So, we are live again for the first time in ages. And what I thought I would do today is simply to draw a couple of things, but I'm looking now at my Inkmonster number, which is 1348, which means the next Inkmonster has to be Pesta, the Plague, because the Plague came to, the Black Death came to Bergen in 1349. So, I have to start with that and after I've done the Plague, then I will get you guys to help me decide what to do. I've done the Plague a lot of time. Hi Jutun! Yes, maybe we'll draw Jutun afterwards, but first the Plague, because you know, we have to respect the numbers. Hello everyone! I will try to look at the, actually no, now that I think about it, I will cheat, because I would like to draw the Plague on a video, and I can't do that right now. So, hey Kim, this is my first stream. Cool, very cool. So, what I will do is, I will, this is the first time I've done it that this way, I will first mark the art with the number 1349, and then I will put that to the side. Please draw a cat. Okay, I can draw a cat. And then we will just do some requests today, and we will be doing, we're starting with number 1350, which will be some sort of a cat. I don't know where I'll see the cat in this one, but some sort of a cat we will find. Can you see a cat here? A cat in a hat. I've heard about that somewhere. Hmm, cat in a hat. Seems original. Oh, can I do Hoster, the king in yellow again? Perhaps, perhaps. Right now, I need to find a cat in this one, and we got a lot of different cat in our laundry mat, and cut in hot some scotch. That's also good, but first, before I find the cat, I need to find a brush that's suitable, because I have a lot of different brushes here, and all of them have their ups and downs, and all of them are pretty messed up. So I need to find the right kind of messed up. Okay, so let's see if we can find a cat here. So there are a couple of different options for how this can be a cat. It could be some of the shadow on a cat's head, and we could place an eye there and an eye there, or we could make this into a cat snout, or we could do another cat. We could do a monster cat. Shall we do a monster cat, or just a cute cat? I also loved your Lovecraft related drawings. I love doing Lovecraft. Do you draw Egyptian deities? Yeah, I've done that. Okay, let's draw a monster cat.  I love how messy and worn your workspace is. It's very relatable. It is a problem. It is. I'm just as messy as my art. I don't know if this monster cat is going to work. What brand of ink do you use? I use Indian ink from the one that my local art store sells in liter bottles. And it's also a very good ink, and it's got the right consistency for me. It's not too thick, not too thin. But it's really hard to find bad drawing ink. So you just have to find what you can easily get and also to find something that suits your preferences, because some prefer thicker ink with a richer black, and some prefer thinner ink that holds in the brush longer. And that's just a preference. I know, you know, it has to do with, it has to do with what you're doing it for as well. So you can work with thinner inks, if you're working only for print, because the finished page, the paper isn't the finished product. But I like a good thick ink, or not too thick, but a good thick black. I mean, feels better to draw with than when it's thinner and becomes a bit more gray. So yeah. Do I like coffee or tea best? I guess this answers your question. Draw Arthur Morgan. I never played through the whole of Red Dead Redemption 2. I loved Red Dead Redemption 1, but I can't draw copyrighted characters, because I release all my art for free use. So this piece that I'm drawing now will be scanned, and then it will be uploaded to my gallery and then the whole world can do with it as you please, as long as you cite me as artist. So you can print it, you can tattoo it, you can even sell it as long as you cite me as artist, and you can rework it and make your own version of it. Some of the most exciting things I see is when someone takes my art and makes their own version. And that simply doesn't work with Arthur Morgan or any other fan art, because I don't have the rights to release that for free use. I can't draw Arthur Morgan and say you can sell that art or Morgan. So because I do free art, I can't do fan art, and that is a strictly legal problem. But if you like my free art and want to support that and want to make sure that I can do more free art, then support on Patreon, support with Superchats, or support by going to den unge herdholm.com and buying t-shirts or originals or whatever. Someone asked, can I have the picture? Yes, you can have all the pictures. You can't have the originals unless you pay, but you can have all the pictures I make for free by going to my gallery and downloading them there. Okay, any questions? Something to talk about while drawing? Could you not take commission that... Could you not take that as commission and not release it for free use? Yes, I could take that as a commission. I do occasionally take commissions and works for jobs that end up becoming copyrighted material, whether that be album cover, like I did for Abbott or Soulstaffid, or it is just fan art or a portrait or something like that. I do those things occasionally, but I prefer to do less and less of it because I think art should be free. I think it is... I think we're seeing the problems of copyright and the idea of intellectual property ownership in, you know, we're seeing it on YouTube every day and we're seeing it in how copyright is now being used to hinder expression and to keep people out from earning a living on their art. It's not a system that functions as it should. Are cats in Norwegian myths? Yes, you know, cats are by any definition, not by any definition, but cats are monsters, especially black cats, but cats are these in folklore, in a lot of different European folklore, cats are these... They are in league with the witches and with the devil and they are also some sort of a psychopomp, so they are a messenger from beyond. Could I perhaps draw the Mothman later on? Yeah, I could perhaps do that. I've done one Mothman before. I don't really get the Mothman myth because, you know, what happens? I don't know. It's just some people saw a big shadow. Yeah, so in medieval art, someone said, in medieval art, cats often represent the synths. That's one reason why they are monstrous. And I got a request here to do an owl bear and I think I'm looking forward to Baldur's Gate 3. I'm not a PC player anymore, so my PC isn't up to snuff. But I'm looking forward to playing it on either PlayStation 5 or my Xbox if it eventually comes there. But owl bears, then I would have to check if that is a name that is from folklore or if it's one of those who, that wizards of the coast or TSR before that came up with. And I just want to say, just to brag, I recently finished, or before summer I finished the illustrations for the Kickstarter RPG OSR or Outcast Silver Raiders. And Isaac, the writer of that RPG, just went to GenCon in the States, somewhere in the States, and he got so much praise. And I heard he got praise from people like Steve Jackson, who together with Ian Livingston created the Fighting Fantasy books. And yeah. Okay, so I think we have a good black cat here. Owl bear, it's from Dungeons and Dragons. Yes, so there are some Dungeons and Dragons monsters that are silly enough copyrighted.  I have to have some sort of angle and do it for a video so that I can do it legally and release it for free use legally. Draw a rooster in here. I don't only draw monsters, I can draw something if you want that. This monster cat is clearly a monster and those monstrous cats. So can you draw a bunny or a rabbit? Maybe. I'll just be looking for I'll be looking for an idea that I get a kick out of and that I start seeing an image of and then I'll draw that. So we'll see. We'll see. Just hit me with your suggestions. There was a question if I'm into Irish mythology and yes, definitely, but it's a very hard subject to research. Is it morning or night for you? It's neither. It is midday, one o'clock, something with a trident perhaps, perhaps a bunny with a trident. Let's drink some coffee and could you do a balder with a godbalder? Yes, perhaps. I can draw a skinwalker. That would be something I would need to research. Thank you for a super chat. Oh, thank you so much, Esra, for a super chat. And I didn't get to read your whole message because yeah, can I draw Dracula? Yes, I can draw Dracula. Godzilla is copyrighted so I can't draw that. Watching you stream from Sri Lanka. Wow. Excellent. Humanoid. A sea monster or Kraken would be cool. We could do Kraken. Maybe something that isn't just a monster. Can you draw a castle? Yes. Maybe I'll draw a castle. What do you think about Bob Ross's art? Bob Ross was extremely gifted and doing what he did was take a lot of skills and the fluidity with which he made his art and just the flow. It's something I've studied and something I've admired and his finished pieces isn't for me but it was never intended for me. Flying Castle. Shidki Grimen. That could be Shidki Grimen. They took four as cats quite often. Jacksonville, Florida. Living Furniture, like in that Guy de Maupassant story. Okay, I'll, let's do a flying castle or something. Or something with color. Oh, many. Yeah, so if I do a flying castle here it will probably be kind of, it will be kind of loose and very much silhouetted. But we'll, let's start. I'll try this one out. We have some yellow. We have more yellow than I would have thought. Would have liked. Then we'll go over to some more orangey and let the mix exist. Okay. And then we'll try to blend that over to some grayed out watery loose. That was not as grayed out as I had hoped. So we'll need to gray it out quite a bit more. And like this. Okay.  