know how it is now, but it is big and we cannot look. We came here, we came six goals now, but we scored three. So you see, I mean, we could not come here to think about that, because if we start to think about that, it's a door open to maybe don't get the three points. We came here to get the three points and we did. So we scored three, could have come all, but this won't make them tie with us in goals. Won't happen. So everything is going to be decided in the last round, as I suspect since the third round of this second round, that that sixth spot would be decided in the last match because it was very tight. Of course, we were in a chase since the second round started. We end up six points behind Dumbledore, and if you're not mistaken, four behind Waterhouse in the beginning of the second round. So we catch up pretty well. So let's play everything. We have a very, very tough match against Tivoli, Tivoli is contended for the title staff team, but we go off for, forget at home the three points. I just hope, I just hope in the other match don't have some strange goals like we had yesterday, which is not good for the Premier League. Hmm, strong words there by Dos Santos, but let's take the full results now from the penultimate round of the regular season. Okay, so we had Waterhouse overcoming Malines United 3-0, a 4-1 win for Tivoli Gardens against Limehall, Cavalier beats Don Beholden, 4-2, Mount Pleasant, a 1-goal win against Humber Lyon, a 1-0 draw between Anet Gardens and Portmore United, Montego Bay United, beat Harbour View 3-0, and no goals in the draw between Bay United and Treasure Beach. Alright, our JPL commentator and analyst Dwight Jeremiah now joins us via Zoom. Dwight, good afternoon. Good afternoon, Laura.  Yeah, hearing you fine. I don't know. Yeah, always well on your end and I just want to start by asking you about Dos Santos in that post-match interview. He takes a swipe at the integrity of the league, suggesting there might be some shenanigans at play on Sunday. What say you? I think, you know, always there's a lot riding on the line in six spots and yeah, you know, I think it's just for him to get it out there so that teams if they have any thought prayers, you know, of going easy on the day, he just wants the authorities to have a look out. But I mean, hey, I mean, I don't think my lines really gave him enough reasons not to come out on Sunday because I'm not saying and my lines, I think it's just to show what they did on Sunday in terms of I think a few of the goals were really, you know, we're really poor defending and maybe those are the things that you might be looking at to think that maybe there was more than just poor defending, but just thinking that these teams have nothing to play for, but you know, when you see one of the players, the defenders trying to back you to the goalkeeper, well, you know, those are some of the things that Dos Santos might be looking to feed off to say, hey, maybe because we're all out here in the West and they're in the East, maybe they will team up to do this. I don't necessarily think so. It's just that, yeah, the way that my lines went about it really made him, give credence to what he's saying. But I mean, this is not new to any tournament. I mean, Lance, Kevin and I read about it that in 1978, the World Cup in Argentina, then you said it was a lot of situation where, you know, games might have been fixed or stuff. So I guess when there's a lot riding on it, coaches will look at everything and everywhere where they can get an advantage or just, you know, try to make a case. Yeah, speaking about a lot riding on the last match, as well as an advantage, I'm going to use those statements that you just said and ask you about who do you think has the advantage in this final match and conceal that six spot. And I know it's a very heavy question, but I'd love to hear what you think. Hey, because I'm from the West and I'd love to see, I mean, Marcel, I have a very good relationship, but I'd love to see one together united back in it. I think you've done well in recent match beats. I mean, really, probably one of the farmed teams in the league at the moment. It seems though that they might lift it for a little bit too late for two reasons. The goal difference, I mean, that's a massive seven. That's like an extra point. And then they're playing a team who is really looking to try and ensure that they get that second spot to automatically qualify for that final. Cavaliers are hot on their heels. Tied on points as well. So looking for, you know, to get a win and see any slip up. So I think they have the more difficult of the two. Waterhouse, they play Harbourview and the Santos who just played Harbourview. Once he come up against it, but he realized that it's a different proposition and he has the most difficult of two tie, the more difficult of the two. So if I go by what the ties are like, the opponents, I would have to see Waterhouse have the advantage. I'd love to see Montego Bay in it. But I just think that it's going to be a little bit short on them. Could just be done to the goal difference in the end. Yeah. And we've discussed on the show in recent weeks, do I, the fact that Montego Bay's offensive line has been so boosted by the likes of Gordon and Brian Brown and company that Montego Bay United's front or attacking line is now impressive. Impressive enough to warrant a playoff spot. But I think I agree with you that based on the permutations and where the standings are at the moment and goal difference, the odds are against them. I would say I'd even add that to it, Lance, but on the points you made before, apart from sentiments being from this side, this is also one of the reasons I'd love to see them in there because I really think they've come together as a team and a joy to watch as well. You know, covering their games in recent times with Brown and Gordon. And I can tell you they really are easy on the eyes and good to look at. And really, even when I saw them against Mont Blanc at Jackson, they were really a good unit. And I feel that they were to get into the playoffs. I wouldn't be surprised if they made the semifinals and caused some trouble. It's just that I think the semifinal might be out of reach at this time. Yeah. Can you comment quickly to Dwight on the ownership structure at Montego Bay United because they changed their owner's setup in the offseason. And that appears to have sparked an injection in the outfit on a whole. I think so. I think there was a point when Arthur, the previous owner, Mr. Powell, I think he was just pretty much default mode autopilot. I think he was saying it's about time there was some change in the whole ownership and structure. It was getting a bit frustrated with a lot of the youngsters in this region thinking they are on the distraction than football and he wasn't prepared to pump more resources in it. But I think these new owners, the structure and what they have put into it. And it's like a whole new makeover. You see them even look in more like the sea above or even in their outfit. But you know, I've spoken to some persons on the ground and they're saying that resources are being pumped into it and the structure has been revamped. So it's closer to being more where you are a professional setup. Not to take any swipe, but however, I think he did a decent job and a very good job in Montego Bay. Yes, it's a lot of green and I think it's reflecting in the on field play from Montego Bay and how much they would go to invest in the Brazilians that came in. When they came in initially, persons were saying they are Brazilian, but they are Brazilians and Brazilian. But I think over time they have adapted to the Jamaican Premier League and they have given some thrust to this Montego Bay United team. And the more I talk about this team, the more I'd love to see them in the playoff lands. And Kudos as you said to Orville Powell, who was owner of the team when they were last champions back in 2015, 2016. I want to talk quickly about their rivals Waterhouse, whose season has been fluctuating. I was making the point a couple of weeks ago that they had not scored back to back wins throughout the season since October of last year and now we see them with three wins on the bounce. So it does suggest that they have put their act together at the right time and poised now to get into the playoffs. I guess sometimes they say when you're back against the world and there's only one thing you have to do is to fight your way off of it. And I think Waterhouse, they have really done that. You're right. They were inconsistent. It was frustrating to Marcel when I spoke to him sometimes out here. He just wanted some consistency. He just felt that they weren't in tune enough. But he kept working at it. Mind you, his last few games have been what he would say fairly not the most difficult, tough opponents. You don't have to take anything away from him because you play what is before you. But that can't help in terms of putting wins together as a coach. I know that when you start winning it's almost like it's a habit. It's something that you just got on the field thinking that you're not going to lose and that's a big mindset to have. So it's the right time for him going into this final game against half of you. There's nothing that suggests that they won't get it. I mean, not low and half of you. It's a very professional setup. But I just think that half of you have what it takes this season to stop a water host that is buying for a six spot. You just don't know what half of you team will turn up on the day. And you just can't go with logics. Maybe that will come good. But I doubt that. One of the wins that Waterhouse had in their three game winning streak would have been against Don Beholden who had beaten them back in the first round. Your quick thoughts on Don Beholden's back end of the season. And how disappointing that may be for their coach Lenny Hyde. Very disappointed because when I spoke to him at Jackson, he said he really wanted to get into that playoff position. He really wanted to make that top six. So I know it would have hurt him a lot in the way they just tapered out. They're totally the opposite of what you just mentioned with Waterhouse coming to the fore at the right time. Don Beholden then picked up ahead and felt that they were going to really make a decent push. And it was going down to three teams at the last round of fixtures which I was hoping for. But they started to taper off and once that game against Waterhouse, I felt that is the point too when they probably just dropped the shoulders thinking this was a direct game against one of our opponents. It's a game you just had to win if you're going to be in that position for a playoff or at that last took the window to their sails and it was that ship was never moving again. And the Montego Bay and Waterhouse just sail past them. Yeah, well done. Of course we want to thank you for stopping by on the Sportsmax zone. And what's for sure is if anybody missed any of the JPL matches, they're not going to miss that final one. All eyes will be glued to Sportsmax because I can't wait to see like it's a thrill to see who ends up in the final spot. I'm looking forward to it. Hopefully I'll be on call for some of those games and those playoffs. Yeah, I'll get you some excited football. Yeah, looking forward to it. I take care and we'll talk again really, really soon. Take care and all the best lads. Yeah, all right. Remember the JPL lives on your homework champions. Let's take a quick break.


