All right. Good morning. Very good morning and welcome once again. Can I request one of you to please lead us in prayer, please? Gracious Heavenly Father, we come to you under the name of Jesus. We thank you for this beautiful day and for the class we are about to have God. God, I please each and every one of my classmates who has gathered here into your hands throughout the class give us the good wife and connections that we need and God lets your Holy Spirit leaders help us to open our mind and heart and listen to each word and accept it and do it in our lives so that we can glorify your name Jesus. We can glorify your kingdom above everything. I place past devotion into your hands. Be with him and guide him throughout the session. We love you and we thank you. In Jesus' name I pray. Amen. Thank you, Japhina. In the previous class we discussed about systems and processes. That's the chapter we looked at and we looked at different systems that we draw a parallel from the different systems in the human body and see how we can apply and imply that in our churches. That's what we covered in the previous class and now we move on to chapter 24, chapter 24 and page 151. So we'll just be covering a couple, we're almost coming towards the end of this course. We might complete a couple of chapters today and because the remaining chapters are covered in the other courses. Okay, but we are chapter 24 right now, nurturing and equipping believers. I hope you all are there, page 151 in your notes. In everything that the local church stands for, right? From the beginning what we've learned about how it's God's idea. You know the origins of it and the different facets of the church. Everything and the huge part of it is about equipping believers. Isn't it? It's about us going into all the world, you know making disciples, baptizing them, bringing them into the kingdom of God and all of that needs the saints to be equipped and as it says in Ephesians 411, it's a 13, once again we've read this verse multiple times in this course. It says, and he himself gave some to be apostles and some prophets, some evangelists and some pastors and teachers. For the equipping of the saints, for the work of ministry, for the equipping of the saints, on all of the ministries that's there, every calling, all of that he has given for the equipping of the saints, for the work of ministry, right?  I hope so. Most of you are here to be equipped for the work of ministry, isn't it? So for the edifying of the body of Christ, as it says verse 13, till we all come to the unity of the faith and of the knowledge of the Son of God, to a perfect man, to measure of the stature of the fullness of Christ. And so the theme of this entire chapter is equip your believers in every area possible. We need to equip them to be a minister of God. So you are moving them from new believers to a disciple and to a minister, right? So the first thing talks about equip every believer to be a minister. So we need to see every believer as a future minister of God.  No, that's not what it is, isn't it? As soon as we say ministry, we only think about full-time ministry. I don't really know where the words came from at full-time ministry because at least I was taught that you are at ministry all the time. It doesn't matter where you are. But the idea is that we equip them to be ministers even in the marketplace. So we'll talk a little bit more about that as we go on. So we must continually emphasize that every believer is a minister. And we must encourage everyone to serve. We must lay aside our own personal insecurities and obey God's word. You see that line there is very crucial. We must lay aside our own personal insecurities and obey God's word. I don't know about you, but normal people will have these insecurities where if you're a leader and you see a potential leader, there's potential in another individual. And if you have this insecurity thinking, okay, what if I give this responsibility to this person? What if I give this opportunity to this person and if they do better than me? And because of that, I'm not going to give that opportunity or responsibility to that person because of your insecurity, thinking that the other person might do better than you. That's one of the examples. I hope you're with me. The God's word says, hey, you keep all that aside. We lay aside our personal insecurities and you obey.  That's another thing as well. Right. So simply because you acknowledge as a leader, you can see the big picture as a leader. We have this gift is to see the bigger picture of another person's life. And so you notice and you recognize that they are gifted in a particular role. And so as a pastor, as a leader, it is your responsibility to guide them and to help them discover the role of whichever area that they are gifted in. Some of them might know their area of ministry, the area that they want to serve that they are gifted in. And then there are those who don't know what they are gifted in and they might be like, okay, I don't know what to do. I don't know where I'm gifted at and whatnot. And as a pastor, as a leader, ministry leader, the best word of encouragement or the way you can encourage them is to encourage them to start serving. There are a lot of teams that can be available that they can serve in. And as they are exploring different teams to serve in, they might pick an interest towards one particular team is like, okay, hey, you know, I feel like I'm kind and I can speak with people and I love interacting with people. And so maybe I need to join the member care team or the first time visitors team and just welcome the welcome lounge or welcome team, et cetera. So this is a journey. And this is another way of how you equip your congregation is you encourage them that, hey, they're all ministers and they can be ministers wherever God has placed them. And in God's house, you help them identify the gift that God has given them by allowing them to serve in your congregation. You kind of encourage them. I don't use the word push. It sounds really pushy. But but you kind of push them to serve church, you know, roll the cables or arrange the chairs or whatnot, right?  They are hesitant. They are they are, what do you say? Intro words, right? You heard of such people, right? Extra words and intro words, intro words are those people where they will start running outside the church as soon as the pastor starts saying the benediction. Especially the way the doors are used to be placed in the building that we used to meet where there are four, two doors on each side left and the right.  So pastor starts giving the benediction or he hasn't even started the benediction. He will start seeing people walking out, you know, most of the times because they don't want to let's their nature in towards, you know, some of them have social anxiety and they just want to escape from that place.  So you help believers discover their gifts, a place and a function by walking with them. In addition to that, right? So they're all gifted.  Some of them will be called for full-time ministry. Some of them maybe not. You can, it doesn't matter, isn't it? Because in the marketplace, there's this thing, right? There are seven spheres of the society, you know, that make that makes a society, right? That is one is a religion, education, what's that? Religion, education, government, family, business, media and arts and entertainment. Right? So these are the seven fears that make a society, right? And you need individuals to be in all of these spheres, to have, you know, to establish God's kingdom in all of these areas, isn't it? I'm sure you would have heard about all these things. So in addition to that, in addition to helping them identify their gifts, they already know that's great where they want to serve, another way to equip them as you help them identify their life assignment. And what do I mean by that? Every single person has a destiny, a God-given purpose, right? Their gift alone is not their purpose. There's a huge difference, isn't it? Their gifts alone is not their purpose, right? So God has a plan and a purpose for each and every individual, right? He designed us for this very specific purpose, right? I see you raised your hand. Go ahead. Isaac, do you have a question? No, pastor is my mistake. Okay, all right. So as we're saying, so every individual has a specific God-given purpose, right? And our goal as pastors and leaders is to equip God's people so that they discover and fulfill God's purpose for their lives, right? And how you go about hearing them, equipping them is, it all comes down to you. I mean, that's the responsibility that we have as leaders and as pastors, right? The responsibility on our shoulders are huge, right? And so with all of that, when we understand that every single individual is unique and have a God-given destiny and God has an assignment for that person, when we understand that, then we can take them through understanding how to discover God's life assignment for them, right? And how they need to prepare and step into that. And so you can use so many resources as in how to hear God's voice, how to know his will for your life, et cetera, et cetera. And also, I mean, if at all, if you have any individual, you know, who comes to you and asks, you know, because they look up to you as a pastor or as a leader and say, hey, how do I know what is God's will for my life? Or what is God's plan or God's assignment for my life? I mean, if you have an answer, I mean, God's given you a clear vision, great. But most of the times, in my case, at least I have zero idea, right? You know, it's sure you can tell them to seek God and pray and spend time and fast and pray and hear his voice and whatnot. And all of that is true. And absolutely great. And then one of the things that I have learned in from, at least from my life, is that you don't stop serving most of the times, most of the times, God's plans or life's assignment, God's life assignment for you will be revealed during the time of your, you know, of you serving a ministry or another person or wherever you are.  So for example, David did not, David continued to serve his father, Jesse, you know, even the day when he became, went from a shepherd boy to a giant killer. That morning, David was tending his father's sheep.  I want you to take this bread and cheese and go give it to them. What was David doing? He was just serving his father. Right. And on that day, I'm sure David had no clue that he was going to be promoted from a shepherd boy to a giant killer. But all he did was he was serving. Right. And there are so many examples after examples like that in the Bible. Moses was, you know, serving his father-in-law. He was tending his father-in-law's flock, you know, Jethro. And then that's when he sees his burning bush. He has that encounter. Right. So, and examples after example, guys, I mean, you know, Elijah, Elisha, Elisha was working in the fields.  