Like this. And then mix a tiny bit of black into it. But that will be difficult. We just need a tiny bit. We don't need a lot of black. A little bit less. Like try to like that. Okay, so our flying castle will be there. And then but it's against the sunset. So we need to dab this as well. Dab it without killing the color. Dab edges here. Dab-a-dee-dab-a-dee-dab. And we'll do a sort of a mountain or something up here. Are the ecoline inks that you use, Kim? Yeah, so right now the colors I use mostly right now are ecoline liquid watercolors. They mix very well with, together with inks. But they are generally, when I talk about my inks, I don't really care if they are liquid watercolor or fluid acrylic or acrylic ink or Indian ink or any other sort of ink. And now I'm using Indian ink and using it together with, I have, what do I have here? I have some Sennelier colored inks. I have some ecoline liquid watercolors. And I have some Daler Rowney, Daler Rowney's acrylic inks. And you can use them all together as long as you respect the, as long as you respect the how you, which order you mix them in. So you can do inks and acrylic. Now inks and watercolors, you can do them back and forth however you want. But if you go in with any acrylics, you can't do ink on top of that again. So that's sort of the trick. And yeah, you can work very simply and freely. Was it from, hello from Brazil? Yeah, where are everyone located today? We got 60 people watching, which is a very good Austria Perth. 60 people watching is like perfect because then I can read most of the comments from Løren Skog. Løren Skog is where my maternal grandparents lived. Badgen, Poland, England, Finland. I just said I could read all the messages, but they come a little bit too fast sometimes. But you know, if it's, if the viewership numbers reach 100, then it becomes just chaos trying to read anything. England, Norfolk, Lithuania, America. Where are the kids of America? Oh, watching from Argentina, excellent. Do we have all the continents? We have North America, South America, we have Europe, we have Australia, Asia and Africa. That's even though I more and more think that saying Europe and Asia is just weird. Because, oh, India, excellent. Because Eurasia is the only thing that makes actual sense as a continent. Because Eurasia, there is, there is no way to define a continent where you have Europe and Asia be separate continents and not, you know, like India be a separate continent or, yeah, you get a lot of different continents if you count Europe. And if you try to make a consistent rule of what is a continent, and you define Europe as a continent of its own, then you just get millions, or not millions, but you get many, many continents. China becomes a continent. Maybe you could try linseed oil painting. I, I have done oil painting. I want to do more of it. I especially like doing oil painting, plein air, like out in nature or in the city, drawing landscape, painting landscapes. So, so I very much enjoy oil paintings, but I don't get to do it as much as I would have thought. Aotearoa is such a cool NNM. Yes. We love your work. Thank you. Did we have, so we have someone from Aotearoa? Do we have someone from anywhere in Africa? Or have I just missed that? Have I made line of lock stamps? Yeah, I've made, you know, ages ago, but I'm, I'm not really, I'm not really into all those art forms where you work on one thing in order to make another thing. So any types of lithography or block printing or anything like that is difficult for me because I'm, I'm very impatient. Yeah. So, so separating Europe and Asia is a leftover from, from Greco-Roman times where the divide made more sense in that it was really hard to cross the Mediterranean or the Black Sea. So that made Turkey sort of a natural border between two parts of the world. But, you know, we don't really use Greco-Roman classifications for much anymore. So why should we use it for continents? Could you draw an anarchist red panda? Oh, I should. That's a good idea. I like that. Maybe I should probably get an image of a red panda to do that because and I can't Google or, or search up images right now because I only have this one phone that I'm using to stream. So that's not going to happen today, I think. But it's a good idea. I like anarchist red pandas. Why an anarchist red panda? I don't know, but it sounded appealing instantly. Your art feels so authentic. Thank you.  Yes, I can do that afterwards. Yeah, watch you for a while. The comments disappear off the screen. You were the uncle of one of my best friends from elementary school. Ooh, cool. My YouTube picture. I can see your YouTube picture, but I still can't. I don't know if I can see. I can try. So here is a landscape and then we'll try to do a floating castle above that. We'll start with like roots and stuff hanging down. I like that. We'll start like red pandas are the cutest. Yeah, they are very cute. Loving it so far came. Thank you. There's still a lot of time to ruin everything. There's always time to ruin everything. That's one of the fun parts of doing art like this where it's all improvised and it's all done in these media that are not eraser friendly. One of the fun things there is that everything can be ruined at any point. Now, if you're working on like oil painting and especially if you're working like a big, huge, planned oil painting, then at some point it's very hard to ruin it. You can make it better and you can make it worse, but actually ruining it is really hard. And if you do, then you can always fix it. But with these improvised inks, there are always just a few brushstrokes away, even just one brushstroke away from actually ruining it. And once it's ruined, then it's hard to bring it back. Yeah, any advice for starting out with ink? Yes, a lot of advice for starting out with ink. One of them would be to, ink has two distinct purposes. You can use it as a finishing tool like a traditional comic book inker where you lay down pencils or any other type of sketch first and then you go over with the inks. And you can use it like I'm using it now, which is as a primary tool. And I would suggest working both techniques at the same time. I would suggest it's really hard to learn things like anatomy, perspective and you know, all of the different technical aspects of art is really hard to learn with a permanent medium like inks because it is very unforgiving. So then you need some sort of medium where you can more easily sketch. And in addition to that, you need to start seeing ink as its own tool. So one of the ways I started doing that, you know, you can do the ink monsters, you can do loads of different ink sketches and stuff like that. But the most useful thing is to draw from life. And I spent years doing landscapes directly with ink from life. And I learned so much from that. And it's very unforgiving because you just have to like, watch the landscape you're drawing and figure out is this completely black? Is this not black? Is or is this something in between? And you have like, you don't have many values to go with. You have two and a half value. You have black, white and this weird thing in between. And that's everything. So that's a very challenging way to learn ink. But it's also a very rewarding way when once you start getting it. And you know, I do, and most of the studying for doing inks like I'm doing right now is not done with ink. It's done with pencils. It's done with digital art. It's done with with with coal or crayons or with any medium that's more forgiving. Because studying the world, studying art, studying everything directly with ink is hard. So you need to learn the basics in another medium. Of course, if you do like more towards like Japanese and Chinese ink painting, then there are more techniques to learn directly with the ink. So there are ways to, you know, just skip other tools. And I have learned, and I have studied a lot of Chinese and Japanese ink paintings. But I would suggest that looking like at least 70% with a forgiving medium and like pencils, and then 30% with ink is probably good. But it depends on what your goals are, what your affinities are. Not everyone wants to draw the same stuff as I do. Not everyone has the same goals and has to do it the same ways. So that was a really interesting quest that came up right now. Someone is doing daily ink monsters, but the more they day-to-day miss, the more difficult it is to get back to it. And I can totally relate. And there are a couple of things you sort of need to do to manage any sort of daily challenge. You have to have a challenge that is possible to do daily. So for instance, if you're going to like run for an hour every day, that's going to get difficult because not all days will have an hour. And you will get created, your body will get exhausted. So there are people who can do run a mile or run a 10k every day. And there's people who have done that, a marathon every day. But that is for more advanced. You have to work up to that somehow. But with something like daily ink monsters, you have to make sure that what you're doing is something you can do incredibly quickly and slowly the days where nothing works. So for instance, this one I did recently. And it's not a great piece of art. It's not a very technical piece of art. It was made in probably two or three minutes. But I did it. That's the important thing. So you have to do something you can do with minimal effort in less than five minutes, otherwise it will be really hard to do it daily. And then there's the other aspect which I often emphasize is something which I try to use a lot in every aspect of my life.  