Lorentz-Stadler, that counts at rate? Yes. Ah, very good. From ETH Zurich, tell us how you came to the study of privacy in these topics. Actually, it's a quite peripheral theme of my research. But perhaps I can show two points of contact. The first one, I worked on an architectural writer and architect, Herman Mutasius, who studied the English house around the end of the 19th century, which is considered as a apogee, in some way, of the private house. The English house. The English house around 1890 to 90. And he brought into Germany, and the transformation he made showed quite a different conception of how to live inside a private house. So this would be one point. The second point is that our research in the last year with my students at ETH is on the crossroad between architectural history and history of technology. And we have been working for three years on the threshold. So quite a physical element. A physical threshold. First, we began with the threshold. And after that, we, of course, discovered that there is a lot of metaphorical and use of the threshold, which has to be considered. By the threshold, you mean the literal boundary? Actually, we began with this element. But if you study it, and if you make a typology, it goes from air curtain to revolving door to elevator to body scanner RFID technologies. So suddenly, there's a question. I feel like now I have a great word about to ask for a stock tip. What's the threshold of five years from now so I can buy soon? Where are thresholds going? Actually, there is a lose of materiality. So probably it will be in new media or new technologies, I think. But it doesn't mean that the old one are going to be destroyed. And that's actually the topic I want to present here. Well, let's have it. I have some slides. So probably it's better I go there. Please. So as I told, I am going to present a small summary of the research we conducted with our students in seminars at ETH. Privacy has long been associated with enclosed space of the interior. This conception is revealed in expressions such as one's own four walls or in the popular demand of a roof over one's head. They convey a desire for intimacy and protection, which has come to be virtually synonymous with an interior space enclosed on all sides. This model finds its apogee in the 19th century Victorian house and its notion of privacy. There, privatos as opposed to this publica has definitely become a positive category. In the Victorian house, the private rooms are clearly distinguished spatially, but also by program and character. Similarly, the 19th century city is constituted on the one side by its public institution and on the other side by private houses. The first of being to the rule of the embellishment, the latter to those given by the law. But this understanding of the wall and hence of architecture as a limit between an interior and exterior space between the private and public sphere has been challenged over the last 150 years by a variety of architectural concepts. The open space, for example, which led not only to the fusion of his two individual rooms, but also to the appearance of the clear borders between indoors and outdoors. Or the unprivate house, where the intimacy of the interior was transformed into an intimacy, a state of being permanently accessible. Or the domestic interface, which defines living space no longer in terms of its walls and roof, but as a hub of various nets of infrastructures and energy. But what is as evident as these emancipatory departures, which demanded that architecture spatial boundaries become completely permeable to light, air, energy, and information, is that architecture has not been dissolved into a space of flow. On the contrary to the traditional wall, a range of new technologies designed to regulate the various currents of people, objects, liquids, and information have been added. Apparatuses, such as turnstiles, sliding doors, and the air curtain. Technical devices, such as a doorbell intercom and chip card reader. Or infrastructural amenities, such as space disposal units, elevators, and water supply. Unfortunately, you don't see it well. This would be a collection of these devices and apparatuses. Thus, on the one hand, one finds a notion regularly undepined by theory of an open house, a threshold-less space that aspires to fuse seamlessly with its environment, the broader context, or network. But on the other, so largely ignored by historiography to date, an increasing series of artifacts that allows this open-ended space to be even more reconfigured, delimited, and controlled. Best examples are the airport, a transitional space by excellence, or highly specialized building like the laboratories. What then are the implications for architecture and the related notions of privacy when the traditional forms of opening, such as door and windows, see place to an automatic revolving door, a body scanner, or an air curtain? When the exterior or interior walls as the traditional border between private and public is reconfigured, or even replaced by a series of devices and apparatuses? And what are the implications for a human being who can no longer distinguish between an interior and an exterior and resides permanently, quite literally, in that milieu and interim space? Three aspects may be posited here. First, the growing significance of technical apparatuses and devices throughout the 20th century prompted a radical review of architectural practice. Till recently, the traditional door guaranteed a clear boundary between interior and exterior space, the possibility of connection on the one side, and of complete privacy, as sociologist Georg Simmel put it. The proliferation of increasingly differentiated threshold devices led conversely to the fragmentation of the hither-to-uniform border. It was broken down into a sequence of individual elements, each of which drew new, functionally well-defined borders in a highly individual manner. As for instance, in Diller & Schoffy de Spracerie in New York, where the guest appears on the screens even before entering the space. Actually, you see here the camera and the projection, which happens inside the room. Second, given these devices' growing capacity for differentiation and individuation, then close and uniform space conceives still at the close of the 19th century as a common backdrop to all possible types of relationship, architectural, social, legal, or also aesthetic. Now see the place to an endless number of autonomous, partly overlapping, but highly specialized spheres geared to the individual purposes, as of security, hygiene, climate control, or even to olfactory and optical monitoring. Challenging the hither-to-uniform categories of the inside and the outside, and thus of privacy and publicity. Where and when does one enter the Prada shop in Los Angeles, one may ask. Devices are anthropomorphic, not only because they are designed by men and meant to facilitate his activities or accomplish them on his behalf, but also because they in turn shape men and his activity by prescribing certain behaviors. New technical devices herald new, differentiated, and interactive experiences of the threshold. These are punctuated by instances of recognition, passage, cleansing, or when access is assured of absolution and so forth. They subsequently appear to break down whatever was hither-to-perceived as a uniform, as a uniform idolized body of the users into individual organs, each of which is compelled to cooperate on a specific task at a certain moment. A leg activates a light barrier sensor, a body shell sets off metal detectors, an iris is scanned in the biometric control and so forth. Thus the passage through a border is split into individual moments and hence