So, you encourage them to be faithful and to continue to serve where they are. And you never know when God's going to meet them. Right. So, you help them discover their life assignment. You provide ministry opportunities and start your ministries. So, if you like, for example, at that point that says, provide ministry opportunities and start new ministries. Right. Let's take an example. Say, Isaac is very good with, you know, video editing and graphics and all IT related stuff. Okay.  And if your church does not have a team like that, so now if you have an individual with that potential who has a knowledge of IT information technology and who who's tech savvy and whatnot. And you can ask, okay, can I, can Isaac, you know, invest and impact in a ministry like this? So, and then you ask, you have a conversation with that individual and then you start a separate branch of ministry just so Isaac can invest and have an impact in that area of ministry. Right. So, that is another way you are equipping the people of your congregation. Okay. Guys, I mean, the whole chapter is that you are thinking of ways how you can equip the people in your church. That's the whole point. Right. And it's very important. So, you are not just letting the new believers be new, being new believers. Right. When they are new believers and they've just accepted the Lord, you're just moving them to become disciples. You're teaching them to become disciples. And from disciples, you're equipping them to become ministers. Right. So, progress and growth is a huge topic of the subject, isn't it? How many times we've spoken about growth and progress. And so, your congregation also needs to grow not just in numbers. It's one of the signs, but spiritual growth as well. And this is how that happens. Right. You create opportunities. You equip them. You trust them and you believe in them. Right. You equip them to move in the supernatural. I mean, if you're a church that wants to move and believes in the supernatural, healing and deliverance, walking in the prophetic, etc., etc., or even say, evangelism through, let's say, street evangelism.  And then they ask, hey, how did that happen?   Right. And so, that's not just going to happen. The people of the congregation are not just going to wake up and just start moving like that. Okay. It's like, okay, today we're going to go do, you know, you are leading them. You are setting an example.  You are equipping them. So, maybe you take a weekend master class or a workshop on how to move in the prophetic or supernatural. Okay. Congregation, a church, we are going to do this. You know, we're going to learn about how to move in the prophetic. We are learning how to move in the prophetic so we can be a blessing to our community, society, or we can be a witness, you know, to people around us, wherever it could be in the streets or it could be in your offices, in your colleges, in your schools, wherever. You are equipping your church to move in the supernatural so that they can be a witness wherever God places them. Right. Are you guys with me? Right. And that is in the same line with regards to providing leadership as well. So, you are guiding them, you are guarding. So, what, okay. So, what, here's a classic question. Right. In your words, define leadership. Okay. Subashish says influence. Okay. Leadership, influence. So, to lead and set a good example. Okay. Come on, come on. Define leadership. Right. Lyndon, Paul, Abu, Leah, Rosalind. Well, okay. Planning and organizing. Okay. Okay. Enoch, what do you think? Right. So, influence. Subashish, so when you say influence, what do you mean? Like, how are you viewing that word? Influences. Okay. So, okay. Do you believe or do you agree that there is, you can be influenced positively or negatively as well. Right. So, there can be a good influence and a bad influence, isn't it? That doesn't necessarily need an explanation, but you get the point, isn't it? So, leadership is, yeah, I mean, it's a place of influence. It's, you're giving people to serve, giving opportunity for people to serve and what not. You are guiding them. You are guarding and governing them as well. You are giving them your counsel. You're leading by example, as Zalitoli says. But yeah, leadership is a place of influence. I mean, that's why there are like thousands of books on leadership, guys. And so many number of conferences on leadership, isn't it? So, yeah, I mean, John Maxwell has written, I don't know how many books on leadership. I just posted mine. I just posted mine. Oh, yeah. Okay. Thank you. You know, leadership is the ability of an individual or a group of individuals to influence and guide followers. Yeah. This, the most popular word in social media is, I'm a social media influencer, isn't it? That's like the happening term nowadays, isn't it? I'm a YouTube influencer or an Instagram influencer on Instagram. This simply means being a leader, isn't it? And so you should, you need to ask yourself, as a pastor or as a leader, what are you being an influence? That's one. And the second question is more important. Are you being a good influence or a bad influence? That's another thing, isn't it? So as you got to provide leadership, you know, and let go when necessary. And if you look at the paragraph in your notes at the bottom of page 153, there are three recurring words that says, we need to know. We need to know. We need to know. Time and time again. We need to know when to guide and when to step back. Leadership is not like, you know, selfishness is not bossing around or not just constantly micromanaging and, you know, it's like, you need to know when to guide. You need to know when to step back and give them the space to, you know, are you are you giving them that space or room for error or that space of freedom for them to make mistakes so that they can learn from their mistakes? Right. You need to know when to guide them and when to give them that space to make mistakes. Right. And all of that we need to know when to govern and provide clear directives, counsel in other words. Right. So all of the, these are all the ways where you equip your congregation. You are equipping the saints. Okay. You are creating opportunities. You are providing opportunities. You are guiding them. You are, you are helping them figure out life as well in all of this. Right. And it's a beautiful way to figure out life. When you can figure out life in church, it's the best way. There's no better place than that. Right. I hope you guys are with me. So let's just continue on on the same topic to the chapter 25 and page 154 into nurturing and developing leaders. Nurturing and developing leaders. So we all need to raise leaders. Again, leaders and leadership is the talk of the town. It's been the talk of the century. Everybody wants to be a leader. Nobody wants to be a follower. Everybody wants to be leaders. Who will they lead? Everybody wants to be kings. Who will be soldiers. Isn't it? Everybody wants to be worship leaders. Then who will be backup vocalists? Who will be other musicians? Right. And in all of this wonder of talking about leaders and leadership and all these conferences and all these books, it's very easy for us that we forget and neglect the importance of serving. Right. And a good leader is born out of being a good follower. Right. Joshua was an amazing leader because he learned to serve Moses in the season. Right. And so a good leader is being built, is being shaped in integrity and character in that season of following another great leader. Right. And so some of the traits that you need to look for as a leader, as a ministry leaders or as a pastor before assigning someone into a leadership role, some of the traits that's mentioned here, let's go through them. It's personal life example. Okay. Personal life example. You need to ask yourself, okay, how is this person's life testimony?  Are people able to relate because he seems very different on stage or he or she is like, wow, amazing, so nice and lovely and wonderful, but the complete opposite off stage, rude and unkind and blah, blah, blah. So that's right. So personal life example and spiritual and emotional maturity. That word maturity in spiritual life is very key guys, especially Christians, especially people, those whom you are considering to be in ministry and especially whom you are considering to be in as ministry leaders, because and I've seen, I think I've been in ministry for a decent amount of time for me to tell you all this, that it is very easy for people to hide behind the mask of their gift. Right. And who can be very manipulative. Right. They can hide behind the mask of any gift like prophetic or whatnot. Okay. You know, in front of everybody else, yeah, sure, they can move in the gift of the prophecy or different knowledge or whatever they have the gift, but anointing is one thing and character is another thing. Right. This is old saying, right. Your anointing will take you up, but it is your character that which will keep you up there. Okay. I'm sure you heard this, I'll say it again, but your anointing will take you up, but it is your character that will keep you up there. You know, God anointed Saul, he elevated him, he promoted him. What was his downfall was his character, isn't it? Disobedient and, you know, and so look for their spiritual and emotional maturity. You know, and again, you need to know as a leader, you can't know everything. Right. It's impossible when people hide behind the mask. It's impossible for you to know everything. Right. You don't know their thoughts. You're not God. We are not all knowing, all powerful, all sufficient, you know, ever present God is, and that's why we need, you pray, right. One of the classic example was from Acts chapter six, when we saw that when the apostles wanted to appoint people to serve, they prayed and they looked for those who are filled with the spirit. For what? To serve food, isn't it? So spiritual and emotional maturity, alignment with the vision of the church, super crucial, the vision of the ministry, whichever, right. I mean, they can be exceptional leaders, very good leaders, you know, very mature and whatnot, but they might not be aligned to your vision. It is possible that they can, you know, direct or lead, be leading the group of people in a different direction where the ministry is not aligned. That is dangerous. And so see if the person that you're appointing as a leader is aligned to your vision, you know, to the direction that the ministry wants to go. Okay, is that person responsible, reliable, all the usual traits that you would like to see in a leader? Is that person responsible? Is that person reliable? That means does he or she, are they committed? Do they keep up to their word? You know, are they on time as an example? That's just the basic example, are they on time? Do they finish the responsibility or do the job that you give them excellently, right? So responsible, reliable, excellence, continuous growth, no personal agenda. Okay, this is kind of in line with the second point or the third point, which is spiritual and emotional maturity, or even the third point, which is alignment. So some of them can use the platform or the opportunities to, that you are giving them and they will use that to accomplish their own hidden agenda. So whatever that may be, hey, do they have any personal agendas, you need to discern that it's very, very dangerous guys. So you see, even as we go through all these points, it's so crucial, so tricky to have the right people at the right time. Yeah, a gift and calling, calling good followers. Leaders are good followers. We go up to this point eventually, right? They can take instructions, do the dirty job and go down to the lowest level when serving under other leaders because they know the value of support. There is this book called Armour Bearers, okay? I think I'm not, yeah. Eddie Nance is the author. It's called Armour Bearers. It has three parts, small book.  