And that is whenever you mess up, you just say to yourself, it's okay. I messed up. I forgive myself. Let's move on. And that is not the same as not seeking other people's forgiveness. And if you mess up with other people, you should see seeking their forgiveness is something completely different. But seeking your own forgiveness is really important. And that allows you to move on and do something else.  But once I started skipping days, I went, okay, that's okay. I forgive myself. Let's do it today instead. And that's basically all there is to it. It seems easy, but it's not. Like everything, it's not. I think this one is closing in on finished. Do we have some white? Do some more. Do some windows like this.  So it might be well accepted. Yes, accepting that you will mess up. We all do. And that's important to accept and acknowledge and then just move on. You can't go back and fix it. So just move on. And if you can learn from it, if you can't, then just ignore it. And that's different when you messed up in relation to others than you know, you can move on. But you also have to, the most important thing is to allow them to move on. That is completely independent of you moving on. So I'm not saying that you should, that radical self-forgiveness is something you can do in every aspect of life. But in those things relating to yourself, you should, I think. Me thinks, okay. I think that's a piece of art. It came out okay. It came out good. It looks like, I suddenly realized what I've drawn. It's basically a Hyrule Castle lifting off. Because, yeah, in there you find all the good weapons. Because I've been playing way too much tears of the kingdom. And breath out a while before that. So we got a request for a silly little guy.  Because that sort of, now we've spent a lot of time on one piece, or not on one piece, but one piece of art.  And how can we make this into a silly little guy?   I'm, I don't know if this is smart, but I like the idea of one big eye and one small eye.   Silly little guy time. Okay, then we'll, he's obviously looking this way. So we'll give him a silly long nose, like this. And we will make, we'll make this into his ear. I originally thought that this was going to be something else, like this is here. You're my favorite artist. Thank you. And I'm aspiring to see some of the same problems. That is, you know, stay strong. It is hard. Looks like he has a beard. He can have a beard. Maybe this is the beard. Yeah. I don't know what. And then, like, now he has a big beard.  So we'll stick the body out here. Wow, what a guy. He is, he is. And basic, you just hint at the hand too much here. It's a hand. Does that look like a hand? No. Does it convey the point? Yes. And then he will have his legs out to the side. And he will have a little pee-pee.  Like a silhouette pee-pee. And then he will have another one out here. And like this. And should he have a eyeball? Or should he have, or should he have pupils? Or should he have nothing in his eyes? We'll go with, it looks sillier, I think with, like, he's being caught doing something he shouldn't have done. And then he needs to stand on something, like just lying, suggesting the ground. And he is a inconstant for some strange reason. I don't know why. I don't know what makes it monstrous. But it clearly is. So that is 100 and, oh, 1351.  Even though we've signed it, we'll make some ink spatters. I love this silly little guy. Perfect. Couldn't have done it better myself. I did it myself. Like this.  So with that, I think I'm actually done for this live. We've approached almost an hour of drawing. We did a flying castle. We did, we did something more. We did a black cat. And I need to draw Pesta later today and film it. I think this is good. And all of these pieces will be up for free use once they're scanned. So you can download them. You can print them. You can tattoo them. Who doesn't want to see the little guy tattoo? And you can even sell them if that's what you want. If you think that's cool, then please do support over on Patreon, patreon.com slash Kim Holm or support with a super chat. We'll probably try to get some way of doing support directly on YouTube as well. But you know, someone said it has some waters on why Vibes Billwaterson was definitely a early influence. I absolutely adore Calvin and Hobbes. So, so yeah, thank you all for joining this live. I've had a lot of fun. I should try to do more. Let's use a more precise language. I am going to do more lives there and I'll see you again soon. Bye.


MIT University, let's go! Hello friends, welcome back to the vlog and today we'll be talking about MIT University and here we have the graduate of MIT University Mr. Yuri. Good morning Mr. Yuri. Morning Mr. Yuri. How are you? Good, good. Good morning dear friends. Are you ready for the interview? Yes sir. Can we get started? Let's do it. Okay, let's get started. The first question, what kind of university is MIT? Good question. First of all, what is MIT? MIT stands for Massachusetts Institute of Technology. Technology is the keyword in this name because that is that is the core of MIT. That is why MIT was founded actually 1861, 160 years ago. So it is a pretty old university, established well known and it is again first and foremost it is a technical university that educates students, undergraduates, graduates, PhDs in different sciences. So 80% of students study science or math or engineering. Interesting and it's very famous and top university and the question is what kind of students does MIT want to teach? Well, if you look at MIT's motto, it says men's at armless. It means mind to hand. So apply your knowledge to problems that exist, right? If you think about what what do engineers do? They try to solve something that exists, right? So you take your deep knowledge of a subject and you use it. So it's very MIT is a very the culture of the university is very end zone. So it's not only theory, theory is important, of course, but they want to make a difference. They're educating the students, they're teaching the students at all levels to make a difference in the world. All right, the next question is more formal. I think you must be genius to start studying at MIT and what other requirements for entering MIT? Let me give you a twofold answer. There are 12,000 students studying at MIT. So they're probably hard to come up with 12,000 geniuses. So we don't have to be a genius to be there, right? But you do need to be pretty smart and hardworking. And I would say hardworking even more important. Okay. And again, the requirements in order to talk about requirements, I have to mention one important fact. There are five schools that MIT, right? So five divisions. One, the biggest one is engineering. Number two is sciences. Number three is humanities and art. Then there is business school. And then there is school of architecture. Now sciences, all five schools have different requirements. Obviously to get into physics and say to get into business, they're different subjects, they're different skill sets. You do need to be a not only a top student, but also a very committed one. But the requirements obviously vary from school to school, from subject to subject. So if somebody wants to really apply the need to look deeper and it's all on the website, but they need to dig a bit deeper and basically see what each school and each specialty, there are 44 degrees at MIT. Five schools, 44 degrees. So each degree has its own unique set of requirements. Thank you very much. And I think lots of people watched on YouTube how MIT students study. They think that they spend their time all the time at lab or the library, but we want to know the reality. How do MIT students actually study? They only study or they have some social life also? Well, I mean, they do study a lot, right? Because again, to be to succeed, to be, it's not only important to get to MIT, it's important to stay at MIT. Because again, if people, if you don't pass your exams, you're going to fail out. So the thing is they study a lot. Some of them study all the time, but of course, their social life, right? Yes. They have big enough a campus and there are many events happening. There's obviously, there's a lot of athletic events. There are a lot of cultural events. A lot of interesting people come to MIT. It's also in the center of Boston, well, technical speaker in Cambridge, Massachusetts, but in Boston, greater metropolitan area. A lot of people come there, a lot of speakers. So it depends on students. There's a lot of choices and they can decide how much to study, how much social life to have. Students are students, people are people. So social life is important. Of course. Thank you. And the next question is, I think everyone is interested in this question. What is the tuition fee of MIT? Okay, good question. Again, let me give a quick clarification, because there is a bit of a misconception about how tuition works in the United States, for example. And when I speak about the tuition, it does not only apply to MIT, it applies to other big schools as well, for example, like Harvard, because their tuition levels are approximately similar. Officially, if you go to MIT's website, you will see that their undergraduate tuition is 53,000 US dollars per year. That's nominal official rate, around 53. That's just for academics. You also have to pay for your housing and living costs. And I think the official number that they're given is about 19,000. So if you add 53,19, you're going to get to 72. That's a nominal official number. Now, on the same website, they disclose another important piece of information. They say that on average, instead of 72, our students actually only pay about 20,000. Because MIT, along with other, again, big, big, well-known schools like Harvard, they provide a lot of financial support to the students to make sure that smart students can afford the education of the financial. So they