fragments the body whose integrity can consequently be experienced only by traversing a whole variety of distinct borders. But what one may ask could be the role of the architect in such a world. Today, what must be challenged is not so much the recurrently voiced notion that the liminal function of architecture is about to go down the drain, owing to an endless flow of stream of people, objects, liquids, energy, and information. This is hardly credible affirmation, given that the massive and enduring architectures currently under construction in the Western world outstrip any we have seen so far. Nor is it, on the contrary, the notion of privacy bound to the four walls and the roofs that must be challenged. It can be done or not. But for more prosaically, what is at stake is the idea of the limit itself, architecturally and otherwise, as a mean of segregation, fragmentation, specialization. Anthropologist Arnold van Gevetnep oppositely defines the difference between a border and a threshold. In contrast to the border, which can be closed to outsiders, the threshold comprises a neutral zone between the limitation. It is manifest at the territorial level, as well as in urban correlation, such as a village, town, district, temple, or house. This zone decreasing steadily in scale and in degree of public impact may be declined as a landscape space, such as desert, swamp, or jungle, through to single architectural element, such as a gate, a portal, a door, or the physical threshold. To this, of course, it would have today to add the different threshold devices and apparatuses created by the new technologies, but also the technologies which have invaded our bodies. For a long time, privacy and public space have been defined by opposition, such as separation. But what van Gevetnep has shown is that the limit must not be divisive, but can be connective, that it is not only bound to a limited experience, but is designed actually to transcend it. What seems at stake now is not so much a lust of privacy, but the unique necessity to constantly and publicly renegotiate the border and its consistency. Thank you so much. And what a fantastic way in which PowerPoint actually makes what you're talking about come alive, at least for the slides that weren't washed out because of our projector, for which we apologize. But what an amazing way of explaining, for instance, how thresholds can matter and how they need to be defined the way you think of them, say, in that English house of you cross from one to another. So I wonder, Laurent, I hope this is a playful challenge and not too playful by half, you tell me. Both to illustrate the ways in which you show how a built space represents so many decisions by an architect, by a designer that endure, that affect the way we live our lives, and to illustrate your point that the way things are aren't the way that things have to be. They can be redesigned to these spaces. I'm curious, just to be self-referential for a moment, here's a room with people and a baby, and it's a space that is very familiar to us.  Like, all right, it's a classroom. I wonder if you could take a moment and deconstruct this room, its relation to our function as a group, to our desire within this group during this meeting to be both very public and private, particularly as we're working with our technology. You chased it away, Jonathan. The baby just left? Yes, yes. On its own locomotion? I think because of your joke. I see. This man will insult a baby. It was a friendly cry out, what can I say? So, more private than public. The baby tweeted, yes. But finally an actual use for Twitter, it's for babies. So, we digress. The question is, what can you tell us about how the environment we're in right now is shaping how we're deciding to talk about an intellectual topic and are there ways in which you could imagine it being reshaped that would change how we're about to talk about this topic? Actually, this is an interesting topic because it's a typical question for church spaces. The Catholic Church has this long, narrow, narrow main space for processions. And the Protestant space has always been a space of communication. So, it's much more like a theater space where there is a direct or should be a direct contact between the preacher and its public. And obviously here we are still in such a way we are not really discussing with the public but we have a kind of hierarchical situation. Perhaps it's good but we have it here. Is this space more Catholic or Protestant? It would be more. We have to work in such typologies. It would be more Protestant. But another interesting topic I was thinking by crossing as a campus is, for instance, the difference between Austin Hall and the Science Center. And I think these are two buildings that really show this kind of difference between Austin Hall, this building by Richardson, which has a really monumental and symmetrical facade with some stairs which goes up. It's really in cooperation of the institution. While the Science Center is completely open actually to the campus and to the lane and there is not any more such a clear boundary inside and outside and people walk through and use it much more as a kind of place of encounter. So there's Austin Hall and you were saying the place of encounter is more like the Science Center or more this? Science Center. And I guess it's the interior space you're talking more about than the exterior. But also the way the entrance is done which is more... And so I was trying to say that Austin Hall is quite a traditional institution. It's clearly an outside and an inside and then there is this porch as a real threshold space which separates and connects the both. And in this building it's much more diffuse. When do you begin to be in the building? Is it when you are under the roof? Is it when you cross the door? Or is it when you are in the main gallery in the center of the building? So I think there you can quite nicely show... Which finds you might get drawn into this building by matter of degrees. So you come for the little fog pool to the right and then find yourself under the awning because it's wet and then you find yourself inside because you smelled the coffee. And Austin Hall you may have to make more of an explicit decision like the Supreme Court of the United States to mount the stairs and open the door. That's a threshold. We're trying to keep them out John. At the Supreme Court. Well that's in Austin, yeah. That is certainly I guess the message you're saying the building is conveying. Is it more inviting? Spatially, yes. Spatially, yes. It's spatially more inviting. We can't speak to the rest of it. It is the science center after all. And so this room, back to this room for a moment. This is a room with big thresholds, right? Yes. This has a threshold between inside and outside, between front of the room and back which is only the crazy people sit up front. And no offense. And we could change the thresholds here, right? We could, yes. Which I guess would make it harder to hold a class because I would hear babies from far away. Absolutely. There is one example actually in the Seattle library where the upper seats are quite public and the more you go down the more encloses the space. So there were some tries to do it. And this is a typical example where I think the thresholds have been or the architect has been working on the threshold. For instance, the sidewalk is inside the building. Or as you see, the auditorium is completely open on the top. And when you walk down you come into much more traditional. And here you could be drawn into a lecture that you weren't able to attend. And you can left when your child is... Exactly. Where the escalator goes, where he's sitting. Terrific.