You need to have it in your library, okay? There are three parts to it. It's all about being an Armour Bearer to the king. It's taken from the inspiration of that, you know, the Armour Bearer to the king from first time. You need to read that. It talks about the importance of being a good follower, serving leaders, okay? Good nurturers, people who have a heart to nurture other leaders because eventually a leader should raise up other leaders, isn't it? So these are all the character traits that you'll be looking in a potential leader before you appoint them as ministry leaders, right? Guys, are you with me so far? Are you following? Yes, fast talk. Awesome, okay. So the next stage is nurturing their growth. We've spoken about this in the earlier chapters again, what is nurturing and what is growth, but this is in context to a leadership, right? So there are various stages in how you nurture a leader. One is the preparation stage where you are investing in them, right? There is a process in mentoring that I like to follow, right? So when you are mentoring a person, right, there is a process. You don't want to be mentoring the person for life. So one first thing is, so let's say for example, I'm mentoring, say, Isaac, sorry, Isaac, I'm using you as an example too much today. So you're my mentor. So you're my mentor, I'm your mentor. There's some things, so I do it, let's say for example, so we are in healing ministry and whatnot, right? So you are with me, so I do it, I do the ministry, you watch me do it, okay? And then you do it with me. And then I do it with you. And then you teach another person. And so that cycle kind of goes on, right? So it starts off with me setting as an example. So, you know, I'm doing it. The second thing is you're not doing it immediately. You watch me do it. And the third step is you do it with me, right? And the fourth thing is now you do it, sorry, the fourth thing is we do it together. And the fifth step is you do it all by yourself. And now you kind of do this, this is the mentoring process, right? So if I'm mentoring another individual or whichever area they want to be strengthened in, that's the cycle that I like to follow. It's kind of simple, easy for me to follow, okay? One more time, I'll just go through that, okay? So I do it. You watch me do it. And what was it? And you do it together. And then, and then yeah, you do it. I think so. I lost track. I think there was a fifth one there somewhere. So, okay. But that's the process. That's the preparation stage, right? In the process, you are emphasizing character. You're emphasizing them to be responsible to be for them to be reliable, what it takes to be a good leader, right? And then there's the initial stage, right? So when you think that that individual is ready, at the right time, you allow the individual to step into their leadership role, okay? To step into their leadership role, and you provide needed guidance, training, equipping. And so, it is in this stage, like the initial stage, that there may be times where you need to provide correction and realignment, because it is also in this stage where they can either make it or break it. Like they are over and through about everything. They want to bring a hundred changes on day one.  So all of this excitement is there, like adrenaline rush. And this is where you kind of teach them, it's like, hey, hey, just cool down, hold your horses, just calm down. Right? So this is where you teach them to approach ministry as not a hundred meter dash, but a marathon, right? It's very different, okay? So you guide them, you correct them, you realign them. And this is the stage where they are settling in, okay? So now they got the hang of it.  And they are now, okay, a little confident about leading, about their role. And so this is the stage where you, as their leader, you kind of take a step back and then just watch what happens, right? You give them that space to make errors. You give them the freedom. I don't believe in freedom with a leash. Okay?  So people, in my opinion, people function amazingly well when they give them freedom and you trust them. But, you know, you, they've earned your trust. It's not like, okay, you're just blindly trusting them. You go through the stages, right? There's a preparation, preparation stage, initial stage, and you will learn a lot about an individual in those two stages. Because it is in the second stage where you are providing correction. And if that person takes correction well with the right attitude, with the right heart, okay, so you know that you can trust this person with a little bit with freedom. And you can give them that space to make errors and mistakes and whatnot, right? So that's the setting, settling in stages, the growth stage where now, okay, student, that this leader needs more leaders, he's equipping more leaders and growing his team. So this, so that's the basic cycle versus growth stage, maturity stage and the transition stage. So this is how you nurture and grow the leadership team, right? And you are creating opportunities for development. So what does that mean? One of the best ways to develop leaders is to create opportunities for them to be a leader, right? You create opportunities for them to be a leader. And Youth Ministry was a beautiful learning time for me as a youth pastor is, there are about 150 or young people at APC, there used to be about 200, 150 people, it's quite a number. And then we have five locations in Bangalore, which is spread out all over the city of Bangalore. It is impossible, right? For me to connect with every young people from every different churches, you know, it was, and so for that, we had a core team, a team of 15 people, you know, four individuals from each location, the central team was a little bit more bigger because there are a lot more people. And so they were my face, they are my voice when I'm not there when they reach out to the youths of their location. So I coordinate with them. And so when time comes to plan a youth camp, for example, you need a lot of, again, same teams, like you need a transportation team to plan and coordinate transportation, okay, how are they coming? Where are they coming? You need a team to coordinate food. Food is important for you, the young people in the camp, who's going to be serving, who's going to coordinate with the venue people, if the food is going to be ready on time, the games team, the worship team, the ushering team, these, and these are, it's a perfect opportunity to give responsibility to young people and see how they do it. And so what's happening there is you are creating opportunities for development. And that is how you identify, okay, hey, that individual was faithful. He or she was there every morning arranging chairs, like ushering team, it was always welcoming people, individuals making sure they were all moving and sitting in the front and not just being sitting at the back, you know, how young people love to sit at the back and don't necessarily like to come forward. And so you, as a leader, you are noticing all these small, small things, right, that they are faithful, they are responsible, they are reliable. And then you say, okay, I want that person in my core team. Okay, so there's like a, you know, so what has happened is you've created opportunities for development. And then, you know, guys, I'll tell you this, when you trust people and you allow them to be free and to make mistakes, and they will see that, they will see, okay, hey, this leader trusts me. He's given me complete freedom. And I want to do it well, because I've been trusted with this, and they will do amazing. And so this is how you nurture and you grow, you know, leaders in your congregation, in your church. And, and this perfect example is Paul and Timothy, right. And Paul was an exceptional leader for so many young, you know, emerging leaders, emerging voices, if I may say. But you can see, you know, their, their sacrilege in 1 Corinthians 1610 at the bottom, Paul took Timothy along and over time nurtured him into a fellow worker and one who could do work for the ministry the way Paul did. So what are some of the points there? There was a special bond between Paul. Paul had a heart for Timothy. He referred to Timothy as his own son in the faith, closeness and transparency. Paul let Timothy travel with him and see his life closely. It's some, it's kind of very similar to what we discussed about the mentoring cycle, isn't it? So taught specific things, encouraged and corrected, clarified costs, esteemed him highly, delegated responsibility, positive recommendation. I mean, it's, it's just there guys for us, you know, so Paul was doing it. Timothy was watching him do it. And then so both of them did it together. And then when the time came, Paul said, Okay, Timothy, I think you can pastor your own church now. I trust you enough to go and pastor your church. Right. And so that is an absolute beautiful cycle of how we can nurture and, you know, build leaders. All right. So we pause here. We'll take a break and we'll come back and we'll conclude with what was remaining this. All right. I'll see you all in time.


