Torn and Frayed are just another kind of Grey's Anatomy episode. This is actually probably the most Grey's Anatomy close episode we ever got at this show. Oof, that's a hot mug, guys! Hey guys, this is my review for episode 10 of Supernatural Season 8. And this is the one that I actually feel this should have been the mid-season finale. Because it ends on such a good note with a bunch of different things. Yes, the brothers were at odds after the last episode. Benny was kind of like, oh, like, what have I done? But then how this one goes, the Benny storyline kind of just doesn't really come to anything. You don't even know if he actually ate any of Martin, just ran away. But the whole dynamic with Castiel and the kind of weird clockwork orange that's going on with him as well as Weinerboy, it's pretty crazy. And I'm actually amazed that they were able to get away with what they do to him in this episode. Crowley and him just like using the tools that I know it's meant for lobotomy and whatnot. But honestly, because we're getting so close to Christmas, it's making me or this point will be past Christmas. It might be past Christmas at this point. It makes me think about the tools you need to use to get the tree into place, depending on the kind of the base you have. But that's what it's making me think of. There is a lot going on in this episode, both with Castiel trying to figure out who's in here, the whole conspiracy with him and Naomi. Crowley getting more and more details about what his initial thoughts were, learning that there is, in fact, an angel tablet. I've got to really take out that note of what I know about future angels because the idea of just keeping angels in heaven isn't the worst idea, really, truly speaking. And then Sam and Melia. This is actually such a sad ending to that story. Now, I understand that it's not anything supernatural in terms of what we're used to. Nothing supernatural happens to them. She doesn't get caught up in anything supernatural. It is literally just a girl and a boy relationship between her and Sam. And I liked it. I think it's because it's the best one that supernatural has done in a while.  I know that this relationship was a very big divergence from what the normal theme of the show is, but it just was put together well. I liked the relationship between the two and I especially liked how it came to this conclusion with him coming back to her, them having a night together, and then what she says. One of us will be here and we'll know. Neither of us will be here and we'll know. Or both of us will be here and we'll know. And I liked how it came to the conclusion at the end where she came back. She was going to come back for him. And Sam realizes that there's something bigger at stake. I don't really think the whole Angel tablet is the biggest reason, but it's the fact that Crowley is malevolent. He's found out something that could help his party and Castiel is clearly in trouble. So that's why he decides to put things aside and work with his brother again. While that choice might seem a little bit odd at first, I think Sam is doing the greater good. It does, again, lead into what's going to happen with this season, with the child or the trials, the demon tablet trials, from correct. So I actually liked how this episode came to end as much as it actually kind of saddened me to watch. And then with Benny, too, I think that they realize that they can't really do much else with him. And I know that's going to happen later on this season, but they've realized that they've just run out. The fact that he's like, yo, Dean, can you come across the whole country? I'm not doing too well. Maybe we can have a cup of coffee.  Meet halfway. Jesus Christ. Dean has to set him aside, too, because he's got bigger things at play. And he realizes that he cannot put this vampire for his brother, even though this guy was so helpful to him. Overall, Tornand Freight is a very cool setup.  It is adding more intrigue. Is it doing it slowly? Yes. But is it doing it far better in terms of just structural wise than season seven? Yeah. Maybe season seven had more better episodes, like really like standout episodes. Actually, I should confirm before I say that. That's a very large assumption on my part. So I should just check my list. OK, we had more fives by this point. And we also had a seven. Overall, the average of the season is pretty much the same. But I don't know, it's still kind of just OK to me. Overall, the season is still OK. And that's kind of leading into why I think this is a better than average episode. So I'm going to give Tornand Freight a five out of seven. I like the setup. I like where it's going. Found a very saddening, but well written conclusion to Amelia and Sam. And I know she comes back one more time. It's either in the next season or season 10. But that's it. That's the ending of Amelia and it's sad and it hurts. And it's Sam's story all over again. It's a Winchester story. But those are my thoughts about this episode. Let's see what you guys had to say. This episode, as well as one coming up this season, reminds me of a more cutthroat time in supernatural history when the show really still tried to make the audience uncomfortable with nail biting scenarios that felt straight out of