do provide a lot, a lot of support. Okay. That's so great. Lots of opportunities are there. Well, let's say somebody became a student of MIT. Let's talk about having a friend said MIT, like-minded people, smart people, and the atmosphere there. Could you tell about this? How was it? It was interesting. Well, again, we have to remember that, for example, the business school, part of which I was, is its own unit. So they have their own atmosphere. Then say school of engineering has its own atmosphere. Of course, people communicate. But as always, you first make friends in your circle. Say, if you work in an engineering lab, that would be your immediate circle of friends. And then, of course, everything is open at MIT, by the way. The campus is open. So you can walk into engineering school, talk to people. So except for, of course, some labs with equipment. Everything is open. You can walk through the halls. You can see where people work and study. So there are a lot of ways to make friends. Again, it mostly depends on students. If they really want to make friends across departments, all the opportunities are there. One interesting thing they do is not unique, but it's actually a very, very good initiative. They run what's called an independent activities period. Every January for about three weeks when the school is not in session, they run like a series of lectures, many lectures across the university, that are open not only to MIT people, but also to the wider community. So you can come and listen to a lecture led by a famous astronomer, given to public that is not studying astronomy, right? So basically astronomy for regular people. And I tend to some of these, it's really interesting. You can meet a lot of people, make new friends at MIT or beyond. Thank you. Next question will be a bit interesting. Was there anything unexpected at MIT? Was there anything unexpected at MIT? Well, okay. One thing I can tell you again, when I first got, well, first of all, I started in a PhD program. So it's obviously quite different from on the grad, but I still had a new people from different programs at different stages, different ages. And one thing I personally noticed when I first was coming, I thought the way you guys asked me at the beginning, do you have to be a genius? I don't consider myself a genius. I'm a hardworking guy, but I'm not a genius. So when I came there, I'm like, well, is everybody else smarter than me? And what you realize, if you work hard enough, they're normal people, right? So not everybody's a genius. They're stronger students, they're weaker students. The average level is of course very high. But in any class, right, you feel if you work hard enough, you feel that, you know, you actually deal with normal people, with normal people's problems, issues, and you know, again, you make friends. So this was a bit unexpected. So they're not, they're not all robots. They're not all geniuses. There are some really, really, really bright people. Some of them are really hard to talk to, because they are looking at you and thinking about math. You get the integrals. They had a guy whose nickname was integral. They're literally the integrals coming out of his head. There are people like that, but most people are normal people. Students and faculty as well, professors as well. Even the very famous ones, they're very nice, very approachable and just very friendly. Yes, not everyone has to be genius to study at MIT University. Okay, the next question, it's like, World Top University. And what kind of opportunities are available for MIT students while they start studying there? Well, it is a multi-dimensional question. There are many, many opportunities obviously available. It is a large established university, many companies come to recruit there, many famous speakers come to talk at MIT. So again, it's mainly, it's what you're willing to get. As a student, of course, you always have to balance your time. It's about how you want to allocate your time. You can literally go and attend, say, guest lectures every day from 9 to 6 p.m. Because there are things happening. There are dozens of things, dozens of lectures happening every day. Of course, you cannot do it physically, right? You need to study, you need to rest. So it basically, the opportunities, the number of opportunities are enormous. Again, including getting access to very top people, top academicians. MIT is associated with, affiliated with 98 Nobel Prize winners. 98 Nobel. Wow. There are only three countries in the world that have more Nobel Prize winners than a university at MIT. U.S., U.K., and Germany. Germany, I think, is 111. So MIT would be number four on the list of countries. And I think there are 11 or 12 Nobel current Nobel Prize winners working at MIT. So you have access to a wide variety of people. And a lot of them, yes, they're busy, but also, yes, they're very nice and approachable people. So you can approach them, you can mix with them, you can talk to them. But of course, it's always a student's job to make first step. So the opportunities are whatever you're willing to take. So cool. Thank you very much. And the next question, let's say, study is over. You successfully finished MIT. Where do alumni work? And what about you? What was your career path after graduating MIT? Well, MIT alumni work, well, basically everywhere in the sense that we have to remember is a university with 160-year-old history. Yes. It's not the biggest, but it's pretty big. It graduates, I think if you look at the statistics, it graduates about 2,000 people a year. So over many decades, there are tens of thousands of MIT graduates. I don't know the exact number. Obviously, because it's one of the top science schools, many companies that deal with science, anything from computer science, obviously engineering, anything around science and math and all of these things, they employ a lot of MIT graduates. Government agencies, of course, do it. NASA, CIA, FBI, all of these things, what you see in movies, they have actually true. They do also employ MIT graduates as analysts. And of course, private business, they employ a big company. Of course, they employ MIT graduates as well. The good thing is that they actually come to campus, large employers come to recruit MIT and say Harvard, because these are the two biggest names in Boston. And students have a lot of opportunities to get good jobs if, again, as long as they are trying hard. My personal story, to keep it quick and simple, when I finished MIT, again, I finished the PhD program. And in the PhD program, they prepare you to work in academia and do research. So my first job, my first placement after MIT, I went to the University of Southern California, where I was a tenure track faculty, tenure track assistant professor for several years. So I worked in the research there and taught. And after that, I decided to go global. So I worked in several countries, including China, Kazakhstan, Cambodia, gained international experience in Asia, broadly defined. And now I've been in Uzbekistan for three years. I am vice rector for academic affairs at the British Management University. And I am really, really excited to be here, because I strongly believe that we're building something quite unique that again, the university that follows global standards of education and the university that will serve for many years to come will serve the country of Uzbekistan and the students of Uzbekistan. Well, thank you very much. That's so interesting. And the last thing is, could you give some advice to those people who are watching, aspiring applicants who want to study at MIT like you? What would you suggest to them? Good question. Let me try to, again, quickly answer three, four pieces. Now, first of all, dream big. Dreaming is important, right? You have to, you have to dream to achieve things. So that's number one, dream big. Number one is work hard, because in order for your dreams to come true, you need to work towards your dream. See the example.  Well, if I'm not doing anything to achieve it, it's just a dream. It's great, but there's no footing for this dream. There's no foundation. It's not growing, right? So you have to work hard towards your dreams. And you also have to be number three, probably the most important or at least as important. You need to be realistic and strategic towards your dreams. So again, I can have any dream I want, but I have to ask myself, well, am I actually ready for it? Am I ready to be an astronaut? Now I may, it may be my dream, but if I'm not ready, it probably will not come true, right? Now, so you have to be realistic and strategic because at MIT, for example, if you say you're graduating from high schools, I want to be at MIT. Okay, well, that's a great dream and you're working hard, but you may or may not be ready. So what may happen is MIT and any other university has different levels, undergraduate, master's, PhD. So I went as a PhD student. I guess I wasn't ready as an undergraduate. I never thought about it, right? But you can, again, think in multi-stage, multi-year type of thing, that if you cannot do it now, if you're not ready now, you may be ready later. Again, if you prepare, work hard, you cannot get to MIT or another big American school now. You may be able to do it in five years. Yes. So plan ahead, strategic, realistic, work hard, dream big. Thank you very much. That was a very motivational answer. And if you guys also have any kind of questions, please leave in the comments below. So we'll try to answer them. And if you have any kind of requests to make more videos about MIT or Mr. Yuri, so we'll be very glad to make this. And thank you very much for watching this video. Thank you. Thank you everybody. Thank you very much. Thank you very much. Have a good day.