Ok, bonsoir tout le monde, pour ce nouveau installement de Science at 10. Aujourd'hui, on a Rachel qui va nous parler d'un topic très élevé, qui est en fait le feu dans l'Amazon, plus largement le feu dans la forestée humide. Et elle va présenter le cas de l'Amazon, où en fait, il y a une augmentation du feu, parce qu'il change la condition climatique, parce qu'il y a de l'activité humaine. Et je pense qu'elle va focusser sur le fait qu'il y a beaucoup de règles de management en place, mais ces règles de management ne sont pas vraiment informées de ce qui se passe au fil, et surtout avec la cultivation de la shift. Donc je vais vous dire, Rachel, c'est votre call maintenant, 10 minutes pour les points. Merci. Salut tout le monde, bonsoir tout le monde. Donc pour ceux de vous qui ne me connaissent pas, je suis Rachel Carmenter, je suis ici à Seafor comme postdoc dans le programme d'environnement. Le travail que je présente aujourd'hui c'est une partie de mon PhD, qui a été undertook à l'environnement centre de Lancaster. Et pendant que j'ai commencé le travail, c'était publié l'année dernière par ce point que je suis ici à Seafor. Donc c'est une bonne opportunité de présenter ce matin, puisqu'on a des visiteurs de Lancaster ici aujourd'hui. Mon PhD est focussé sur tenter d'understand la management de feu dans le Amazon en utilisant un range de scales géographiques et qu'il y avait sa propre méthodologie. Ce matin je vais parler du travail local, d'engager avec des méthodes de recherche ethnographiques et d'un travail participateur aussi. Donc je suis sûre que vous êtes aware qu'il y a un problème d'incréditation du feu dans le Amazon. Dès les années 80s et 90s, il y a été un nombre large des megafires dans le région, qui ont été faits dans des États-Unis, comme Acre et Parra. Au nord du Brésil, il y a plusieurs impacts de ces feuilles. Nous pouvons penser aux conséquences environnementales, aux implications de la biodiversité, aux émissions de gas de greenhouse, à l'économie environnementale. Il y a aussi les costs économiques associés aux feuilles. Par exemple, les closures aéroportes comme le résultat du feu et du feu et les impacts de la santé social avec les problèmes de respiration expérimente par les gens vivant dans le région. Et aussi, les difficultés, par exemple, dans les communautés rurales, en naviguant les rives devient problématique ou en hantant, parce que pas seulement par la lossue de la biodiversité, mais aussi par la difficulté de hantant, quand il y a beaucoup de débris sur les feuilles, par la flèche. Donc, les causes de ces feuilles sont largement anthropogéniques, des sources humains de l'ignition, par les grandes et les petits. Les feuilles sont sortes de la clé à l'église, par exemple, la clé à l'église pour mettre un château, par exemple, peut-être un grand égliseur, ou, en même temps, petits églises utilisent les feuilles pour égliser l'église pour leurs fieldes zwidhés. Mais pour petits églises, ils ont aussi besoin de feuilles, parce que c'est vraiment un élément important de leur agriculture de la subsistence via l'input de la nutrients qui, par exemple, église la production dans ces fields. Donc, les petits églises sont, en même temps, vraiment une partie de leur anti-fire, sortes de rhetoric, que vous trouverez dans les médias et aussi dans beaucoup de la littérature, parce que leurs pratiques agricultures sont percevées relativement en arrière, et ils sont vraiment sortes de ce campagne anti-fire, presque. Et donc, alors que les interventions et les prescriptions de la politique sont en place, ne sont pas seulement aimées aux petits églises, mais à tous les églises, vraiment, elles sortent de la ligne de feuilles, si vous voulez, quand vous pensez sur ces différentes prescriptions de politique. Donc, en même temps, ces solutions de management ne sont pas vraiment en train de travailler, parce que la feuille continue à augmenter à travers le Amazon. Et donc, c'est comme une pièce de travail qui a été faite, de vraiment essayer de comprendre ce qui s'est passé, pourquoi est-ce que ce gaffe entre politique et pratique? Et donc, c'est ce que nous essayons de faire avec cette pièce de travail. Et les méthodes qui m'involtaient c'est que j'allais prendre 6 mois dans le Amazon brésilien, dans le pays de Paris, assez près, relativement près de la ville de Santarang, along la rive d'Arapyuns. J'ai travaillé dans deux réserves extractives sur le côté de cette rive. Et cette travail, vraiment, comme je l'ai dit, c'est l'ethnographie de ça. Donc, j'ai vécu les églises avec les gens, et j'ai engagé des conversations sur les histoires et l'expérience de l'église. J'ai vu les pratiques que les gens ont utilisées dans les plots quand ils l'étaient églises. Et j'étais intéressée, aussi, de parler de leur awareness de toutes les règles qui existent, en regardant ces pratiques et leurs pratiques. Ça, c'était complimenté quand j'ai repris à l'UK avec un réveil d'une autre politique et d'interventions de management. Et les règles qui sont dictées par les petits holders et d'autres utilisateurs doivent s'adapter quand ils sont églises ou quand ils veulent avoir un réveil légal. Et ce qui est clair c'est qu'il y a une grande disparition entre ce qui se passe et ce qui est dicté comme les règles si vous voulez avoir un réveil légal. Donc, en pensant à ça, il a vu que il y avait peut-être trois différents thèmes de ces disparitions. Et le premier, si vous voulez, c'est que les prescriptions de la politique sont mises avec la réalité locale en termes de la capacité technique. Donc, l'un des requirements dans tous les documents de la politique c'est de construire un réveil légal en termes de deux à six mètres sur lesquels l'arrivée doit être élevée. C'est quelque chose que nous n'avons jamais observé. La raison pour laquelle c'est un réveil légal d'investissement pour construire votre réveil légal sur les six mètres sur le plot. Mais pas quand vous pensez que les petits holders utilisent largement les machetes, vous savez, pour l'agriculture, au moins, pour l'éclairage. Donc, vous pouvez aussi penser en termes de... de retourner au réveil légal, en fait. Donc, si nous pensons qu'il y a cette limitation de capacité technique, il y a aussi vraiment un genre de scepticism au niveau local sur le... le... le degré qui peut vraiment relâcher un réveil légal pour contacter votre réveil. Donc, les petits holders ont remarqué que si vous voulez utiliser un réveil légal, il aurait dû être peut-être, vous savez, trois ou quatre fois la taille de six mètres si vous voulez vraiment contacter. Parce que vous ne pouvez pas contrôler, par exemple, l'air qui s'occupe, qui peut ensuite prendre les embouts dans la forêt et qui peut commencer une confrégation, surtout, par exemple, si il y a un bamboo autour qui est très flammable. Mais ce que j'ai vu arriver c'était un genre de compromise parce que les gens ont tendu à réveiller leurs embouts et puis, si l'on s'occupe que le feu était en train de créer au-delà de l'air qui était tendu à être réveillé, ils allaient utiliser le machete pour réveiller un petit trail qui serait libre de débris et qui aiderait à combattre le feu et aidera à contrôler le feu. L'année que j'étais là n'était pas très douloureuse. Et même si je n'ai pas vu l'escape pendant l'année des petits Hamais qu'ils se sont appelés dans ces conditions il y a aussi un misalignement bureaucratique donc les documents de la politique demandent que les gens puissent prendre leur ténère leur nom et régister l'intention d'avoir un burn et qu'ils puissent recevoir un permit. Mais ces documents de la nom ne sont souvent en ownership au niveau local donc c'est problématique. Il y a aussi une série de rues qui sortent d'un compromis le requin local pour un bon burn donc au niveau local ce qui serait un bon burn c'est un bon fort feu qui aurait vraiment réveillé l'impact de tout le débris préparé pour les plantes et pour ça il faut faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire faire qui est un investissement additionnel en termes de temps et de laboratoires. Donc, encore une fois, vous avez vu que il y avait un compromis sur le niveau local, même si les petits-hôdres n'étaient pas conscients qu'ils étaient en train de rencontrer certains de leurs requises, ce qu'ils ont tendu à faire dans leurs pratiques c'est de mettre un feu sur chaque côté de la plante, en créant des bas-burns qui permettent de contrôler le feu et aussi de se battre contre le vent, ce qui est l'un des requises. Donc, il y avait une sorte de somehow un compromis being made although a huge disparity between rules and practice. Il y avait aussi un série de rules qui seemed to be culturally inappropriate donc, par exemple, the requirement for small-holders to advise their community three days in advance of the location and the time where they would burn which is something again it didn't happen, partly because I would say that the rhythm of life in the small-holder context just is not that formalised and whilst at the same time small-holders were very aware of where their neighbours had got to in their agricultural cycle because that's a large part of conversation there wasn't really a formal setup for announcing when you would burn partly also because of the predictability of weather conditions which is so central in burning practices. So then, thinking about these lines of disparity we wanted to explore a bit more the foundations of that gap and if you really were to simplify you could say that there seems to be a good fire, bad fire, kind of dichotomy whereby, you know, at the policy level and in the media an international discourse there's a lot of anti-fire mega fires and the environmental implications of these fires and there's some kind of alarm and that the situation needs to be controlled and that's very highly contrasted at the local level where really people think and talk about fire in a very different way there's a kind of an ease in which fire is used and it's so central to agriculture and not only agriculture but daily practices of cooking on, you know, natural fires keeping the community clean and safe from the leaves and insects et cetera so there's a real kind of juxtaposition between those perceptions of fire and perhaps at the policy level not an understanding of the other reality and experience of fire so to conclude we tried to think of these findings and suggest some policy recommendations for future management interventions which might be more successful and the three suggestions that we developed were there's clearly a need for more participatory and local level engagement when designing these management interventions to get an idea of small holder capacity and the local reality and also to increase the legitimacy of the intervention and then there's a need perhaps for a more flexible and adaptive management approach whereby for example some interventions might be required in extreme drought years but perhaps not necessary for every year you know perhaps a different suite of management techniques would be appropriate in non drought years and finally for these sorts of management interventions particularly for example the fire break there has to be some kind of form of external support because the technical capacity at the local level is limited and so that is a brief and hopefully succinct summary of that research which you can find actually in human ecology it was published last year, thank you ok now the floor is yours for your question people use fire because they cannot do fire break fundamentally so they don't want to spend their time macheting all the trees so that's why they fire if you ask them to do the same thing outside to just control the fire but I'm just coming from Zambia and then I've seen some image of village where you