horror movie. The torture scene for Alfie, the angel was merciless and still hard to watch. Yeah, as they were 10 years ago. Yeah, like I said, I'm very amazed they were able to get past the seven series with what they did. The conflict between the brothers reaches an end as both men sacrifice someone they love for the continue hunting. This actually hurt to watch as you feel bad for the bros, as well as Amelia and especially Benny. At least from the point on, the brothers are able to heal their relationship, although reminders of their mutual hurt will creep in on later on in the season. I felt like this episode was partially written due to add the villainy of Crowley so fans will be more driven to see him ultimately fail and be killed off, which I think would have been his fate if the show hadn't been renewed for another season. Yeah, they were trying to set up Crowley as a villain around this time. This is also when Mark Sheppard even talks about like this is the last time his character he felt like his character was worth something like men something. And then Crowley's remark about having given his scientists every torture device possible, save the Neil Diamond album has really stuck with me all these years. Every time a Neil Diamond song comes on intentionally, that would be pretty funny. Castiel is a villainous character again against his will this time. Is a scenario that always produces anxiety because of a sheer power in relation to the Winchester's. I like at least that they are ahead of the game a little and know something is off. Yeah, I like that too.  Like, what happened to get to go? They actually know that there is something off and that it is further towards their reasoning for breaking their relationships off with the people who have kind of pulled them away from each other. Torn and Freight is a great way to describe Sam and Dean's relationship currently in season eight. I love that the first 11 episodes focus on the brothers dynamic towards each other. So did I. I actually did like that. It didn't kind of feel like it was a full plate, but it was a decent like appetizer, I guess you'd say, a very long appetizer. A great way to confirm that there are tablets for the angels. I love how dealing with monster themed episodes of season six and seven make eight make demons and angels interesting again. I love how the episode brings the brothers back together again.  This episode was good. Not surprised that Dean and Sam are at odds with each other due to what happened. I was relieved that the Emilia storyline finally came to a conclusion. This episode of Bill of Dean and Emilia were right to tell Sam to choose. He can't have half in and half out. I really glad that Castiel forced Sam and Dean to put the drama aside to help him rescue an angel. Not surprised that Kevin is so focused on the tablet that he stopped having a life and pushed his mother away. I felt bad for Castiel when Naomi forces him to deal with the fellow angel. Yeah, that was a pretty like wolf. That was dark. Castiel's story arc with Naomi is getting good as the season goes on. I don't like how Dean was willing to have been in Benny after all they had been through. I will not miss Emilia, though, as she was never well written. Yeah, OK, the second part is you never really fit in with the show. I can kind of see what you mean there in terms of the theme, but I thought that her whole arc was actually very well done for being in this show. I think that the drop the attraction and the reason why they were together made sense. And like I said, out of all the relationships this show has had, aside from heart, which, again, is another Sam related relationship, I feel that this was the one that made the most sense. I know there would be one for Sam again later on, but they handled that so poorly and they didn't even finish with it. But you know what I mean? I finally caught up to the rewatching. Boy, the season is exactly as mid as I remember. Although things are slightly picking up.  Our Dean being proud to admit that maybe he was wrong. We kill Sam's friend. Instead, they get a stalemate where Dean just leaves Benny high and dry and Sam never fits fault. Great. I miss Bobby knocking some sense into these numbskulls. Also, Emilia kept reminding me of Erebel, Raphael, but maybe that's just my damage. I don't actually know what you mean by the end bit here. But yeah, no, missing Bobby, the fact that both of these two have a big like chip of, yeah, we should have done a better decision there. Kind of guilt on their shoulders. It does definitely weigh on it. All right, guys, those are your thoughts. Thank you guys again for those. Now we're going on to LARP and the real girl. This is the first really funny episode of the season. So I'm looking forward to that. I know we had Southern comfort, but that was kind of corny. This one will be a different kind of corny, I guess. But give me your guys the thoughts about that episode in the comments below and I'll make sure to read those off in the next review. Anyways, guys, that's all for me. I think we're going to go into the new year now, if I'm correct. If we haven't already, I'm doing all of these in October. So and I guess we're going to find out how the next episode is. So I'll see you guys next week.