You need a financial advisor with the freedom to focus on your specific needs. Whatever your goals, Reid Potter can create a game plan tailored to you. Call Reid at 432-0777 at Pikeville, Kentucky to learn more. The Central Appalachian Climbers Coalition and Breaks Interstate Park will be hosting the annual Spring Breaks Climbing Party April 15th and 16th. The event is free to attend and open to all experience levels. We're going to have a community climbing event instead of a traditional trail work day at Breaks Interstate Park where we're going to open up several routes for beginners. We're going to have board members sort of around at different moderate areas for folks who are new to climbing. And we're going to have climbing routes set up for people. We're going to have access to gear if they need it, harnesses and shoes. And we're going to have board members and volunteers around to help facilitate and, you know, belay people on routes. But it's really an introduction to climbing for folks hopefully who haven't had the chance to do so. The focus of this year's Spring Breaks is building community and introducing newcomers to rock climbing. So the focus of this event and why we do it is to help grow climbing interest in the region where it has lacked in the past. We have such a huge resource for it and folks don't necessarily know it's there. So I want to encourage folks who are maybe intimidated by the sport to come out and folks who don't know anything about it are welcome. You don't have to be an expert to come out. You don't have to be strong. We want to introduce people to the sport and I think folks should come. The event kicks off in the Pinnacle Parking Area at 9 a.m. on April 15th and there will be a free pizza party in Elkhorn, Kentucky following the day of climbing. For more information go to Central Appalachian Climbers Coalition on Facebook. Reporting for Mountain Top News, I'm Brianna Robinson.


Thank you so much for coming to my presentation. The presentation is going to be online integration success stories. So, how do you want to actually experience a success story? So, here are some simple steps. First of all, this style called the Quadra Online Development Edition on a dedicated server. You set up the SSL for your server so that it is all safe. Everything when people are actually accessing that, install the integration between your document storage and the online. Or of course, like if you do not have an integration for the online, you can create it yourself. You implement first the rest endpoints in the document storage and then you modify your web app so actually that you can see the online inside the web app. And then you enjoy the success. Sometimes it is not that totally easy because you might need some special needs in your application that are not 100% covered by the online. So, in that case, you would like to do something additional in the online so that it is very explosive for you. So, have a look at what we have done for some of these people. So, Alfresco. Alfresco connector was announced just yesterday by Filipe, Emma and his conference, so that it is possible to use the online for the editing in Alfresco. And they actually had some additional needs. So, their initial need was that they have serial nodes of the online that they need to monitor. And they need some central place like where they are collecting the logs and see the events like files open, files closed, stuff like that too. And it is also supposed to kill documents and stuff like that. So, for that, we have implemented support for this monitoring. So, the copyright online in the configuration file, you can specify to which server we should be sending the logs that are, sorry, not logs, but the commands that normally are going to the admin console. And so, there is one central place that can actually like collect these admin consoles calls and aggregate that from several nodes and do something with them, what is necessary. So, it was for them. So, egroupware. egroupware, my thanks to them for creating the connector. And they had some additional needs as well. So, for them, the printing in Firefox was inconvenient. Like in Chrome, it was working so that like, well, printing in general in the... that browser has to be done so that it is first exported to PDF and then the user actually downloads it and brings it from the PDF. So, that's how it has to be written from the web browser. But in Chrome, there's some additional support that you can see the printing dialogue and the preview of the PDF because it is possible to do Chrome that actually, like, this PDF is intended for printing. In Firefox, we have previously used only the normal download thing which was not convenient because the users actually didn't know what to do with the files. So, like, we have extended that so that it is more convenient and, yeah, egroupware was happy. And also, they had some additional needs in the local files. I think that they have even provided a patch which was awesome. And, yeah, so the files were updated. Everybody happy. Cool. So, again, these guys created the connector themselves but they had some special needs about the UI. So, as you can see in the screenshot, they had some additional buttons that are actually, like, outside of the screen, sorry, outside of the iframe where the collaboration lives and in there, like, they needed, they needed this functionality that it is not, like, provided, like, inside the iframe but from outside. It is because, like, one of the functions that they have is actually, like, that one of the view is kind of a master view and these others are, like, more dependent on that. So, like, the master view is some kind of possibility to actually close the other views which is a different need. So, yeah, we have added the stuff for them so that they could do that easily. And, yeah, everybody happy again. Next cloud. Next cloud connector was originally developed by Quawara but now, next cloud is adding lots of features in there as well which is awesome. And, like, you can see where it lives but there are many features in the online that they are, like, necessary for the next cloud integration. So, for example, one thing was a specification of Quawara so that, like, you can see or you can define from the next cloud how the user should be presented in the UI and so in things like comments in the document you can see the picture of the user and that is the same as in the next cloud and also, like, you can see the picture also in the list of the users. Now, like, recently, next cloud went even further so that, like, this list of users is actually taken out of the iframe of the online and it's presented directly in the toolbar in the next cloud and so for that we had to go in the integration even further so we had to provide a way, like, how to get the list of the users how to actually communicate the changes in the amount of users and stuff like that in the next cloud bar where the post messages. Then there was also templates so that, like, you can choose, like, when you are creating a document you can choose one of the templates and, like, which is, again, hosted directly in the next cloud so, like, it has to be, like, extended in this mobile-like protocol how it is passed to the iframe and then how is it used internally. And, collectively, that was hosting capabilities because next cloud has to be even with older online instances so, like, for this it was invented and you think how to actually tell the integration that something, some feature, for example, this is a network source, it's available all so, like, they can read it as the first thing in the JSON they see, like, it is supported or not and accordingly they present the UI to actually choose the templates. On cloud, again, originally the integration was implemented by Quabra now they are featured from old cloud as well and for them, the biggest, like, big need was actually watermarking so, what we have implemented so far is that, like, the tiles that are, like, that all together, like, compose the document these tiles, each of them can actually have a watermark like small, sometimes, that says, okay, so this document is private or, I don't know, whatever you need to do that the problem is that it is not per view so, like, one, the user who opens the document first like the watermark is applied according to that but the next people who actually are connecting to this document see still the same watermark as the first person so now we are working on this, on being able to split that so, for example, like, each of the view can have, like, the name of the user of that specific view so there is, like, just one document many people see the same document but each of them has their own watermark so that you will be able to track, for example let's leave the information if you are interested Pideo is another integration again, Pideo guys did the integration themselves and for them to be able to use that like, they were generating the token in a way that we didn't actually expect previously so previously, like, we were somehow restricting the characters that can be used in the access token but for them, like, we need to expand so that, like, integration is easy for them so that they do not have to, like, recreate the way how they are actually creating the access token so we have fixed that or improved and they can continue with the integration Ruf has their own connector implemented by some distribution and again, there are some things that needed to be improved so in that case, it was safe as and handling of the full screen of the presentations because of some security settings or the browser and communication with that and stuff like that so again, after we implemented all the slides you can see the screenshot so that was, like, when you left your integration and do the stuff but what actually you have to do to create an own integration so to be able to create an integration you should understand a bit like what is the general structure of the integration so basically the integration has to be composed from two things so the things that are in green that are the things that the user sees and blue is actually, like, this one so this is actually, like, your web app that you are presenting to the user and if you want to add this iFrame with the online editor so that's, like, what the user sees but to be able to do that like, you, your, like, our online has to talk to the online server so that, like, it provides the this is the thing that actually provides the editing like where the LibreOffice instance lives and that's the background job but also has to provide the host there which takes care of loading and saving the data from your backend so that is the backend part kind of and this is the background getting some very, like, easy integration basically needs just three small things so you need to have a way how to actually download