I was a communist for the FBI. In Dana Andrews, in an exciting tale of danger and espionage, I was a communist for the FBI. In the actual records and authentic experiences of Matt Sepetik, how many of the incidents in this unusual story? Here is our star, Dana Andrews, as Matt Sepetik, who, for nine fantastic years, lived as a communist for the FBI. This was Linion's idea. By controlling the minds of our youth, we can eventually control the world. During my nine years with the controlled minds of communism, I saw startling attempts to put Linion's theory into practice. This is the story of one of those attempts and the minds that refuse to be controlled. In a moment, listen to Dana Andrews as Matt Sepetik, Undercover Man. Matt Sepetik, Undercover Man. This story from the confidential file is marked, Little Boy Red. The freedom-lead camp for underprivileged children. Sounds pretty, doesn't it? Inspires the illusion of sun-starved kids from the tenements, collecting freckles and extra pounds in pure mountain air. Well, it's an illusion, all right. A bright red illusion. The fresh air and freckles are the base. The kids are the victims, hooked on the party line and reeled into the commie nest of mental corruption. I was on my way to one of the largest of these youth traps, sent by my red comrades to act as special counselor. I was to learn more about my duties after I reached the camp. It looked pretty pleasant at first. A pastoral setting dotted with tents and rustic cabins. Then I saw the hammer and sickle banner, the high wire fence and the man at the gate. Just a minute, sir. Say where you are. Okay, okay, take it easy. Who are you? What do you want here? I'm looking for Daniel Perrin, your camp director. What for? He's expecting me. What's your name? Sevedic, Matt Sevedic. Just a minute. Somebody named Sevedic at the gate. Says Comrade Perrin expecting. All right, okay. Well? Go right in, Comrade Sevedic. The big cabin near the ball field. That's the camp headquarters. Oh, thanks. Oh, what about my car? Give me the keys. I'll take care of it. Okay, there you are. Thank you. Well, I hope you enjoy your stay here, Comrade. I headed toward camp headquarters, noticing the neatly clipped lawns and tidy cabins. The rows of tents pitched with machine-like precision. This was fine, but somehow the orderliness had a cold and personal look to it. Something was missing. Laughter of kids having fun, maybe. The informality of summer games. Everything was too neat, too tidy. Almost sinister in its silence. As I reached the ball field, I realized that my first impressions might have been all wrong. The teams on the field looked great. The kids played like best pocket demagios. It was the top of the ninth and our skinny, 10-year-old slugger was facing the picture with blood in his eye. Then the pitch, the swing. Attention, camp personnel. Attention, camp personnel. All training equipment will be turned into the supply tent immediately. The day lecture and dialectics will begin in 10 minutes. Strangely enough, there were no signs of protests from these kids. Almost mechanically, they collected the baths, gloves, balls and responded to the metallic commands of the public address system. And then, another sign of that cold, and personal communist efficiency. Comrade Svettik, report to camp headquarters without further delay. Comrade Svettik, report to camp headquarters without further delay. Comrade Svettik. Comrade Svettik. Comrade Svettik. Ah, Svettik. The gateman announced your arrival some time ago. Where have you been? Well, I just stopped to watch the ball game for a moment. Promptness and obedience are by-words here at Freedom League Camp. Counselors are expected to set the example for the boys. Yes, comrade. Don't forget it. Now then, you have your orders? Well, just that I'm to be a special counselor, nothing more. All right, sit down. Sit down. Thanks. Does the name Samuel Carlson mean anything to you? Carlson? Well, sure. He's a military attaché from- Exactly. His government is a glowing example of the glory of communism. Carlson has been a trusted official for years, a good representative of the communist international, until recently. He's been on duty here in America for quite a while, hasn't he? Yes, too long. He's been swayed by the soft life of the bourgeoisie. We have proof that Samuel Carlson intends to become a traitor to the party. I don't quite understand this. How do you know he intends to turn traitor? Simple. He wrote a letter to his wife, spaking his views. It's in his own handwriting. You've seen the letter? Naturally. It's in the party files. But as I say, steps have been taken to make Carlson reconsider his plans. He hasn't become an American citizen, has he? No, which makes it easier for us to deal with him. Just how are we dealing with him? Carlson has a son, Johan, an intelligent, well-mannered boy, about 13. We had him brought to the camp this morning. When Carlson realizes that his son is in custody here at Freedom League camp- Just a minute, Comrade. These phrases had him brought here in custody. Sounds like you kidnapped the boy. The kidnap is an unfortunate word, Stetik. See to it that our guest does not leave the camp. You mean I was sent up here to guard a kidnapped boy? For the time being, that's your job. Dismissed? Now look, I'm- Dismissed? Dismissed? As simple as that. Hold a man's son as hostage until the man bows to the commie demand. All part of the red routine. But was it just routine to send me 55 miles to guard a 13-year-old prisoner? There must have been other sickening chores in store for me. But what were they? And the boy, what was in store for him? Johan was in his tent, our tent, huddled at the far end of his cot sobbing softly. He was a sensitive-looking kid, small for his age, neatly dressed in a well-tailored brown suit. His trim appearance was in direct contrast to the disheveled, lofty, red-brown and white pup he held on his lap. Both the boy and the dog looked startled when I entered the tent. How do you do, sir? Hi, Johan. My name's Matt. Looks like we've both been assigned to this tent. Yes, sir. Hope you don't snore at night. No, sir. Good. How about the pup? Nikolai is quiet, sir. He is a good dog. He is, huh? Hi, boy. Hello, pup. Hey, Johan. Yes, sir? This Nikolai, he's a... He's a hurler. Yes, sir. My... My father always tells me that, too. Well, now, this is nothing to cry about. Yeah, come on. No need for tears around here. Yeah. Blow. Thank you, sir. OK, now? I am sorry. Hmm? May I ask you something? Sure. How long am I to stay here? My father, he will be worried about me. I... I did not say goodbye. Oh. Well, that's all been taken care of, Johan. If you like, you can send him a postcard later. Say, how about taking a walk around the camp with me? Get acquainted with the kids and... No, thank you, sir. Matt. Matt? Might as well have some fun while we're here, son. Looks like we're stuck with each other for, well, a little while. Matt. I want to go home. I do not like it here. Please, I have some money. Let me go. You can't tell them I slipped out while you were sleeping. Oh, Matt, please. No, Johan. I can't. What's the matter? Like, I know how you feel, and I'd like to help you, really, really. Hey, what would... Your face. Your face, Matt. You look so worried, so concerned for her. Oh, wait a minute. What's all this about? He was funny on Nicolai. He was almost believing my dear. Believing? You mean all that crying, his tears, just that gag, an act? Do not be angry, Comrade. Comrade? Of course. We are friends, Matt. Comrades, I know I can trust you now. You look so funny. I get it. You were putting me to the test, is that it? And I fooled you, too, didn't I, Matt? Yeah. Yeah, you had me fooled, all right. What about your father? Are you really worried about him, or was that an act, too? Sentimentality is for the weak, is it not? My first loyalty is to the party. I proved that with the letter. What letter? Why, well, my father's letter to my mother. You mean you turned that letter over to the party, reported your own father to the... You seemed so surprised, Comrade. It was my duty. I am sure you would want your son to do the same thing. Would you not? Comrade Svettik, report to camp headquarters. Comrade Svettik, report to camp headquarters. Are you getting on well with our little guest, Svettik? Yeah, great. Listen, Comrade Turn, that kid doesn't need a guard. He's perfectly happy up here, a good loyal party worker. He even sacrifices father to the cause. True, true. But children are unpredictable. We can't risk losing him now. Which brings us to the main reason you're here. Oh? Moscow wants Samuel Kalsman to take the next boat home. When he returns to his homeland, of course, he'll be treated in the prescribed manner for traitors. I see. And the boy? Your heart. He'll be returned to his father only when Kalsman boards the ship. Not before. They'll sail together. Here, the details are listed right here. Study them carefully. You mean I'm to present the party's case to Kalsman? Exactly. You ought to convince Kalsman that he has no choice. If he wants his son back, he must accept our terms. Oh, wait a minute. Let's be realistic about this. Johan has been a pretty treacherous son. That's a matter of values, of course. Sure. But by Kalsman's values, it's treachery. His own son has reported him to the party. That's true, true. The boy prefers the party to his parents. Do you suppose Kalsman would warn his boy back? That, Comrade, is why you've been chosen for the job. You must be very, very persuasive. And if I can't convince Kalsman? If we lose control of Kalsman, it can be disastrous to our cause. The party is placing its welfare in your hands, Svetic. Failure on your part is bound to be considered a form of treason. Need I say more? No, Comrade. You've said enough. Starring as Matt Svetic, and I was a communist for the FBI, and the second act of our story. Diabolical hospitality of the communists. Welcome