Better stat now What's up money geeks mr. V here welcome to another video so into this video I want to talk to you guys about my top investing apps for 2020 So we're approaching the end of the year Maybe just a little bit over three weeks till the end of the year and so if you have your goals for next year And one of it is to invest Some of the apps that we talked about today are apps that are gonna get you started for as little as One dollar so if you have your end of year review or you're looking for your goals for next year And investing is on top of that list you want to watch this video So think about it most people when it comes to investing it used to be a very complex process You know, you know, there was a smart guy and sometimes you talk to them on the phone And they would take your money and manage and do everything and then came something Call the internet So magical They brought all this investing and everything to the palm of your hand So you can actually sit in your living room with your cell phone or with your computer and do any investment That you want so if you haven't already started investing that little story there was just to kind of get you motivated That investing is not a scary thing It's just for you to start and you can start for as little as one dollar So that was just my little soliloquy. Let's jump into my top investing apps for 2020 number one on my list is M1 finance and one finance is just popped up out of nowhere and like Think about it's this new kid on the block and what M1 finance has done is that it came in Having pulled from all the other investing apps that came before and looked at all the mistakes that they've made bundle that together and Came up with this awesome app. I mean, I love M1 finance number one It's just there the interface is really cool But I mean I don't I can deal with poor interface as long as if I'm saving money So I've talked about this in in the previous video, you know why I really love M1 finance But just to give you guys kind of an idea of why M1 finance made my the top of my list was the fact that It's commission-free. So trading on this platform is free $0 nada, which is awesome number two is that you could do fractional shares in this platform It's just good. So let's say free is this you wanted to invest in Amazon It's trading right now at $1,700 and you only had $200 you can buy $200 worth of Amazon share in M1 finance, which is great number three Is that I like the layout of their of the interface? So when you when you create your investment, it's called a pile, which is really good So it shows you the different sections of the pile based on them percentage that you invest in whatever stocks they invest in So let's say you have five stocks one has 30 percent one has 20 percent One has 10 percent 10 percent 10 percent. They would see the different colors in that pie chat You did I mean the layout is really good. So that's one reason. I love it So M1 finance again is this new key to the block and you can start investing for as little as $1 so if you're thinking of just trying it you don't want to lose money You're scared you can at least afford a dollar to get stuck I'll put a link in the description below if you click on that link sign up You get $10 to start with I mean again that is something to get you started at no cost for you So that's something that you want to try so M1 finance is really an awesome platform I'm loving them so far and I'm gonna do a subsequent video I'm gonna show you guys my portfolio on M1 finance. I have a dividend portfolio built in M1 finance Which is awesome So I will share that with you take you guys into that portfolio show you everything so you can see it If you want to copy it, that's fine But I would advise that you do your research and build your own portfolio that fits your needs so M1 finance top of my list number two is again An old name that you've heard about before Robinhood So Robinhood came out and they came out with a bang because when they started they said it was commission 3 Trading that was something that kind of changed the market. It was new. They kind of Revolutionized the market people didn't really know about That commission free trading. I used to use scott trade which commissions were seven dollars a trade so Buying and selling so if you buy seven dollars you sell seven dollars So it's 14 dollars to go in and out of a trade, which was I mean looking back right now. That was a lot of money But then Robinhood came out and be like, hey, you know what? We're gonna make this stuff free for you. You guys don't buy and sell stocks free So Robinhood is still on top of my list as far as commission free trading platforms And one of the things that Robinhood offers that M1 