the file like from your, from your, from your backend uploading back so that's an address endpoint and there has to be something that is called check file info that actually provides the information about the file itself so that is the thing that, that defines the the file name, file size and then, like, if you, if you want to go further this is where you can, can provide the what to monitor, you can provide there some additional, additional options like how to, which effect like how the effect, even the UI online is integrated in your web app because you can, for example, like hide the save button very easily or forbid save or save a, or save as function and things like this it is all, all provided in this in this check file info by, by your integration then you have to have some kind of way of providing a security token so, so that is because, like, when you have your web app you already have some kind of authentication for the user so that the online has to, has to use the same thing in some way so that, like, we do not have to ask the user again because it would be, like, extremely convenient when the user, like, in your web app clicks on a, on a file and when the file is being opened the user will be again asked for the, for the password so this is to actually overtake that so your, your integration somehow provides, provides a security token that is then routed through the, through the online that, that part and the back end and then it is used for the communication between between the get file and put file and check file, file info and, like, the online backend for this, for this access of the files embedding the, the iframe itself it is reasonably straightforward what is a bit unexpected when you, when you are doing the, the integration is that, that you have to, you have to use host requests, not get requests when you are, when you are actually embedding the iframe it is because, like, if it was a get request that access token would be visible and at that time, like, it would be, like, not, not really safe to, to pass it this way so, so, like, this initial, initial request has to be done by a host to, to put, to round-trick the token safely but then, like, further, further communication but then it goes, like, most developed, the best of it and there are some get requests as well but then these, these aren't going to go by anymore so this list, the recommended steps just a bit of a summary and, like, what you have to do you first add the rest endpoints to your backhand then you implement the check-file for endpoint for the, for the file name and stuff like that now you can, like, create some small to the web page that has a, that has a submit button and the URL for, for, for creating the, for creating the actual content and then, like, when you press submit you should see that the, that the collateral line has been, like, triggered and it tries to actually get the, get the stuff from the, from your endpoint and when you get working you integrate it in your web app the way, how, how you need it so, like, you, you create the, the iframe most probably somehow dynamically in JavaScript, that's the most usual way how to do it and then, of course, the next step and at this stage you will, you will see it, like, directing your web app you improve the, the rest endpoints so that they actually load the real files not only this fake hello world as the first thing then, of course, you have to add support for this for this access token access token handling so that the user doesn't have to authenticate and actually, like, people cannot, like, just load whatever, whatever files you have there a bit of authentication the recommended thing for this is actually that the access token is more or less a random number and the information, like, which user and which documents this belongs to is a knowledge that you have only in your backend like, there would be a possibility that like, you somehow cache it into some strong cache and use that for the access token but I think, like, from my point of view it is better not to expose it at all and have it just, just in your server because that way, like, if the access is open it's just a random number nobody will be able to guess it just and, yeah really, really close your data and then implement food files so actually, like, the updates appear in the, in the repository so, in your backend afterwards if you want to then, like, tweak the UI further you can you can have some some, some, some improvements or or changes in the UI without even patching the online code and it is possible to add buttons or any buttons about messages it is, it is described so, like, over the client there are, like, many messages added that allow you to, to, like, modify the loop of the online when it's integrated in your app and, yeah there's a post-message API which is, which is, like, both directionals so, for example for, for stuff like this inserting button you would be the, you call the post-message with with message, with ID insert button but there are some interactions that are, like, more advanced for example for Save As you have to, you have to, like you first get a message that your integration should show a Save As dialog for the user to specify the name then the user, when they specify the name the integration has to call back via, like, another post-message that the user has finally provided the name so in the online, like, we get this name and finally provide the Save As standard this just lists the the possibilities, like, that are in the check file info to actually, like, modify the UI I don't think I will be reading through that but I will let you learn to take a picture but I will also do the presentation as well and, yeah so, if you have some special needs partner with us because we will have to help you to develop, like, whatever you need in addition to the stuff that is already provided there are some additional things that for which I didn't have a specific partner write down, either because I cannot share the name or, you know yeah, because I should not share the name and, yeah so one was extensions in the boot file so in the boot file when it is performed again so, again if the partner needed some additional information about, like, what triggered this action so was it out of safe or was it, like, triggered by the safe button and also they needed information about if the document was actually at the time of saving if it was modified by the user or not so now they have some additional header HTTP header in their request they can make methodically in their integration and another thing which was quite a big thing was using another authentication mechanism so it was not convenient for this particular partner to actually use the SSToken because they had some trouble generating or adapting their code to actually generate one so instead, like, it is possible to pass some special header that they are using their token that they need to process some different way so this was possible to add this and we also added some related booties handling and of course, like, there are many small things that we have done mostly as backfixing or, you know, some small features another big thing that we have done for the partner so they had very specific needs regarding the PDF handling so like that this was, like, how the PDF looked like when they opened the PDF it is because the graph is normally, like, when you when you ask it to actually load the PDF it breaks it down into draw shapes and opens it in a draw which was inconvenient for this partner because they needed, like, a very good fidelity of the PDFs so what we have done was that we have integrated PDFM which is the library that is used by Nitro for actually, like, showing the PDFs it's very advanced, like, rendering of the PDFs and so we have changed a lot in the core code, actually, to use the PDFs as pictures and only after you you want to, like, modify the shapes, then you are able to break it into the shapes and use them to modify the way you need and I've already talked about inserting a new document from Empire, it was needed for the next cloud but because, like, it's possible to finish up from then that you have some information about that so you provide the template source URL in the check file info which when you then open or try to create it and then you issue the GET file to actually get the get the, to actually, like, open the file but, like, online, in that case there was the template source specified so it first, like, starts the document from scratch and using that specific template and then it is saved into the ID that is there and to save the the auto-save then works just normally because, like, it's already created this document and it's fine. Mostly capabilities I've thought about that earlier so I'll talk more about that and that is all. So, what my summary is use an existing integration if you can again, if you cannot you are most welcome to trade at all and if there's anything you are missing we will be most happy to hear what it is we will improvise it and implement it Thank you for listening.


Hi everyone, Joe for jaspyscasebrakes.com coming at you with 2019-2020, Panini Prison Basketball, one pack, random team number 16. Big thanks to all of these folks for getting to the action and there are the teams right here. Let's roll it, let's randomize it. Five and a four, nine times for each list, one, two, three, remember this is just for the break. The randomizers are always at the end of the break, so after nine times we've got Ryan down two, Martin, five and a four, nine times for the teams. And ninth and final time after nine, we've got the Timberwolves down to the Orlando Magic. Jeremy 33, what's going on? Yeah, we've got like 400 up and down maybe. The upload speed is really the key thing. Most residences won't have the big upload speeds, but we do as a business. Aaron with the Pelicans right here, and who has the Grizz, David with the Grizzlies in this little quick retail pack break. I wouldn't expect too much from these retail pack breaks, but who knows? We're going to find out right now. Yeah, I guess it did need just a, I don't know, a website needed a regrew or a web internet needed a little reboot before starting the big mixer, as opposed to, all right, not much in there, but can't really expect too much. Let's get all the names here from Jason down to Adam and everybody in between. And let's roll it and randomize it. How many times? Oh, we're going to randomize. It's top two. So the top two names after three is going to be in the big basketball mixer, which is coming up right after this one, two, and three after three times. Big thanks to everybody who got into the action here. Thanks for giving it a try and congrats to the top two. It's going to be Adam Cupperman and Melanie Compton. There you go. Congrats to Mel and add. We'll see you for the mixer. I'm Joe, jaspyscasebreaks.com.