to the party, but don't try to leave. If they couldn't keep Kalsman, they'd see to it that he lost his son. The FBI could have settled this case quickly, but how can I get to them? The only phone at the camp where we could call outside was an antique wall instrument in the back room of Comrade Perrin's headquarters cabin. I had to figure some way to get off the camp ground. I worried about it for hours, and then returned to Perrin's office. Well, Svetic, what now? How about this Kalsman project, Comrade Perrin? Can I count on you to help me? Naturally. Good. Kalsman doesn't know we have his son here at the camp, does he? Not yet. Then I'd like you to let him know immediately. A short, quick note would be most effective. A note from me? Why me? You're handling this? Sure, I'm handling this, but Kalsman knows you. He knows you rank high among the party leaders. Tances are, he doesn't even know my name. Well, you're probably right. A note from you could get action fast. He'd realize we mean business. All right. What shall I say? Let's see. How far away from the closest town? There's a little village about six miles from here. Any hotels there? Just one, the Pine Top Lodge. Why? Tell Kalsman that you're holding his son as hostage. If he wants his boy back, he's to register at the Pine Top Lodge by Wednesday known. I'll contact him there. Good, good. Simple and to the point. I'll send the note, special delivery, immediately. That's my call. There was no turning back now. I was in it up to my ears. If Kalsman had any love for his son at all, he'd bow to the commie terms. I couldn't let Kalsman be sent back to his homeland. But as long as Johan remained a willing captive of the Reds, there was no way to prevent it. Maybe I was just being naive or desperate. But I thought I'd try to appeal to Johan's human qualities. Maybe I could stir up enough emotion in him to make him want to get away from the camp. He might even want me to help him get away. Look, Matt, Nikolai is running to beg for food. Nikolai, up. Good job. There, eat it all. That's quite a few meats crops you've got there. From my supper tonight, I save scraps for Nikolai every night. Look, Johan, your father is coming here. He'll be here Wednesday. I'll try to get him a visitor's pass. Father, here? He will be unhappy. He does not approve of our beliefs. You don't want to see him? My comrade, my father is a traitor. Why should I bother with him? Look, look, look, Matt, Nikolai is begging again. He learned so fast. Yeah, now listen, Buster, and listen hard. Your father's in trouble. You got him into trouble. As long as you're a prisoner here, he hasn't got a chance. Doesn't that bother you at all? Oh, Matt, you cannot fool me.  Do I pass the test, Matt? Are we still comrade? Yeah, you pass the test, all right. You're at the head of the class. But, Mr. Svetik, I didn't have come to compromise. I want my son. What you feel to see, Carl'sman, is that you haven't any choice. No choice at all. Your government bought your tickets for you, right? Yes, yes, of course they did, but... Then you have no complaints. You're getting off easy. You're being sent back home. I see. But what of Johann? What has happened to my son? Your son is a true party worker. He didn't even let his own father stand between him and his loyalty to our cause. Yes, I know about the letter. But I cannot hold him responsible for this sort of act. I am the responsible one. I taught him to be like he is.  Johann is my son, Svetik. I've made terrible mistakes as a man and as a father. I just want him with me again. Please, what must I do to get him back? Promotorship Gregor leaves New York on Friday. Your embassy has reservations for you. To win my son? I lose my freedom. Perhaps... Perhaps this is my atonement. What of Johann? He'll sail with you. That is, if you still want to go through with this. Friday, Svetik. Friday. They will have my boy again. Cosman looked ten years older when he left the hotel and I was responsible for his agony. If I let him board that ship for his homeland, I'd be more than just a commie torture master. I'd be a murderer, too. Here you are, operator. Murdoch, this is Red Sea. I've just got a minute. Samuel Cosman's son is a hostage at Freedom League Camp. Where are you? I'm about six miles from the camp. Well, we'll come up and get the boy. No, no, wait. If the FBI showed up, they'd suspect something. I'd be on the spot. I can't explain the complications now. What should we do? Send someone up here, cruise in the area around the camp. I'll try to get the kid off the campground somehow. If you want us to pick him up, is that it? That's right. And be patient. It may take a while, but I'll figure some way to get the kid out of there.  If nothing else, the trip to the village did give me a chance to contact the FBI field office. But now I had to smuggle Johan out of the camp before Cosman boarded the ship on Friday. Did I Johan like it or not? It was dark when I got back to the camp. Her knife is black as my mood. I was rounding the rear corner of the mess hall on my way back to the 10-20. Hey, who's back there? Hey, wait a minute. You're not going to get hurt. Hey, now what's the big idea? Well, what do you know? What were you doing in the kitchen, Johan? Oh, Matt. Oh, please, Matt. Don't tell them. Don't turn me in for discipline. Hey, calm down. What's this all about? I just wanted more food for Nikolai, Matt. Nothing else. They will not give me dog food. They will not give me extra scraps. My dog is hungry, Matt. By what party order are you permitted to own that dog at all? I wanted to ask you that before. Nikolai is mine, Matt. She likes me.  And you steal food from the mouths of vital party workers to feed a useless mutt. Comrade, the party has no use for any being that cannot further the cause. Nikolai, there's nothing to do with our cause. Exactly. What are you going to do? Get back to your tent. What are you going to do to Nikolai? Just what's expected of me. First thing in the morning. Oh, no. What will you do to Nikolai? Oh, for Pete's sake. Go to Steve, you have it. It's late. You must tell me, Matt. What will you do to my dog? I guess you'll have to be liquidated for the sleep. You cannot kill Nikolai. I never had an animal before. She likes me, Matt. It's fine talk for a party member. Bring Nikolai down to the lake before breakfast. He can help me drown her. I fought to stay awake then, hoping to see my plan take effect. Then, hours later, I floated out of a light dose to see Johan dressing rapidly in the pre-dawn gloom. In a moment, he scooped up his dog and ducked through the tent flap. I lay on my cot, waiting, giving him time to clear. Five minutes. Ten minutes. Time enough. I hopped out of bed, took some clothes, and ran for the phone at camp headquarters to alert the FBI. Theron's headquarters cabin was dead ahead now. I didn't want to take the chance of being spotted in the front, so I ran to the rear, up the stoop. I was inside the screen door and across the room, in a minute, foaming around to the phone at the wall. Yeah, there it was. Hello? Hello, operator? Hello? Operator? Hello? Who's there? Who's back there? I hadn't noticed the light under the door. Had no way of knowing he'd been working at his desk in the front room. Here, who's back at... Cedric, what are you doing here? What are you doing at that phone? Well, I was just... just trying to call the gateman. Johan's gone. He's escaped. What? I woke up a while ago and his cot was empty. Hurry, the alarm. Cedric, he can't escape. If we lose him, I'll hold you fully responsible for this. I'll... Never mind that now. Wake up the camp. Come on. Where's the switch for that loud speaker of yours? Right over there by the desk. Turn it on. Hurry up. I turned it on all right. I clicked on the power, then twisted the volume control as far as it would go. The louder the better. I meant for everyone to hear it. Everyone. Okay? Go to it, Conrad.  We'll wake up the whole countryside. What did it do? If it was loud enough, it might be heard by the FBI men cruising outside the camp. For a while, my hopes were high. Half dressed, half awake, kids ran through the weeds, shouting Johann's name. Confused counselors parked orders at each other, but no one found Johann. He was killed in the house just outside the camp. A moment later, the report came to power. Johann Kauffman had been found. They were holding him at the main gate. Back to your place. No, get away. Get him. Let him out. What? What are you... Get off of these drums. What do you want here? This is none of your affair. My name's Murdoch. Federal Bureau of Investigation. What? Do you know anything about this? What's it all about? I don't know, Karen. I thought you might know. This camp has been under observation for months, Perrin. We've been waiting for one little slip.  Oh, please, please, Mr. Take me home. Take me away from here.  It's all right, son. We're going. I'd like to have a few words with Mr. Perrin first. Me? Why me? What about him? Svedic. What about Svedic? We're interested in you, Perrin. We have other plans for Svedic. Maybe you remember it. There were hearings, trials, all sorts of excitement, especially when Samuel Cosman told his story and showed the kidnap note signed by Perrin. And when it was all over, there was a picture in the newspapers. You probably saw it. A boy, his father, and a lop-eared brown and white pup together, understanding each other. They had found something communism could never offer. Something I could never hope to find, as long as I walked the crooked red path, as long as I walked alone. Burn in just a moment. In the story you just heard, names, dates, and places are fictitious to protect innocent persons. Many of these stories are based on incidents in the life of Matt Svedic, who for nine years worked undercover as a communist for the FBI to help assure that our country will remain free. Next week, another fantastic adventure. Join us then, won't you? Thank you.