finance doesn't say you can trade Cryptocurrencies on Robinhood, but the flip side is you cannot do fractional shares on Robinhood So if you want to buy a share, you have to buy the full share So if one share of a stock is $1,800 you have to spend $1,800 you cannot go in Fractionally, which is I think that's something that they have to work on and I'm pretty sure you're working on that right now because Most people are flogging to M1 finance because of that ability to do Fractional shares and then commission free. So that's the reason why most people are moving over to M1 finance So Robinhood again is still really good. If you are more kind of like an active trader You know exactly what you're doing Then stick with Robinhood, but if you are just kind of new to the game Because the AI system in M1 finance is really really awesome. I totally forgot to mention that So I mean when I say AI it's official intelligence So they help you by just asking you a simple question and they can kind of help you Or guide you with some of the stuff that you can get started with what there's some of the investments that you can start with And then as you learn you can start tricking things and making them your own So that's one of the things that I really love about M1 finance. But I was talking about Robinhood So Robinhood is still up there for me. I still like Robinhood But again M1 finance is top of the list Number three is so far. So so far kind of resembles M1 finance In the sense that they it's commission free trading then they do fractional shares as well But M1 finance has even a bigger Portfolio in the sense that they offer your Traditional banking services. So they have a checking account and the savings account I think the savings account Even the checking account it's about 1.5% Interest rate that they pay on those accounts, which is which is awesome Most traditional banks or your local bank will not pay that kind of money. So They offer those other services So if you're looking for a spot where you don't want to be moving money around you have your checking account here Your savings account and your investment account in the same in the same company or in the same bank So far we're coming handy for you As far as all the other things about trading like I said commission free fractional shares All those they do it and they also offer A really robust AI system that helps you guide You as as you go through investing they'll ask you questions as you answer those questions. They'll kind of help you Choose some of the stocks that you can start investing in so so far makes number three on my list And finally number four is stockpile Stockpiles T makes this list just because It's a starter for most people if you're looking to invest In fractional shares, they they brought that this idea of fractional shares into the spotlight Then for some reason they haven't kept up with the movement of fractional shares Um, the reason I don't like Stockpile so much is because they still charge 99 cents for for trading. I'm hoping they send me an email I think two weeks ago talking about some of the changes that they want to do. So I'm I'm assuming In the near future, they're going to take away that At fee because I mean who wants to be paying 99 cents when you can pay free 99 for M1 or on robin hood or on so far. So that's my take on it Again, stockpile. I said that we stockpile I don't use them as much just because all the other guys are really coming in strong. So that's why I'm not super In invested in stockpile anymore, but it still makes the list for me So there you go guys, those are a list of my top four investing apps for 2020 again Let's do a recap here. Number one was m1 finance number two is robin hood number three is so far and finally number four Is stockpile. So question of the day What is your top investing app for 2020? Let me know in the comment section And if you do have any questions about investing or just kind of looking at the different ways of investing Don't hesitate to leave that in the comment section as well like share subscribe and as always Stay motivated