So we will see now the description of the main component of a pressurized water reactor. This is the type of reactor which is the most common worldwide and this is the reason why I chose to focus on this one. You have here a sketch of a pressurized water reactor. Here is a vessel with inside the core of the reactor. The steam generator where the coolant of the primary system exchange is heat with the secondary system. The secondary system is water entering the steam generator which is transformed in steam exchanging the heat from the primary system and the steam goes to the turbine which generates the generator. The steam is then condensed in the condenser which is cooled by an open circuit either a cooling tower or the river water. We will see in more detail the different elements of a nuclear reactor especially in the coming small video you will have a look on the main cooling circuits. The heat released by the fuel in the reactor vessel is removed by cooling loops. Each loop includes a steam generator and a pump. The water leaves the reactor vessel through a large pipe called the hot leg and enters the steam generator. Here it is cooled by the secondary water which is vaporized then is sucked into the intermediate leg by the main coolant pump and discharged into the reactor vessel through the cold leg. Depending on the power rating of the reactor the reactor coolant system consists of three loops as is the case in Electra 1 or four loops as is the case in Electra 2. To prevent the primary water from boiling although it is at a temperature of 320 degrees centigrade on leaving the reactor vessel a pressurizer is provided which maintains a high pressure in the system. The bottom of the pressurizer is connected to one of the loops by a pipe which after a number of expansion bends joins the hot leg of the loop. This constitutes the pressurizer expansion line. These are the main components of the reactor coolant system. This is an overview of a 1300 megawatt pressurized water reactor. You find here in the middle the containment and the primary system. The reactor vessel here. You can see the steam generator. And beside this is the fuel building where the fresh fuel is inserted in the pool and before being loaded in the reactor vessel. And when the fuel is used, we call that a span fuel, it is even back in the pool here to be cooled up to the time that it could be transported outside of the plant. Here is a turbine building where you can see here the main turbine and the generator at the end. Of course there is a lot of auxiliary facility around there, such as some tanks here to store liquid waste or elements to make up the water inside the primary or the secondary system. Let's discuss now about the fuel itself. The basic element is a fuel assembly, which is shown here. It's for this type of reactor, a 17 by 17 assembly of fuel rods. You can see here a vertical view of the fuel assembly and with all the small rods. Inside the rods you have some pellets and the fuel itself is in the form of pellets which are piled up inside these fuel rods. To maintain the rods you have at various elevations some grids that maintain the fuel rods. On some position inside the fuel assembly there is no fuel but there are some holes for the incision of control rods that will allow to control the level of power of the reactor. In a reactor core, typical, there is something like 200 such fuel assembly and the length from the top to the bottom is about 4.2 meters. Of course, at the two extremities of the fuel assembly there are elements to allow the transport of the fuel assembly when we are loading or defueling the assembly from the core. You will see now a small video giving more detail about the fuel. The enriched uranium in which the energy is produced is contained in long thin tubes some 4 meters in length and less than 1 centimeter in diameter. These are the fuel rods. Each rod contains a stack of cylindrical pellets made of uranium dioxide. The pellets are around 8 millimeters in diameter and 13.5 millimeters high. There are around 300 in each rod. The metal tube forming the outer shell of the rod referred to as the cladding is made of an alloy of zirconium. End caps are welded to the ends of the rods. At the top there is an empty space referred to as a plenum that contains a spring to receive the gases released by the fuel while it is in the reactor. These rods are combined in sets to form fuel assemblies. The top of the fuel assembly or upper nozzle is designed to facilitate handling. The bottom of the fuel assembly or the lower nozzle ensures accurate positioning on the support plate in the reactor vessel. The fuel assembly is rigidified by 25 guide tubes which link the two end fittings. Grids attach the guide tubes received for the fuel rods of which there are 264 in each fuel assembly. These grids are in the form of a square. Each side being approximately 20 centimeters long and having 17 rod positions. They maintain the rods at a regular spacing and prevent them from vibrating while facilitating water flow. A range of devices can be inserted into the guide tubes, notably the control rods that are inserted into designated fuel assemblies which play an important role in controlling the chain reaction. This is the bottom of the vessel with some penetration. The water enters on the top side of the vessel and exits. You have here a more detailed view. So the water entering this penetration first goes down to the bottom of the vessel, then enters the core and goes up through the fuel assembly to prove it, is a steam generator. This component comes out of the vessel and enters what we call here the hotbox of the steam generator. Above these very thick plates, you have hundreds of new tubes, hot water entering the hotbox, goes up inside the tubes and then getting down and exits through this core box. The secondary water, what we call the feed water, enters the steam generator at the top, goes down between these two shell plates, up cooling, exchanging the heat from the inside of the tube, and then it is transformed into steam, which is separated the steam from the droplets in this part. Then there are some dryers here and the steam goes out of the steam generator through this core here, going to the top. You will have in the next video details about this steam generator. In each of the reactor-coullent system loops, there is a steam generator. This constitutes the means of exchanging heat between the primary and the secondary systems. The primary-coullent from the reactor vessel enters at more than 320 degrees, circulates through a bundle of U-tubes, where it gives up its heat as it is cooled by some 40 degrees, then leaves towards the pump. Heat is exchanged via these hot tubes. The secondary side water enters via the top of the steam generator, is channeled down to the bottom along the periphery, then rises up the center between the tubes, in contact with which it is vaporized. The steam, thus produced, leaves from the top of the steam generator, and apart from being used to generate power, plays an important safety role by removing the heat produced in the core of the reactor. The third important component of a nuclear reactor, at least for the pressurizer water reactor, is the pressurizer, because the water should remain in the liquid form in the system, and even though the pressure is around 140 bars, so the pressurizer serves at maintaining this pressure and sort of regulating the pressure inside the system. For this purpose, you have at the bottom some heaters, electric heaters, and if they are on, of course the temperature will increase in the pressurizer, and so the pressure in the system. On the other hand, you have at the top a spring nozzle where cold water could be injected, condensing the steam which is on the top of the pressurizer, and so reducing the pressure of the system. Another important element of the pressurizer is the safety relief valve, which is here at the top, which is set at certain set points in order to avoid over pressurization of the system. The pressure increases too much, the safety valve will open, and the steam will be discharged in a tank around there. So this safety relief valve played an important role in the accident at Srimal Island that we will describe later. So this is a sort of summary of what we have seen inside the reactor building. You can see here the main component, again the vessel here, the force steam generator, the pressurizer, and the main coolant pump you have done here. We will discuss perhaps a little bit later about these tanks, or the accumulators, which serve an important safety role, in case there is a break in the system. So this concludes this sub-part. We have seen the main component of a nuclear reactor, and we will see now in the next sub-parts how we designed and how the safety is analyzed. First at the design step, and then of course during operation.