have something like 1.2 people per kilometer square and on the landscape image 28% of the image is fire scar is there a link in your research in terms of the density and the capacity or the willingness to control the fire so that if there is only the bush behind your field you burn and that's the bush burning if it's your neighbor just behind your field will you control your fire better crops but also there was a kind of and so people tended to try to protect the crops and the houses but at the same time it was never very clear if there was an escape fire people tended to be kind of thrown around and it was never it was always someone from a different from your own so it was quite interesting to to talk about those sorts of you know rationales for investing actually in the firebreak another thing that people wanted to to protect was NTFP so if for example there's a brazil nut tree or some other you know valuable source of non timber products people tended to increase their their management but never to the point of actually making you know an enormous firebreak no thank you I thought that was you know a wonderfully argued a wonderfully well made argument about some of the issues one of the things I'd like to say is first of all the fact that there were it seemed to me that in many places fire is just completely forbidden the fact that there were already all kinds of guidelines how to use fire better already is a step up from the usual kinds of policies which I think are just completely unrealistic that just forbidden totally and therefore you know just absolutely don't work otherwise I just like to ask you as you know we've been working a lot on migration and you're one of the people working on migration and I know that in the western Amazon a few of the people we've been working with have shown that the more people who go into the city the actual the more fire there is the more escaped fires there are the fewer people are out there in the countryside sort of the more fire could you and urbanization and migration seems to be a continuing issue here so could you comment on that and I'd like to make one other comment before I sort of give up on this so that was one of my question another question is one of the problems that we really saw in the western Amazon was the fact that there was a real mix of uses so there were people managing pastures using fire and there were there was also a mix of uses and a mix of types of ownership and management so there were absentee landlords there were people who were doing pastures rather than agricultural fields per say and then there were the shifting cultivators and each of them had sort of different issues involved and we found that it was partly that mix that also led to to the problems with fire could you also comment on that well taking that point first where we were working in those extractive reserves there's really that you know the land use is more or less swidden there is not cattle or you know I know in other reserves like in Acre and Chicamendas now there's more cattle there but in these reserves it's really just shifting cultivation so I didn't really observe those sorts of dynamics that you're mentioning although Miguel was talking to me yesterday about the need to kind of have someone back in the field because of so many people having plots but actually living in the towns we didn't really observe that in this research site and related to your first question which was could you briefly remind me migrating fewer people fewer people more problematic fires I suppose I do remember going to some plots which were not abandoned but the owners had moved to Santarang and they hadn't been back for some months and people the people who I was walking past with were kind of saying that point that land will have to be returned to the community and someone else can have ownership of there because it's not managed and the fact that it's not managed means it's slightly more susceptible I guess to not being for somebody not bothering to take certain precautions if burning close by but I mean again there was really quite limited I suppose migration from those communities to Santarang so it's not something that's all happening a lot Hi Rachel, thanks a lot that was really interesting and I saw really very similar things happening in Indonesia my question is what are the dis-incentives to not burn if any and who would give those dis-incentives if any, thanks to not burn at all you mean or to are there or not burning is it's sort of expected it's part of the agriculture everybody can burn now when I was working the reserve councils were trying to limit the area that people would be burning so to limit the number of plots that people could have but that was more to do with the land in production than anything related to a limitation on fire use really Hi, you said at the start that you're interested in finding out about smallholder awareness of policy recommendations but you didn't actually go on to anything about that during the talk I wonder if you did find their views on the policy recommendations and kind of linked to that whether they had their own recommendations which you kind of alluded to in the last bit I did because we held some different people to understand more and talk more at length about fire specifically and something that was really interesting was the fact that people often had ideas about what the policy prescriptions were but that weren't true so almost kind of like myths not you know like a kind of a story that builds up over time and so people for example would say that one of the requirements was you had to burn in December because December is already the rains are coming and the fact that such a stupid thing would exist is because all of these rules are written in the towns and the cities where they have no idea what's going on here on the ground and people would say that they were forgotten from the whole kind of bureaucratic and policy process so you know I did ask people their knowledge of the different requirements and often the knowledge was extremely limited or just completely you know off the ball like for example this Thank you very much for the really interesting presentation I just had a quick question so it seems like from the discussion I get a sense that you know small holder burning is actually quite in limited land but then the discourses of where forest fire seems to be like much more large scale so is it like certain types of burning that's being condoned or burning like in general that's I mean sort of condemned Well the antifire sort of discourse I would say is yeah related to these wildfires that spread and definitely implicated in that discourse are the small holders that's their burns are relatively small but there are many of them but I think it's mostly also linked to the fact that the agriculture isn't really respected you know it's regarded as a kind of a backwards type of a practice that needs modernizing and improving and so that pulls them in then to the target of these kind of antifire campaigns and discourses Campaign and program on slash and mulch in contrast with slash and burn in the state of Para how did they get any attention or competition with slash and burn I know of a couple of different slash and mulch initiatives and so far as I understand they've had quite limited success partly because of difficulties you know of trying to access these riverine largely riverine communities and delivering machinery required for the mulching procedure but it is something that's still sort of on the horizon as a potential alternative to slash and burn with Sweden there is a need for the policies to take to adopt more flexible and to understand more the flexibility and how management systems can adapt but I think that's what academics they are calling for this for policies to acknowledge the fact that they need to recognize the fact that there's a need for more flexibility and adaptation and that's the same when you think on land use, fires forest management but how do you see what are the main obstacles for this to happen because anyway the main policies are going against these perspectives and is that some scope for reconciling these policies, these courses and perspectives so can I just I was finding it difficult to hear the last part of what you said what sorts of venues could be used to create these kinds of adaptive, flexible well I suppose really there needs to be more forums for exchange at least an exchange of understandings I would say would be a starting point of that from how I understand there's really a complete disjunct between where the policy is formulated and where it's supposed to be having this uptake so some of the more successful management interventions were at a lower level involving NGOs and a few state representatives and community councils and different entities working in the region and that there was a management intervention program designed via that kind of stakeholder engagement which seemed to be the most realistic and engaging and actually therefore have the largest kind of uptake in the area thank you there seems to be a lot of enthusiasm or at least I get a lot of emails about biochar and mostly coming from from NGOs or whatever working in Amazonia or people interested in the issue or in this technique and that's after all largely at least from their point of view I think mostly based on the sophistication of indigenous burning practices in Amazonia and sort of using slash and burn or shifting cultivation techniques is this at all sort of redeeming the view of shifting cultivation in Amazonia or in other areas what do you think is the future here well I don't think actually that I could my view of that I would say would have to get back to you because that's something I don't know quite so much about to be quite honest ok any other last burning question we have 3 minutes left no then we need to thank again Pablo? no no you are moving no so we need to thank again Rachel for the very nice presentation and I guess this has been published as a paper in human ecology so everybody can have an autograph part of the paper if they want thank you again and see you for the next science at 10


According to Nancy Pelosi, our economic problems aren't due to inflation, but rather are caused by the increase in the cost of stuff. It's not, the fight is not about inflation. It's about the cost of living.  Obviously you're not a golfer. And it's like, excuse me, but isn't the cost of living going up because of inflation? I mean, that's like the definition of inflation. You have a problem with authority, Mr. Anderson. You believe that you are special, that somehow the rules do not apply to you? Obviously you are mistaken. I mean, what is going on with people these, honestly, that's like saying vomiting isn't the problem. It's the excretion of half digested food out of my mouth. That's the problem. You know nothing. In fact, you know less than nothing. If you even knew that you knew nothing, that'd be something, but you don't. You can't say vomiting isn't the problem while also saying that the definition of vomiting is the problem. I mean, do you see the inconsistency here? I'm not a smart man. I mean, and this kind of thing is contagious too, I swear. We voters constantly say things like, personally, I don't mind hiring leaders who clearly have cognitive problems solving disabilities. That's when I first saw you. I thought you were handsome. But I do hate it when our leaders can't cognitively solve problems. And of course, you spoke. It's like, well, then don't hire the dude with the problem solving problems. I mean, it's not compassionate to put him in a position where he needs to solve problems when he doesn't have the capacity to do so.