NBA legend, Robert Horner. What's going on everybody? Welcome to a 2021 NBA finals episode of NBA signature moves. Right now we are in LA at the NBA house. And of course we are joined by NBA impersonator, extraordinaire, B-Dot. What's up man? Thanks for having me, fella. Thanks for having me. Got Nelly Melchand. What's good everybody? We're live. And we're going to be recreating for you this year's playoffs best plays because as you know, the finals between the Bucks and the Suns is going down right now. I'm going to get help. All right, so the first move we got to cover is of course, Chris Paul's mid-range game. And especially we're talking about the one where he curls off the screen and takes that mid-range jumper right there. He's just trying to get space from the defender as a smaller guard. It's hard for us to shoot over the defenders. What's crazy about Chris Paul is that he has different variations of the move. He can throw it behind the back between his legs. He'll do the cut dribble. He's the magician when it comes to that elbow jump. Hey man, they rode that mid-range all the way to the finals. It ain't possibly an NBA championship. So at 36, that's crazy. Is the mid-range back? Man, for Chris Paul it is. I know that for sure. All right, you guys, let's get into it. Show you guys how it was done. Break it down with some game footage. It's about to be lit. So what I'm going to do is I'm going to snake the screen, meaning I'm going to use my body in a snake way demeanor in order to get to my fadeaway jump shot like Chris Paul. Version two is Chris Paul's reverse between the leg into the pull-up. Here we go. Oh, what happened? Move number two. We're going to be covering Yannis onto the Koopo. All right, so this is something that he did against the Hawks. But my heel spins his way inside. He's going downhill against Solomon Hill. He spins, pulls it up, and then Clint Capella is right there in the middle. But what Yannis does, he goes up. It almost looks like he's going to yam on him. But last second, he pulls into a nice, swift, clean finger roll. Oh! Musaka, Musaka! Yannis! Yannis onto the Koopo. You guys, move number three. We have Trey Young off the glass alley with the John Collins. I mean, deep in the playoffs. Yeah, that's tough. Trey Young going to his strong hand, which is just right. The only way he can really get it to John Collins is throwing it off the backboard. So, you know, there's just repetition and practice, something they have done before. What's crazy was that that was a design play. Like, people thought Trey Young just missed it so bad and then John Collins, you know, put it back. But no, it was a set play. But on the fly, it goes to the left. Shitting it off for Collins! That was a pass too. That was not a shot there. I heard that they actually work on that in practice, but a lot of their teammates were daring them to do it in the game. And it is important to note that they did this pretty much in, like, the third quarter. Guys, this is not the first quarter. It's not the beginning of the game. This is during a pivotal momentum change. And it was up by two only. Like, it was like... This is something that you only do when you're up by 15 at least. So, with this one, John Collins, he slipped the screen, meaning that he really didn't hit anybody.  And it's important that he did dunk off Rook Lopez. And the crazy thing was when Trey threw the lob, it looked like he took a shot, so it was another fake out. You ready? Yeah, I'm ready. I'm gonna get health defense. I'm gonna get health defense. On his head! All right, so our next move has... It might be the play of the playoffs, okay? This is a game-winning alley-oop from Jay Crowder to Deandre Ape. It's a really executed play. Ape guides it in beautifully. This play is listed in what I think one second on the clock, so all you really can do is really tip it in. Jay Crowder made a hell of a pass to Deandre Ape, and people did not know that there is no goal-tending when throwing the ball from out of bounds. Perfect pass from Crowder. Absolutely perfect. And just to reiterate, there's people in here saying that's goal-tending. No, that's a lob basketball. You can grab it and finish it. When the ball is in the cylinder and you're throwing it from out of bounds, you can catch it and dunk it, and that's what they did in Sons One. Great play by the Sons. Oh, that's good! That's good! Was it good? Was it good? Hey, watch the screen, though, real quick. Watch the plasma. No, no, no. It was good! No! Oh! Oh! All right, so the next move we got is Kawhi on Derek's favor. Watch here for L.A., Leonard, seven to shoot. Kawhi makes his move. So why is Kawhi actually low-key able to dunk on a lot of people? Man, because he has a 6'9", 6'10", wings, man.  