What's up everybody, Jason here for jaspyskatesprac.com 2022, top 5 star baseball, Pikachu number 44 sells over this random number block that features 13 teams, guys. Has the Angels, Mariners, Reyes, Royals, Phillies, Blue Jays, White Sox, Tigers, Cubs, Mets, Rangers, Dodgers, and Rockies. Again, you get a piece of all of these teams. But like I said, if there is any hits, guys, it's going to be distributed via a certain number break. Now there is chances that there will be some non-numbered cards, which if there is, we'll probably distribute them out one by one to customers in this R&B, but hopefully we get more numbered than non-numbered. So here's a dice roll, here's a customer names, and the numbers, let's roll. Six out of three, nine times. Nine times, good luck. One, two, three, four, five, six, seven, eight, nine. Nine, nine, Tristan down at Denise. One, two, three, four, five, six, seven, eight, nine. Nine times, nine, nine. All right, let's see how you guys matched up, or only this right here. So Tristan, you have three. John Paul with eight. Tristan with five and nine. Stephen Kendrick with four. Jay with zero. Scott with one. Tristan with six, as well as two. And then Denise with seven. So again, guys, I'm going to delete this really quick just so I can sort this out. And like I said now, in a separate video, we'll do the break, guys. So good luck to you guys. Hopefully we got a lot of hits for you guys. And we just pulled some monsters as well. Thank you guys.


Aspen, Colorado has produced a lot of famous athletes and one of them certainly is Andy Mill, longtime member of the US ski team, great finish in the 1976 Innsbrook Downhill under adverse conditions I may say. So we're here to honor Dr. Richard Stevan. What does that name mean to you in your life and as a friend, as a doctor, as an inspiration? Well I think for a lot of us he not only fixed our bodies but he really touched our hearts. So when you have something in your life where you know if you do get hurt there's only, there's anything good about getting hurt is having knowing that he is in your life and when you are in his presence you know you're going to be in great care not only as a surgeon but as a great friend. And a lot of times we were inspired to come back not only because of our own hearts and our own passions but because of him and his efforts in trying to help you get back. So he inspired us so much that a lot of times we wanted to do it for him as much as we wanted to do it for ourselves. Did he make a difference in your life besides fixing you? Would your life have been the same if you hadn't had Dr. Steadman in it? Yeah it would have probably been the same but I think that he just was really a profound figure in the back of our minds. I mean I didn't live in Southlake Tahoe, I didn't see him very much but you just know when you're in his presence you just feel a glow with warmth and love. I think too that we were also taught on how to do the right thing as a person and I said recently I said you know he was a genius as a surgeon but I think that he was even as great as a person. Did other athletes on other teams from foreign countries know Dr. Steadman? Were they envious that the US ski team had this surgeon that could help them if they got injured? I don't think they were envious they just flew in and saw him. I mean look at Marc Girardelli you know I mean he had only won one World Cup prior his knee injury and after that you know that injury he had I think 40 some wins and won five overall World Cup titles but Kobe Bryant, John Elway, Dan Marino obviously from this country but there were European soccer players who came in as well so his name resonated throughout the world. Andy Mill one of the best of all time and obviously a great fan of Dr. Richard Steadman.


Hi everyone, my name is Saurav and I am a third year student at Delhi Technological University. I will be presenting my thesis of project to you which was to implement a storyboard software in Krita. For those of you who are unfamiliar with storyboarding, this is a graphical representation of a story. So it is meant to convey the idea of a story using pictures. Most storyboards consist of small thumbnails that describe the content of the scene. They may also have some other information like the dialogue or action or the camera movements and positions. Like in this one they have a thumbnail and some deep description of what is happening in the thumbnail. Storyboarding happens before the actual animation. This sort of a planning for the animation and makes sure that everyone is on the same page. Also animating things is time taking and you don't want to spend time on animating something only to be told that this was not what the director wanted. So a storyboard facilitates better discussion about the animation and characters. It also allows you to showcase your idea to potential employers. Alright, moving on to how the docker is implemented. This docker is part of Krita's plugin system. Qt's MBC framework is used. So there are two models which interact with each other and there are view and delegate classes for each of the models. Also Krita's animation interface is used for interaction with the timeline docker in Krita. It takes a list of keyframes that exist in the timeline docker and provides an interface to add some extra data for those frames. Also thumbnail for all the frames in storyboard docker are visible at the same time. Alright, so now let's take a look at the storyboard docker in Krita. First of all, open it. Go to settings, dockers and select storyboard. Now we have the storyboard docker collected here. We have a list of panel in storyboard docker. Each panel comes with a thumbnail, the panel's name, exploration and some comment fields of the editable. The comment field can be changed from the comments of many and we can change the visibility of each of the comment fields from old document pages and rearrange them and add new comments and delete them. So edit a comment, just double click and type anything. Now let's take a look at the interaction between the storyboard docker and timeline docker. Every panel in the storyboard docker responds to a frame in timeline docker. In the top left corner, there is a frame number for each of the panels. Duration field in the top left corner corresponds to the number of frames to get to the next detail. You can see in the timeline docker at the bottom, to see the duration for a panel in the storyboard docker, all three frames after the frame for that panel move to the right. Similarly, if we decrease the duration, we move to the left. Also, when frames are inserted in the timeline docker, the storyboard panel is inserted in the storyboard docker. So you can see I inserted a frame in timeline docker. And the corresponding panel was inserted. Similarly, if we remove a frame, the panel is removed. Remove the frame at frame number changes. Let's take a look at the buttons at the top of the docker. In the top right corner, we have the arrange button, which is used to manage how the panels are arranged in the docker. You can choose the views and modes. Views decide what part of the panel is visible in the docker. You can choose to see only the thumbnail or only the comments or both. The modes options decide how the panel is arranged. You can choose to arrange them in row-wise fashion or column-wise fashion or in a grid. In the top left corner, we have the export button, which can be used to export the storyboard to either a CDF or SDG docker. The export dialog is options to manage the layout of the export docker. You can choose the range of the panels to be exported, rows and columns of panels per page, font size, page size and orientation. It is also an option to choose layout from an SDG file. Let's export the storyboard and see the results. Thank you very much for watching the presentation. Hi everyone, my name is Leonardo Segovia. I'm from Bahia Blanca, Argentina, and my project is entitled Dynamic Feed Layers in Rita using Seattle. This project was implemented in the Kita Painting Suite and was sponsored by Booty Witching Event, Dimitri Keseiko and Ivan Chosin. Let's begin with some context. Layers are one of core concepts of digital painting. They let artists manage certain components independent of the rest of the artwork, for instance backgrounds, lighting, line art and so on. Patterns and textures are also essential components. They are used to simulate the appearance of physical material and phenomena. Usually, they are saved as raster images. This means they are linked at creation time, at their size and resolution. As of the latest television version of Krita, Photo3, it supports using patterns and textures to two types of layers. The first is called a file layer, and it lets you embed these two textures under gambas. And the second is called a field layer, and it can be used for plot fields that need raster patterns and random noise. As you can see, either of them lets users create