Welcome back to the tea of the day. I've got my special cozy on today because it's extra hot at the moment See if I can handle it yet. Nope too hot still. Whoo. That might affect the taste a little bit may have to let it cool down a touch Nah, let's drink it So today I've got one. I'm really excited about this is fresh chocolate mint Now I tried to grow this myself and the darn bugs just kept eating the seeds and it didn't happen So I saw it at the market and I said, oh my gosh, I'm going to buy that It's ready to go and it was actually so tall as it needed to be harvested. So here it is It's my first taste. I've never actually tried it before.  I don't get chocolate mint.  It doesn't need to cool down. Let's give it a minute I guess I was just a little too excited. It was so darn hot. It was like scorching the roof of my mouth But I guess while it's cooling down, let's talk about a few other things chocolate mint tea specifically is supposed to be good for IBS it's supposed to actually help with if Women are having pain while breastfeeding. It's also supposed to be good for cold symptoms Of course mint. It's good for bad breath and good for digestive problems It's also supposed to help with various cold symptoms. And of course, it's good for brain function So very similar to other ones except for these interesting Variations with the IBS and the breastfeeding pain and such. So yeah, chocolate mint It's got some really cool and interesting Ways that it can help you out. I think we're ready to go. Maybe I hope so Maybe because it's still too hot I'm getting much more of the minty-ness which is awesome. I'm not getting much chocolatey-ness yet. I Can kind of smell it and kind of feel a little bit on the back end Yeah, but compared to other mints Which have that very much lighter effervescence With the true minty feel this one is a it doesn't quite have that Puppy mint you kind of feel I think it's because of the chocolate aspect But kind of get a little bit on the back end I think I want to try it again with a few extra leaves in here to see if it can make a little bit stronger Or try to brew it a little bit longer I think I just might have rushed it because the fact that it was so hot I just wanted to get to it too fast. I probably should have let it have a couple more minutes Given the color though, I kind of figured maybe it was ready and but yeah, maybe you needed more like eight to ten minutes or something I went only around five on this one But yeah, I'm liking the taste the more I get it a few tastes in the more a really noticing the flavor of it What's interesting for me? I'm not overtly getting like chocolate. I'm getting like more of a darker Essence not an earthier essence, but it has like the Echo of chocolate if that as it were it's not like boom you're tasting it. That's definitely chocolate, but It's a nice derivative thereof. Yeah, I really like it still this is a nice one I think you can't drink it by itself any mint as far as I'm concerned you can drink by itself No problem They they're all strong enough and they all have enough of a flavor that can handle this being alone Yeah, I'm sold on it I definitely want to try it again and see if I can make it a little bit stronger and see if that's going to affect How I feel about it, but otherwise darn good tea till next time Take care of each other and have a nice tea day


Lewis asks, Transaction Validation and Script Construction, I would like to learn more about transaction validation and the two types of scripts to validate transactions, a locking script and an unlocking script. And how do these operate in transactions? Paul also wants to learn more about this. So let me go into that for just a tiny, tiny bit. Now, we talked about Bitcoin addresses. And in the past, we've talked about addresses in general. We talked about how the address represents the double hash of the public key. Now, when you tell your wallet, send crypto to this address, your wallet in the background constructs a transaction. And in that transaction, it puts a special script. I'll talk about Bitcoin specifically. Other cryptocurrencies may use slight variations on this general idea, but often it's a similar type of approach. So in the case of Bitcoin, when you say, send Bitcoin to the address one, blah, blah, blah, blah, and it's a one address, a traditional double hash of a public key address, what your wallet does is it constructs a transaction that has an output with a locking script in it. And what the locking script is, is a script in the Bitcoin scripting language that says, check that whoever tries to redeem this presents a public key that when double hashed matches this address that I'm trying to send money to, and a signature that can be validated against the public key we just double hashed. That script, which is take the public key, double hash it, check against the Bitcoin address, and then validate the signature. It's called a pay to public key hash script. It's a classic script that you'll see. It's the first lesson you see when you learn about scripting in the Bitcoin scripting language, and that is the locking script. So when you create a transaction that says, pay one Bob as an address, and it's a one address, your wallet actually creates a transaction that says, I'm locking this amount of Bitcoin to the pay to public key hash locking script that will match this address. And that's the locking script. Now that money has been locked against that locking script. If the recipient of that, the person who owns that address wants to spend it, they have to present an unlocking script that when combined with the locking script unlocks the amount. And that unlocking script is a public key that they own and a signature that they can generate with their private key. And since they're the only ones who have the private key, only they can produce this unlocking script. Now, when you take the unlocking script of public key and signature and you match it against the locking script of public key, double hash, Bitcoin address, check signature, and you put them together, it takes the public key that's unlocking, it double hashes it, checks it against the Bitcoin address, and if it matches, it will then check that the signature also matches that public key for that transaction. And that means that together, the locking and unlocking script allow you to send money by locking it to someone who can show ownership of a Bitcoin address. And the person who owns the corresponding private key is the only person who can construct the unlocking script that fits that lock in order to release that money in their own transaction to pay someone else. And so each time a transaction happens, it is a sequence of unlock this, unlock this, unlock this, and then lock it here, lock it here, lock it here. The simplest transaction is one input, unlock this amount, one output, lock it to a different script. And these get chained together where each unlocking script refers to a previous locking script and each future locking script can only be unlocked by another unlocking script that locks amounts to another locking script, et cetera, et cetera. So bits of Bitcoin are basically getting locked and unlocked and locked and unlocked in each sequence of transactions as they change ownership or as the value is moved from one Bitcoin address to another. I say moved within quotes and I say send within quotes because of course Bitcoin is never transmitted, it never moves. It's locked to one locking script and then it's unlocked and locked to another locking script. The Bitcoin hasn't moved. All that's changed is the effective control of that Bitcoin by changing the locking script and the conditions on which this amount can be spent. So that's the process of what's happening behind the scenes and we're gonna talk about that with a bit more detail in future lessons. Marcus asks, how exactly is the signature of a transaction verified by their miner or node? So first of all signatures on transactions are verified by every participating nodes, not just miners, but every node running on the system, including any wallet that sees that transaction. A signature is again a number. In fact, it's a pair of numbers and out of tradition we usually note those as R and S. R and S are the two parameters of a signature. Think of them as two numbers and they are produced through a mathematical formula that takes your private key and a message that you want to sign, which is the transaction that you're signing and uses the private key to produce a signature, which are these two numbers, R and S. There's another component though, which is the generation of a random number as part of that process and that is a critical component of that, but I'm not gonna go into that much detail. Let's say you take your private key and the message and you produce a signature, R and S. The unique thing about the formula that is used, the algorithm that is used to produce those numbers, R and S, is that anyone can then take the numbers, R and S, the message M that you signed and your public key, not private, your public key, and can do a calculation that validates that the signature produced was produced by the private key without knowing the private key. So if you can validate when you have a public key and a message and a signature, that that signature could only have been produced by someone who had the corresponding private key without having the private key yourself. That is the basis for digital signatures and that uses a mathematical trick in the elliptic curve field. One of the tricks about the elliptic curve, as I mentioned before, is that you can't reverse certain types of calculations on the elliptic curve and it uses a trick, a mathematical trick that gives you that with signatures. So a signature that is produced with a private key can be verified with a public key and that way when you sign a transaction with your private key and other people can then verify that signature against the public key, they know that you signed it without you revealing your private key. In the case of a Bitcoin transaction, when you sign a transaction, you also produce the public key. Remember previously, an amount of crypto may have been locked to your Bitcoin address, not your public key, but if you want to sign to unlock that script and spend that amount of Bitcoin, you have to also produce your public key and that's verified against the Bitcoin address, it's verified against the signature and then people know that you are in fact the authorized owner of those funds and are authorized and control them through your private key to spend them. Adrenal asks, transactions not included in a block. What happens to transactions selected by miners that don't become part of the block? Do they go back to the network and wait for the next block? Are nodes that are not mining receive any awards? Okay, first of all, nodes that are not mining do not receive any awards. Now you might talk about this idea of a reservoir or in fact, every node having its own reservoir or copy of a reservoir where they put transactions that haven't been confirmed yet. So they could keep a track of what transactions are not yet confirmed and waiting for inclusion in a block. Now this reservoir is obviously very important. The mempool is what it's called. Miners have this mempool and they use it to collect transactions in between blocks so that when they're ready to produce a block or to try to solve a block, they have transactions to put into that block so they can earn fees. When they take transactions out of that mempool and they put them in their candidate block, if that block is successfully solved and propagated to the rest of the network, as other nodes in the system see that block, they will look at what transactions are in the block and they will remove those transactions from their own mempool because they're no longer unconfirmed, they're confirmed. They're now in a properly solved block. And so the queue gets shorter if you think of it that way. The queue of remaining transactions gets slightly smaller every time a block is solved. Now there are some circumstances where blocks may get rejected after they've been solved and what happens then is really, really simple. If a block is rejected and we'll talk about that when we talk more about forks, then all of the transactions that were in that block, if they're not included in another block, will get dumped back into the mempool so they can wait their turn again. They don't get ignored, they don't get forgotten, they just go back in line and wait again and they'll be once again sequenced by priority of fees per byte so that the ones that are paying the highest fee get included in the next block, et cetera, et cetera. So transactions don't get dropped if they're included in a block and that block is invalidated, they get queued again in the mempool to be included in the next block. If a transaction just sits in the queue and doesn't get included in a block, usually because its fees are too low, then eventually that transaction will get dropped from the mempool and each node decides how long it's gonna keep transactions in the mempool, how big its mempool it's going to be and that depends on how much RAM it wants to allocate to the mempool function, but effectively that transaction will eventually get dropped from the network and your wallet may need to create a new one with a higher fee or retransmit it hoping that this time the network is more empty and it has a chance of getting through even with a low fee.