Yes! And a lot of people don't know Kawhi is strong as hell. Yeah, he is rich. He can really take the body, the contact in the air right and go through people. I'm here, robot. So we gotta be strong, all right? Kawhi doesn't even have to jump that high in order to dunk on people. So this is exactly what happens here. Show some emotion! Hey! Show some emotion, bro! You just destroyed the man. What's up with you? Boardman gets paid. All right, so next move is when the Sixers were playing the Hawks and you got Ben Simmons throwing a one-handed hook allupe to a cutting Joel and B. Fourth tee with a series tie-in at one apiece. Game four, Monday night. Now, a lot of people don't know about this play, right? Yeah, I didn't even know about this play. So y'all show me. This was a very underrated, slept-on pass by Ben Simmons. It was a great pass. Yo, Simmons made it look easy. Now, what was it? Was it just his nonchalantness? Like, it looks like he's not even thinking. Exactly, to me, I thought it was really dope how casual and nonchalant it was. He was just like, eh, casual. Just one-handed palm in his eye, whoop! All right, so our next play is KD's game tying two-pointer on the Bucks in game seven. It was crazy because it was 107, 109. So they're down, so you, I think he wanted the three, but he ended up getting the two. That's it into the ramp. There is the ramp moving on Tucker. He turns, he shoots! In a way, it's one of the most heart-breaking plays because he was like two inches away from going to the conference finals. I'm size 17s, man. If that toe was a little bit shorter, they would have been in the second round. All right, let's reenact what happened. KD, you got to open. Man, we still got overtime, though. Dude, we don't have overtime. We're not gonna make it in overtime. All right, so our next play is by Chris Middleton. He does this super nasty, like, little fake shimmy on Landry Shemit, man. It was a nice basket. Yeah, he has a lot in his bag, especially that mid-range pull-up.  Man, I just think he's a super smooth player. He kind of like, obviously a shorter, not as highly elevated KD, but no, they got similar aspects in their game. You know, I feel like he has a lot of shakes, but they're more footwork body-based rather than like handles-based. All right, so our next play is by D Bookman. This guy has been tearing up the league for many, many years, but now he's on the main stage, and he is showing his bag. He basically goes off the screen. Terrence Mann is trailing him.  And D Book's a tough shot maker. All he needs is just a little space, and D Bookman range is up there with CP. So that's exactly what he did. He just needed a little space with that pull-back jump shot and cash money. So our next play is by Blake Griffin. He had an amazing dunk against the Bucks, basically Bruce Brown gets a pick and roll. He draws two, he's coming down. He kicks it right off to Griffin, and Griffin almost kind of slams it on Yannis. Three, four, two, one, check. Oh! Yeah, I still got it. The next move is Trey Young's shimmy three. How did he get so much space off of Drew Holliday that he could have shimmied before he shot? This man right here. Oh my goodness. Oh no, no, no, no! Oh my goodness! He sold the left to right crossover like he was about to go back to the left to use his screen. Drew guessed the wrong, and Trey had 15 years and 13 days and not done a shot. And shimmy with it. All right everybody, thank you so much for watching. That wraps it up for our 2021 NBA finals edition of NBA Signature Moves. Big shout out to B.Nelly for joining us. We're at the NBA house in LA right now. Guys, what can we learn from this video? Cause I know we just reenacted highlights, but what can kids take away? I think for me, the main thing is like, sometimes when you wanna train the fundamentals and all these moves, it can get really boring for kids. But when they see it executed in real life, in an NBA game, it actually gets them interested to learn all the layers. Right, right, it's different. It's different from just telling them how to do it when they're actually, you know, you can implement it and you show their favorite players actually doing these moves, the stuff that trainers and we actually work on is implementing the game, it's pretty dope. B.Dot, how hard is it to pull off some of these moves in game against amazing, athletically tall defenders? Man, it's pretty hard. Obviously they practice every day, they do these moves every day and a lot of it is reaction, but that's what they work on. So honestly, extremely hard, but them, they're pro, so it comes easy for them. At the end of the day, I think it's all about the amount of repetitions you put into, you know, that certain move or the specific drills that you're doing. You know, the more reps you put in, you're just gonna get better. It's just like anything, guys, training the muscle, trying to memorize something. Everything's a muscle.  Anyway, guys, thank you so much for watching that episode of NBA Signature Moves. All right, you guys, let us know in the comment section below what was your favorite move that we covered. Let us know, so your favorite moves that we didn't get to cover and make sure you let us know your NBA finals prediction in the comment section below. All right, make sure to tune in to the NBA finals on ABC. That's game. Hey, baby.