the dynamically generated content in an artistically free way. From an implementation point of view, ending a field layer type requires many moving parts. The burst minimum is in following two. First, you must implement a generator which finds the layer contents. Generators are a subclass of Krita's disk generator. Next, you need to subclass this config widget to expose a configuration widget. You may also need to implement a new type of resource. This is done in four steps. First, you expose a new resource as a subclass of core resource, then Krita must be made aware of it through a suitable extension of its resource server. Next, to make it selectable, you need a selection widget. Krita provides a widget for this purpose, for resource-intensive services, that can be instantiated with your resource type. Obviously, you will still have to write the same widget and its structure. Parts is pretty designable, as long as it relates to the resource server. So, my project adds a new type of field layer that implements scriptable dynamic content. This is powered by an expression language library created by Disney Animation, called CXLIM. This library enables festival-affected control and customization of the end result. In autumnal, it allows users to write their own script, but also touches individual variables using the widget. Since CXLIM's textures are procedurally generated, those applications, like Krita, allow you to maintain them at any resolution desired, considering their quality. Furthermore, CXLIM's scripts are just like any other resource in Krita. This means it can be created, edited, bundled, and shared across the Internet. My project touches many parts in Krita. To begin with, this one involves setting CXLIM as a third-party dependency, and creating a new generator and resource management, as described earlier. I also add extensive documentation to Krita's user manual, a language of reference which was provided with state-configuring documentation, an introductory tutorial, a resource management entry, and a field layer entry explaining how it works. This project includes an extensive preset bundle for the seed of all Krita bandflowers and a new reward. As per site, inches were much more extensive. I cleaned up on a factor I rate chunk of the code base, I fixed many bugs, and implemented improvements suggested by the community. Its UI tool kit was also updated and refactored. I added support from the ARM devices, and the native localization cloud-based language partner and a provided PT widget. This part of the work is described in more detail in a talk at the CS Academy. It's a great in Hollywood open source with KDE applications. Well, that is not all. I had time to take on three stretch points. First, I added multi-thread rendering on both field layers, in the CSS stroke system. Up to now, field layers were rendered with a single background thread. It makes checks for layers and so double volumes would be canvases. So I refactored the rendering process into small files, and each tile is rendered in separate shell. It must be noted that this works with supported generator only. Secondly, I enabled field layers to be previewed before addition. My project effected the rendering process to make the shell injectable in the layer-addition stroke. Finally, I cleaned up the rest of the lines of the local documentation in the grid repository, moving it to the user manual. The drawing received now shows what you can do with CS4. It was made by David Trevoy for the episode 33 of his web comic, Pepper and Carrot, the thunder-like force fields of Anete, which was created using this work. Therefore, it's available now in I2D sub-data at crita.com. Thank you all for watching this. Hello, everyone. My name is Gitte Kim. In this summer, I participated in Google Summer Code with KDE, and I work to improve memory protocol and integration of Kiryaki. Kiryaki is a young officer's ground control station, which is a software to control drones. It is started and being developed by KDE community. Web link is a messaging protocol between drones and ground control station. Famous flight control units for drones like R2Pilot and PX4 use this protocol. As name suggests, my project is about improving web link protocol integration of Kiryaki. For that, I added three major features such as TCP and serial connection support, multiple vehicle management, multiple connection management. TCP connection support allows users to control drones through TCP. Serial connection support is the basis of formal update feature through serial connection. Plus, now Kiryaki can manage up to 255 drones at the same time. This feature will be very useful to enter implementing mission planer. In addition to that, now Kiryaki can manage different connections with different properties, like multiple serial connections with different port and board rate. The most challenging thing for me was thinking about overall architecture. Kiryaki has plugins to support various models of drones. It supports drones like rice tunnel and terrapiva, and the way how web link works is quite different from others. As all plugins use same GUI rather than using GUI for each plugin, I had to think about architecture of GUI and libraries that are shared among plugins. During this project, I learned much about how to design a software. In addition to that, I learned about Qt, QML, KDE framework, drones, embedded development, and most importantly, how to contribute to KDE projects. Thank you for watching my presentation. If you have a question, please feel free to ask me. Hello everyone, my name is Ashwin. I'm a GSOC student for Krita, and my project is integrating the MIPing brush engine in Krita. My mantos are Bao, Dimitri, and Valtara. So what are brush engines? Brush engine is just a code piece or a component which governs the mannerism in which colors have been painted over the canvas. So they are responsible for look and feel of the brush. So brush engines just take some user input like some tilt angle from stylus, say pressure from stylus, or the velocity at which the stroke is happening. So they just take these inputs, these dynamic inputs, and on the basis of that, they generate a stroke. So for instance, here I have just compared two brush engines of Krita. To the left we have a grid brush engine and it simply looks like a grid of pixels here. To the right it looks like some pixels have been sprayed over the canvas. So that is just because we are using different brush engines so we are getting different effects. So that is just an illustration that brush engine can give us different effects. So MyPaint is a software which is similar to Krita and is used for painting and artists do love MyPaint brushes a lot. So because of this popularity the MyPaint developers have separated out their brush engine in the form of a library, namely LibMyPaint. So tilt it, other than the MyPaint itself, jump, open tunes and we have done this integration. So coming to the implementation to use LibMyPaint to render some stroke over our canvas all we have to do is define this drawDab and getClear methods. We just need to overwrite this and write the code concerning our own canvas object classes. So drawDab is responsible for rendering the dabs over the canvas whereas getClear is used by LibMyPaint to see the color that is currently present over the canvas. So that is used by MyPaint to render some color smudge effects. This is just a schematic representation of the functioning of BrushLib. So this is just MyPaint library and in our case it is a Caspian device and this is the strokeTo method which is called for generating strokes. It accepts MyPaint brush object along with some dynamic inputs say x and y tilt of stylus D time values which is the time elapsed between current and the previous stroke. At the back end it calls our method on drawDab and getClear method over a recent surface to generate dabs. So for the project I had two milestones the first one was to integrate the LibMyPaint in the form of brush engine in Krita and the other one was to expose MyPaint settings in the Krita's preset editor so as to facilitate creation of new MyPaint pressures. So this is the Krita interface and this is preset chooser of Krita so let us just filter on MyPaint and this is the MyPaint presets which have been loaded. We can just pick say acrylic and this is the acrylic stroke. We can pick something like calligraphy so this is the calligraphy stroke we can choose something like modeling and this is the modeling brush and pick airbrush that is an airbrush stroke. So from here we can trigger convert it into a razor and it will start working like an eraser and we can just switch back to our airbrush this is the preset editor where we can just toggle off the settings say we can change the radius to something smaller and we can just increase it and here we have all over the other settings which MyPaint gives us. So that's my project and thank you for giving me this opportunity Thank you.