Good afternoon, everyone, and thank you for tuning in. This is an online webinar for the BA Creative Arts Programme at SOAS, and the reason we're doing this is because this degree is a totally new venture for us here at SOAS, and it's a very unusual degree programme, and there really isn't anything else quite like it out there. So it occurred to us that lots of people would have questions about how this degree works and the kinds of subjects that you can study within it, so we thought we would run this webinar just so you get a sense of what we have to offer and to find out more. So if you do have any questions throughout this presentation, you can make a note of it in the chat section of your screen and I'll answer any question at the end, whether it's about SOAS or whether it's about the subjects within the degree programme or anything else relating to the creative arts. My name is Richard Williams and I'm a lecturer here at SOAS in the School of Arts and I'm primarily a teacher of ethnomusicology, which is the study of society and culture through music, and in particular I focus on the music of North India and South Asia, but I've got a range of interests and I teach a variety of things here. So not many of you will necessarily have visited SOAS and you may have heard different things about us, so I thought I would start off by saying a little about the institution that is SOAS and after that I'll talk through what this degree is all about, what we mean by creative arts and then after that I'll work my way through some of the things you can expect to find here in the School of Arts, the kinds of skills and methodologies that we bring to the table and then after that I will work through the structure of the degree in a bit of detail so you can see really what you can expect if you come and join us here and I'll talk a little bit about the career prospects of the degree in the creative arts. So lots to get through today and like I say, feel free to ask any questions at the end and the slides will be available afterwards. So if you missed something, a piece of information, don't worry you can look at it again some other time. Okay, so just to get started I'm going to say a little bit about SOAS which stands for the School of Oriental and African Studies and this is the leading higher education institution in Europe, specialising in the study of Asia, Africa and the near and Middle East but also the diaspora as well and it's a really unique institution and I really can't stress that enough. So part of the time when you study a subject at university, in most universities, the concentration of your subject, of your discipline will be on Europe and North America if you're lucky and occasionally you'll have a course that talks about Asia or Africa if you're lucky and we flip that round. So we like to say let's take in all of the different aspects of human society and cultures from around the world and foreground what is happening in Asia, Africa and the Middle East and the diaspora and think through the complexities and the varieties of culture that are out there rather than just concentrating on the familiar. We are located right in the heart of London. We are next to the British Museum so you know that sort of area. We're right in the heart of London, we're incredibly central but at the same time we're very small and I think this is one of the real benefits here. A lot of students when they go to a university in London can feel a bit engulfed or a bit overwhelmed by the city but we have the advantage of being relatively small and so you get to know everyone on your course, you get to know your lecturers very well and you have a real sense of a community. It's a very human scale community in the heart of a huge metropolis. So it's that nice balance I think between having all of the advantages of a city like London but also not feeling totally overwhelmed at the same time. So altogether we have about 6,300 students studying on campus and we have an incredibly diverse student body. About 50% of our students come from outside of the UK so it's a hugely international community here and it really is an exceptional place to live and to study. I say that all of these students come from all around the world and there's a huge diversity there but I think one thing everyone here has in common whether they've just arrived or whether they've been working here for 20 or 30 years, one thing that everyone here has in common is this passionate curiosity for the world at large and for thinking outside of the box and asking questions about what else is out there. I think a lot of the students I teach here when they were at school felt a bit thwarted to an extent and kept thinking there must be more to life than this and there must be more than just reading things about English history or European ideas. There's a lot more out there and where can I find it and it was that question that brings them to Saas. Everyone I think comes to Saas for a reason. Now one of the traditional values that we have at Saas is our language training and that's part of our heritage but if you don't like learning a language do not panic. It is not compulsory at all but it is something that we offer on all of our degree programs. So we have a huge range of non-European languages some of them you would have heard of and others you will not have heard of definitely. It's an enormous range so you know typical things that students are interested in are Mandarin, Korean, Hindi, Punjabi, Vietnamese, Swahili, Burmese, there's a house there's a huge range of language options here but more than just studying grammar we like to think how do people in these languages express their ideas and think about culture. We have a hugely rich concentration of specialist staff at this university which again makes it unique and we have people who study an enormous range of topics some of which you'll be familiar with and others you may have never heard of before but here we have scope to cover an enormous variety of topics within our programs. So that brings me to this degree the BA Creative Arts and like I say this is an incredibly unusual and unique program there really is not something else like this out there. It's specifically designed for students wishing to develop a critical theoretically informed approach to the arts and the cultural industries. It's so really it's ideal I think for those students who are interested in film, who are interested in music, who are interested in literature, who are interested in painting who have a variety of different interests and they're finding it quite difficult to pin themselves down to a single discipline. So maybe there are aspects of the English that you're doing at school, English literature that you're doing at school which interest you but you think do I really want to do an entire degree in that maybe you are really excited about visual art but also want to look at it from other perspectives taking into account film and music. It could be that you love music but have never studied it formally that you can't read notes on the page but you're so interested in musical culture. These are the kinds of students we're looking for and I think they can really benefit from this program because it is fundamentally interdisciplinary and we try to bring together critical, really scholarly approaches to thinking about art, to thinking about music to watching films critically and then also to ask questions from literature as well. So it is interdisciplinary, it's also cross-cultural and by that I mean we offer expertise in the expressive arts of Asia, Africa, Middle East and the diaspora. So that means you can cover an enormous scope of things in this degree. You could be looking at African film festivals one week you could be looking at Korean pop music the next you could be studying 18th century Japanese painting in this degree. There's a huge, very rich range of things that you can do here which I'll go through in a bit more detail when I discuss the overall structure of this program. At the same time, one of the key elements with this is apart from giving you the theory the history of these traditions, expertise in these traditions we're also very interested in giving you experience and skills that you can take with you after you've graduated to engage with the creative and cultural industries and so that's thinking through how do we interpret art how do we consume music what is the influence of technology and digital media in the way we are engaging with arts from Asia and Africa. So one of the key things about this is this balance between subject knowledge and then a whole range of technical skills that will help you as you move forward after your degree and engage with industries and there's a whole range of industries that we here are very interested in it could be media and journalism the art world from museums to art houses and auction houses to the music industry, film production and film curating so again there's a really interesting scope here for a variety of skills. So how does this actually work in practice? How do we bring in that practical creative orientation to our programs? We offer a range of practical skills which you can ask about more in detail skills involving radio or producing podcasts skills in curating and thinking through how you would actually arrange an exhibition thinking through film festivals but then also opportunities for getting your hands dirty and also getting involved with creative expressive practices yourself so we have a very strong tradition here of musical performance which I'll talk about more but throughout your different modules and your courses that you cover here we have a range of ways of processing all of the things that you're learning so rather than just writing essays the whole time we'll give you a bit of flexibility so it could be that rather than writing an essay on some topics you might do a radio program or you might design an event like a festival or an exhibition we're also thinking about creative writing and different kinds of writing skills so rather than writing an essay every time how would you write a review of a concert or a review of a film? so we've really been quite imaginative in the uses of writing and the uses of the skills that we're trying to give you already with our students who are already here we have a whole range of events that they can go to or opportunities that they can enjoy so for example our music students who are taking modules which are available on the creative arts degree some of them study sound recording and throughout contacts last year we took some of our students to BBC Broadcasting House in London where they sat in the studios and approached how to make a professional standard broadcast we also organised workshops with visiting musicians with visiting artists we're also interested in creating opportunities for our students to find placements in the creative and cultural industries and we have an never-ending expanding database of contacts in the creative and cultural sectors so it's possible to use these contacts to develop opportunities for internships and for other very hands-on experiences which will put you in a very good position for when you finish with this degree equipped with this knowledge, equipped with these skills and you want to engage with the industries out there and again being placed in London gives you access to a huge range of opportunities on site you know even before you leave the campus there's a huge range of things that we have here we have an excellent concert venue and we run our own concert series we have a radio studio and recording studios we also have an excellent gallery the Brunei Gallery which has its own website so I encourage you to look at that page and to see the kinds of exhibitions that are curated here all of this is right on our doorstep and you'll be in lectures and seminars right next door to the exhibition space or gallery or down the corridor from the recording studio so these things are very much on hand and available