Item number SCP-6585 Object Class Archon Special Containment Procedures At the time of writing, 76 SCP-6585 instances have been implemented with sub-dermal tracking devices. These have proven unobtrusive enough to avoid triggering the creation of new instances. SCP-6585 manifestation events are to be monitored, but not directly interfered with. Amnestics should not be administered to civilian areas affected by SCP-6585, as researchers have concluded this will likely interfere with the SCP-6585 manifestation schedule. Description SCP-6585 is the collective designation for a group of anomalous domestic dogs, can and its familiarists, that periodically manifest in communities throughout the world. SCP-6585 instances are distinguishable by a thin white material attached to the fur, with the words, Community Dog, written in black marker on either side. Materials found in SCP-6585 instances have included letter paper, napkins, serviettes, as in the above picture, tissue, and paper towels. This identifying marker is anomalously resistant to damage, and cannot be fully removed from the instances by any means, though it does not appear to cause them discomfort. SCP-6585 consists of a single pack of approximately 400 dogs, with shift locations every six months. The term pack is used for convenience. Despite manifesting in the same location, and remaining in the same area as one another, animals usually behave as individuals, and do not regard each other with more affection or loyalty than their non-anomalous equivalents. A wide variety of dog breeds have been recorded among SCP-6585 instances, ranging in size from standard Chihuahuas, estimated 30-35 impact, to Irish Wolfhounds, 3 impact. SCP-6585 usually manifests in communities that are experiencing economic hardship and or social turmoil. Individual instances will seek out members of the community that are under significant personal stress, and essentially act as emotional support animals, often taking up residence in their homes. Subjects who interact with SCP-6585 usually report feelings of happiness and contentment while doing so, even among subjects who were known to strongly dislike dogs. When a manifestation event has concluded, all persons in the affected area will remember the event as having occurred, but will not find the sudden disappearance of the instances unusual. SCP-6585 instances possess a number of anomalous properties that distinguish them from baseline dogs. They do not physically age or require nourishment of any kind, but will still consume food for personal enjoyment. All defecation resulting from this consumption has taken place in an outside environment. To date, no SCP-6585 instance is known to have defecated in an indoor area. Other behaviors are also altered in comparison to non-anomalous dogs, generally in ways that make them more palatable to humans. For example, SCP-6585 instances enjoy receiving hugs and other forms of close physical affection from humans that non-anomalous dogs typically find unpleasant. Communities affected by SCP-6585 will generally not notice these anomalies, or will find them unremarkable if they do. Select SCP-6585 manifestation events. Events that took place before the Foundation's discovery of SCP-6585 were inferred to have occurred based on historical photographs and descriptions. Date Location Corresponding Economic Social Event January through June 1930 New York City, United States Stock Market Crash of 1929 July through December 1943 Los Angeles, United States Zoot Suit Riots January through June 1957 Budapest, Hungary Hungarian Revolution July through December 1968 Bordeaux, France May 1968 July through December 1989 Beijing, China 1989 Tiananmen Square protests July through December 1995 Seoul, South Korea Sampoong Department Store Collapse January through June 1993 London, United Kingdom Black Wednesday January through June 2009 New York City, United States Great Recession July through December 2020 Minneapolis, United States George Floyd protests Addendum 6585.A Initial Containment Failure When it was first discovered by the Foundation in 1968 SCP-6585 was classified as Euclid and initial containment procedures called for the removal of SCP-6585 instances from affected communities. However, subsequent events following the first and only attempt at containment in 1970 led to the establishment of the current monitoring protocols. In July 1970, an active SCP-6585 event was discovered in Augusta, Georgia, believed to be a response to the riot that had taken place in the city two months earlier. After identifying the phenomenon in France in 1968 and spending the next two years researching its effects, Foundation scientists attempted to stop the Augusta event by collecting the SCP-6585 instances and temporarily relocating them to a nearby site. The attempt initially appeared to neutralize the phenomenon, as the former SCP-6585 instances exhibited traits of non-anomalous domestic dogs. The community dog signs detached from their fur shortly after their removal from Augusta. Two weeks later, Foundation agents stationed in Augusta reported an apparent SCP-6585 containment breach, when approximately 550 domestic dogs were found throughout the city of Augusta, bearing the SCP-6585 signage. Closer investigation revealed that the vast majority of these dogs were identical to those that had been previously owned by persons throughout the city. Upon questioning, these owners expressed no knowledge of their pets and identified them as stray dogs, even when directly shown evidence of their previous owners. Researchers concluded that SCP-6585 replenished itself with domestic dogs resident in the Augusta area, making them new SCP-6585 instances in the process, and producing an antimemetic effect to hide their disappearances from the previous pet owners. SCP-6585 instances did not leave Augusta at the end of 1970, deviating from their manifestation schedule. Instead, they remained in the city until January 1972. During this time, an additional 137 dogs were discovered to have disappeared from their homes in the area. None were reported as missing or searched for by their owners, and SCP-6585 instances matching their descriptions were identified at the time or in later manifestation events. Following the Augusta containment breach, SCP-6585 was reclassified as Archon. As of 2021, the current pack of SCP-6585 instances is the same as was originally produced in Augusta in 1970. Since that date, over 200 instances have detached from the main pack and remained in previous manifestation locations, losing their anomalous properties in the process. In all cases, these former SCP-6585 instances resided or continued to reside with persons that have a disability for which a service dog is very helpful, most commonly blindness.


play a personal role in directing the artistic development of our country. I know that each of you has taken a personal interest in the Smithsonian and that this great national institution could not fulfill its mission without your assistance. This year I understand that thanks to your direct support the Smithsonian was able to obtain a pair of Shinto sculptures of the Freer Gallery and a carol mille sculpture of the Herschel and also, due to your efforts, the National Portrait Gallery obtained a glass plate negative with Abraham Lincoln by Alexander Godfrey. These and many more projects over the years have added new depth to the Smithsonian and all of you can be very proud of being part of a very special team. I know that you've also contributed the construction fund for the Quadrangle, the Smithsonian's new museum complex. This project and the other efforts that you are making will live long after we're gone. It's your message to future citizens and it speaks well of you and this generation of Americans. I heard a story recently about a fellow who got the wrong message. Businessman, so successful that he was opening up a new branch and a friend thought that he'd send a floral arrangement for the grand opening. When he got there, the friend was shocked to find that the wreath delivered before the inscription, rest in peace. The way home he stormed into the flower shop to complain and the florist said, well just look at it this way, somewhere today someone was buried beneath the wreath that said, good luck in your new location. Seriously, the legacy that you're leaving your children is a better America, an America that is more aware of cultural values that make living more than mere existence. And I thank you for what you've done and Dylan would never forgive me if I didn't say and I didn't encourage you to do more, so I will. But thanks for being here today and God bless you all. One, two, three, four, five, six, seven, eight, nine, ten. All you gotta do is go to the source for listening and that answer on that. Mr. Chairman, it is good to have the chance to be there with you today at the Northeastern Republican Leadership Conference. I trust the meeting is going well. I think we should congratulate Jerry Hurley, who's the Northeast Chairman in putting together such a successful gathering. As Chairman Farrenkoff mentioned the President will make remarks and then take your questions. Well, good morning and my greetings to you all. I'm delighted to speak with you about our challenge for 84 and how I know we can and will work together for victory. Back to the mess from before. And let's make sure that people remember that. Indeed a real mess was dumped in our labs. When we arrived in Washington we felt a little like Noah must have felt the morning he left the ark to begin all over again. It's been an uphill battle ever since to reduce Washington's hammer lock on our economy. It's nice to see you. It's a great pleasure to be here. I'm hoping that you're going to leave because I've been late and I was late. Well, not there. This is pretty much on schedule. It's nice to be to be here. Well, I know the President you're sitting here. When have you taken over dinner? You're right.