Snisdrunk Welcome back to Snisdrunk plays Magic Sword and that sound really threw me off there Should actually probably consider paying attention to actually playing the game and stuff Picture of milk in the middle of my sword and sorcery adventure Enter the requisite requisite milk was a bad choice milk It was kind of you to go my sons are hunkery and is that an end? Now I won't have to hunt for them What is that thing in the back? Oh that's what it is Is this going to be another boss fight?  No of course not That would be helpful Looks like it is another game over Looks like this is another skip this boss fight Let's pretend we beat him Kind of a thing So this would be 26 I was well past 22 I think I hope he says something about beating the boss That would be funny Anyway, yeah Japan was a lot of fun I think I've said everything I was going to say about Japan I can't remember anything else One comical thing about Japan is that there are cigarettes, vending machines on every single block Literally every single block There's like 10 different kinds of vending machines There's soda There's cigarettes, especially cigarettes Oh my god, the cigarettes To be fair though the cigarettes there are so much lighter and so much more pleasant to smoke God even their lucky strikes over there were like hey this is kind of kind of nice Because when you smoke cigarettes in America even like parliaments and like marlboro lights Jesus the amount of shit in these And they smell horrible God is this just a never ending thing Jesus Christ There's more over here Yeah it is a never ending thing I'm getting out of here Yeah the cigarettes over there are much more pleasant The fast food over there Our hostel was right by a place called Freshness Burger I love that name, I need to have a burger here and it was actually like the serving size was perfect, it wasn't like this giant atrocity and I didn't feel like complete shit after eating it It's like hey imagine that, this is actually pretty good Yeah I would go there If I was ever too lazy to go to the AT or too lazy to not the ATM, what am I trying to say I guess yeah to the bank or whatever I would just go to Freshness Burger and eat there and get a burger and a mango shake and it was good, it was surprisingly good But yeah there's all sorts of like mom and pop ramen shops there you walk in and it smells just incredible there's nothing but like steam filling up the place and of course there's lots of like advertisements that try and say something in English and it's just I remember one, there was one for Coke there was a billboard by the train station that said wild health a picture of a girl it's like yes okay, wild my health is wild I am wild about health anyway I think I've said all I can say about Japan it was really fun it's probably way too expensive to go now oh and I guess I should address the obvious yeah I did get since I had to leave before we could find any place that sold old video games any retro shops I can't stress enough how hard it is to find anything in Japan it is really hard to track anything down god damn it oh jeez am I gonna die here? yes alright my friend stayed longer than I did, I went home by myself so I left money for him if he ever found certain games and he ended up getting for me, which I appreciate very much he got Chrono Trigger, Earthbound or Mother 2 Rockman X and Rockman X2 so shout out to the jeezies for that those are complete in the box and are compatible with the RetroN 5 which that's a whole topic altogether I'm almost afraid to talk about the RetroN 5 because they stole the people that created it's basically an emulator box it works very well for what I do it works great, I'm using it right now for this let's play it works great for footage it works it produces manageable file sizes along with my Ogato HG capture thingy but they used emulators for SNES 9x without the creator's permission and they're making a profit off of that and that's not right at all so on principle do not buy a RetroN 5 thing is though it's one of those things where it's like this emulator box is extremely useful I did not buy the RetroN 5 from the company I can at least feel decent about that I bought it from a person the other moderator at the Super Nintendo subreddit sold it to me so what was that can I just leave I don't have to fight this thing I can just leave that's the stupidest thing ever don't be be coiled what anyway yeah that's a whole other topic in of itself it's like a moral dilemma do I keep using this even though these guys stole the emulators they're using and are making a profit off of it although I think they eventually I don't think it's for sale anymore from directly from the company damn it so yeah it's hard to say it works it is a nice piece of it's a nice emulator box it does work well vanquished warriors drop their weapons here well that's nice getting kind of burnt out on this game this might yeah on cue next game over I think I'm done I do appreciate that every level does look different to a certain extent you know there's this game is obviously very simple you just kind of side scroll in your way over to climb this tower but I mean the color scheme the designs the enemies the companions they all look nice it's just the slow down the jumping is ridiculous I think by the time I already did a produced a review of this game and I paired alongside the other sort of sorceries for Nintendo games like Knights of the Round and King of Dragons but I'm doing this let's play after the fact after I did that video yeah I have this bad habit of working way way way way way way ahead like I'm recording this in the middle of May and this won't post until like late July I think or middle of July I don't know I don't know why it worked that way it's oh wow look at this I can't do anything I can't attack oh there we go I got moogled I didn't realize you could get moogled in this game speaking of which I think what am I doing next yeah I did Secret of Mana for the Racket Boy thing doing King of Jura era magic sword what's next on my list for let's plays I guess I could always do Chrono Trigger but I don't want to do another RPG alongside there we go one continue left there's Chrono Trigger so my favorite games I could always do earthbound God there's there's really not that many let's plays of earthbound at least there's Chug of Con-Raised but I didn't notice very many others what else could I do I've done mega ban I've done a lot of I've gotten that cap conflict so far I guess we could do I can have my girlfriend over and we can do Super Ghouls and Ghosts she's really busy all the time though and I am too I'm busy playing video games I'm working on stuff now I work full time now I don't know if I ever actually said that on a video but I work at a certain school for admissions so that's been nice it's nice to have a routine again it was very very it's dangerous for somebody like me to not have a routine of some kind because with too much free time I tend to go a little crazy with the old Alki Hall yeah it ain't an accident that I'm called SNES drunk actually to be perfectly honest the way I came up with SNES drunk was not necessarily because um I think you're supposed to leave those it's not necessarily have anything to do with me drinking it's because of the running gag that when you say the word SNES you're drunk it's impossible to say SNES with that sounding drunk hence SNES drunk so that was kind of the I needed to come up with a name to kind one idea I played around with was SNES dog and just have my dog be the person on camera and that's only because I hate being on camera I'm never ever going to be one of those people that puts themselves that puts pictures of their faces in the thumbnails or anything like that I just think that's tacky I'm sorry if you're one of those people that doesn't cool good for you I just can't stand looking at a picture of myself on every single one of my videos that would just mortify me and it's not even a self deprecation or like self loathing kind of a thing it's just like I look stupid let's just dump hey another one of those guys can I this twin brother am I coming up to a boss right here or what it's been a while I'm well over 10 minutes I'm just going to keep going to the next game over I have one life one life to live two seconds to live what would you do if you told me I had two more seconds seconds to live getting kind of bored with this game not going to live a little burnt out god what have I talked about in this episode I talked a little bit about Japan I talked a little bit about the retron 5 talked a little bit about SNES drunk the name gills my soul there you go ah fairy this should be helpful thank you oh and next games we should play we who's we me and my friend in my pocket here ah here we go here's a boss fight wow that's a cool looking background looks like a royal Albert Hall Civ me power release the Hydra from the shadow world gotcha I'll get right on that with our powers combined we become a dragon that's the same dragon but a different color a repurposed sprite I believe that's uh yeah this game's not the greatest there's a reason it's still only a few bucks on ebay actually I think now with every Super Nintendo game going batshit crazy with cost I think it's probably more like ten dollars now just sad this boss fight sucks ah see if there's anything over here I wonder what that thing does if it were Castlevania that would grant me invincibility let's just sit here and hack on this guy for a while up he takes two and a half off for damage let's jump and let's just die on honorable death here and there we go for game over I think we're going to call it quits with this game I'm a quitter but uh yeah let's see you yeah you can only go up to 33 I think I was past that anyway thanks for watching Magic Sword have a great rest of your day


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