for use so here is just a list of some of the things that you could end up doing on a practical level when you're taking this degree creating exhibitions, composing music doing fieldwork in London, ethnography in London we also have pockets of money to help people do fieldwork on specific research projects abroad the opportunity to create a film festival design a radio program we have courses that talk about the music business and think through how digital platforms and new media are shaping the way musical artists put their work out there so all of these things are possible within this program which sounds quite ambitious so how does it actually work so now I'm just going to run through the structure of this degree which is just to give you a sense of what you could look forward to so this is year one and year one is about giving you specific skills and then also giving you a taste of different subjects not many people will have studied film for example at school and so this is a way of you to get a taste of the different possibilities that you could pursue further in your degree so you begin with a course we call Great Works which gives you an overview of the different kinds of art object out there be it a novel be it a painting, be it an album we couple that with a course called Writing Across the Arts which again gives you skills to think through and write about something like music or how do you critically interpret a piece of art or how do you write a film review so these are already giving you the building blocks to build on throughout the rest of the degree Studying Popular Music is a course which is really looking at popular culture and the history of film critically with what society is doing and so that will give you skills throughout everything else that you look at introduction to film the language of film, the history of film, the theory of film and then you have a range of options so you can do an option in the history of art and archaeology you could go down a theoretical route or you could get some experience in a particular region if you want to do the art of East Asia then you can take an introductory course on that or the arts of Africa and so on you also take a music option module and these are not designed necessarily for people who are brilliant performers and have been playing the cello since they were five this is really not that kind of course it's not being intimidated by the music options there's one course on global pop which thinks about why particular forms of music like Korean pop are becoming so dominant and powerful and influential around the world there's a course on sounds and cultures which again introduces you to thinking through how to study a culture or a society through its music and then also the opportunity to do performance and we don't do performance like other places we have Southeast Asian gamelan ensemble if you've never heard gamelan before look it up on YouTube and have a listen and we just do things quite differently when it comes to musical performance here so on top of that you also have 30 credits and those 30 credits can be used for an option module taken from anywhere across Saras so if you see something in a different department and you think actually yes I've always wondered what literature from Southeast Asia looks like or I really want to know about philosophy in Africa then you can take that kind of option or you could do another option from within the School of Art so you could do another course out of these option lists that are here on display so you could do another art and archaeology course for example or there is room for a language and so that would be a good option as well so you could take Arabic here you could take Mandarin if you wanted to and really this flexibility is very exciting so the skills the themes of engaging critically with art run throughout the degree but you have the elbow room to really pursue what interests you and that continues into Year 2 which is on display here so again we have a couple of core courses that you do one is critical readings in arts and cultures and you do the critical frameworks and the tools to really interpret what you're looking at or listening to we also have a fantastic course called curating global arts which is ready up and running at science and it's a very popular module which again thinks through the challenges of how to present objects and how to curate them and how to interpret them for the general public and then we have two option courses for you which go across our different interests so again you could pursue museums and museology that would be very complimentary you could study ethnomusicology you could do something practical and very hands on like introduction to sound recording or we could study the novel and it's others which again in a very sass way is the idea of the novel as being something English or French or German what does the novel look like in China what does the novel look like when it's being written by a post-colonial author in post-colonial Sri Lanka these are the kinds of questions that we're asking because at the end of the day this is where literature is moving as we become increasingly globalised and more open minded about the art that we are engaging with we also have a range of regional options the options are incredibly varied I really encourage you to have a look at our website for the School of Arts and if you look on there and you look in our different sub-departments for music for history of art you'll see the range that we have here so I've put a few of our current options up on the screen like framing Pakistan, Japanese cinema painting in Africa, pop and politics in East Asia the world of Cuban music again this is a really exciting and unique selection of things that you can do here and again we give you more scope so you can pursue open options or you can keep cultivating that language that you started in year one the opportunities here are quite diverse you know you could use this degree to start really pushing yourself in one particular direction you could decide that you want to do regional options around the Middle East for example and start picking up the art of the Middle East the film of the Middle East novels from the Middle East you could do that work or you could cast a wide net and get a very broad range of very education that covers a whole set of different things and then finally because this is a three year degree you have this line up of choices before you so throughout your third year you'll be doing an independent study project in the creative arts and you will be assigned a tutor for that who will talk you through it and normally this would be a ten thousand word final project where you can really focus on a particular piece of research a particular question that is driving you but we also give you the option of putting in a practical element there so if you don't want to just write an essay but you also want to design a podcast or design an exhibition a film festival if you want to develop a musical composition or build a website that is an option and again that will be a really nice thing to have on your CV when you go into the city looking for work in the creative and cultural industry so there is room to be quite imaginative with that final project at the same time you have a range of taught courses again there's one which is really about the industry side of it so you can look at arts cultural modification which thinks through digital technology and how that's changing the arts world all directed studies in the creative industries and that would be where you get a sense of how a particular organisation engages with the arts be it a gallery be it with a media platform be it with a magazine so there's scope there to get a real taste before you graduate of how the creative sector works in action and then we go back to our key disciplines so there's a course to do literature there's a course to do with the art world and then a course to do with music and you have a range of flexibility there as well and then again you have a chance to do one of the option choices that excites you or again to develop your language skills so this is a flexible format really it gives you a lot of choice and it gives you the ability to cover as many interests as you want really but all the time acquiring very specific skills and expertise and I think this is really important when you're thinking about working in the creative and cultural industries in a global world so who are the kinds of students we're looking for who do we think will be excited about something like this our students at Sir Ash have are incredibly diverse they come from an enormous range of backgrounds and a lot of people come here and very much find a home here that they haven't found elsewhere they find people who have just as exciting and innovative a range of interests as they do there are lots of people here who felt like they were the odd one out at school for being interested in film in Africa here you are never strange in your interest that people here are have a huge variety of backgrounds that have led them to come into Sir Ash and we really encourage anyone with a passion for the arts for the expressive creative arts to come and join us all for people who are interested in the creative industries and who want to develop really hands-on skills you don't have to go into the creative industries of course this degree would give you a really rich sense of history theory cultural studies that would prepare you for doing further research further studies if you wanted to but if you did want to go into the creative industries you would be in a very unusual position having those practical skills those very transferable skills but also expertise and nuanced understanding of cultures from all around the world which nowhere else can really give you that depth and that breath looking at career options like I say this degree combines nuances of the global arts with the applied skills there's a vast range of career options that come out of this and we're constantly checking in with our students from our other programs to see where they've ended up and what they have been able to do with the training that we've given them here there's throughout the degree like I say there's scope for making contacts while you're studying contacts which you could then pick up at the end of your degree and explore further so possible avenues editorial and journalism auction houses musical journalism freelance media working in a gallery or in a museum working in the realm of NGOs and developing cultural sectors publishing careers in music and so on one of our students in music who finished up recently you know she did her final independent study project and she as part of that recorded EP an extended play so a sort of mini album and she had that as part of her final project and so we marked that along with her essay and that EP is now up on Spotify and she's gaining a following on social media and she's very much pursuing a career in music so there's a very exciting set of future options out there for people who take these courses so that's the end of the formal section of this presentation so just to remind you my name is Richard Williams that's my email address up there if you forget then have a look on our website the school of arts webpage in the SOAS main website feel free to get in touch feel free to drop me an email at any time thank you very much for tuning in and I hope this has been useful I'm also joined by one of my colleagues Maria from History of Art who looks after the curating side of things so if there's a question which I can't answer then to her as well so feel free to drop a message or a question at any time I'm going to sign off now and like I say my email address is up there we're going to make all of these slides available have a look at our website see the kinds of things we teach and I hope to hear from you sometime soon and best of luck for searching out for the right degree for you okay thanks very much bye