and it's described as an imaginative way to explore town cities and villages across Ireland with a self-guided themed walk. So I decided to just do a bit of exploring and to see what it was all about and apparently the way it works is there's a route that you follow it says on the website that it's an easy to follow route and you get some clues you have to crack the clues and all the way then taking in some sites and scenes and then by solving the clues you can work out who done it or find the location the buried treasure or whatever so it sounds like a great idea especially if you've got children and you know you're off in a new town or even if you want to find out more about your own town I suppose and it's a way of energizing them and sorry capturing their imagination and doing something together as a family. Well I'm glad it now the co-owners have managed to track them down Pat and Karen Gillick and they're joining us now and we're streaming as well so on the radio and online and good afternoon folks. Thanks very much for having us on John. Not at all it's good to sort of delve into this mystery and find out a little bit more. As a dad of three now they're getting a wee bit older now so I'm just wondering what would the what's the optimum age group for this? Okay so we've our three team trails basically cover anyone from six to a hundred and six I know it says murder mystery but they're actually Miss Marple mysteries more than CSI it's a fun way to explore towns and villages as you eloquently put it there. Every town we found has a story to tell and it's telling that story not just the tourist traps but every little village town in Ireland and the idea is good treasure hunts, mission impossibles or murder mysteries. All right and Karen it's suitable for all ages in so far as the murder mysteries to obviously don't go into too much detail and it's all about you know solving the crime or be a bit of fun and suitable for all the families the most but most suited to families with children and having a bit of fun for a family day out. Yeah we do find that families are take up on the mystery trails an awful lot. I'm about saying that a lot of couples would do it as well if they're away for a weekend it's a good way to see a place you know on a Saturday morning when you have much to do or go out and get all your exploring done before you hit the pub or whatever you're going to do in the afternoon so we find that and we also find schools take us up a lot transition years language students you know it's a great way to learn so you're giving your directions and it'll bring you to the clues a little bit of figuring out to do so they're finding that we're getting great feedback from the language students. Sneaky learning as well. Sneaky learning is the way I would put it for the kids and no screen time and three or four hours or three or four kilometers covered and they don't even know it it's kind of it's kind of sneaking them into and exercise adventure imagination really and like yourself but we have four kids I know they're growing up now and thankfully they're still they were still at home with us there for the last year but and that's it stemmed from that when I worked shift work and weekends and our Sundays became Mondays and we take the kids and we had them you know a bucket to pee in so we were on a shoestring budget and we got the kids out exploring and these were things we did so we find that they're great value they're only 9.99 you're downloading and go this afternoon two hours of entertainment and buy them an ice cream after and you'll have a whale of a day it's great my my wife will be well impressed because she's always looking for new ideas and and thinking about well you know the kids you know what what do the kids want what's their needs and how could we come up with something that that you know that would catch on and and you've done just that and it's I suppose it's from the needs and you're you're out with the kids or you're away somewhere with the kids and they're bored and you want to keep them off the screens and and this takes the boxes yeah yeah and the slogan we have is turn your everyday walk into an adventure so if you decide this afternoon you're going to take them for a walk and we all know they make a face and then you're going to take them out and they'll get three or five three to five kilometers walked no phones on their on the piece of paper and a pen and they're you know learning as they're going as well and it's outdoor fresh air you know it's everything we're being asked to do at the minute so for 10 years and it's 10 years for your whole family you know it's not and our best advocates are the parents because they want it to be a good day out so the imagination starts with the reading of the story and we have a free tech service no trail goes unsolved there's a motive for the murder at the end you get and we finish everything off the devil is in the detail my wife is an Irish dancing teacher so she's a knee under the table there she taught me that the devil is in the detail so the treasure you'll find out where it is no no clue if you need help or they're at the end of the phone and with a free tech service road works can't stop you every adventure will be finished on the day so you're right so you won't be stumped you won't be stumped and and you could be at the other end of the country in a town that you've never been in before yeah and you'll still be able to follow the clues you don't have to have any knowledge of the local area not a bit this is this is not a map this is easy to follow start to finish directions we lead you every step turn left turn right turn right at the next traffic lights every direction you need to get you to that clue and when you get there then there's a bit of solving out you might need a pen and paper we stayed old-fashioned pen and paper we've had offers to go up you know we've had interest even as far as the irish times they're interested turn it into an app and we have no interest in we want old-fashioned pen and paper walk and healthy and fun and family bonding time you know i hope i'm hitting all the buzzwords yeah no you definitely are pat but i would imagine that you'll find it hard to resist over time to develop an app or to to also have it available on an app but either either way it's it's a brilliant idea and three to five kilometers in distance and available you just go online onto your website and there's there's the locations all around the country including four here in Donegal that's right yeah we have a recently the letter Kenny murder mystery and the photographer there from the town miss polaroid is was over in a flash from Miss Polaroid there in town and we have a treasure hunt in Bunkrana Mission Impossible Donegal town and another treasure hunt in Bondor and the Verona brooch treasure in in Bondor so the the chief inspector in the case in that a Kenny is either an inkling inkling very good yeah now we have many there's many mistakes there are a bonding bunch of kudos inspector kudos but then there is a bonding thanks to my wife here she comes up with their names but uh lovely yeah yeah well they're i mean it's up to people to sort to sort them all out wherever they are but it's uh it's it's it's a brilliant idea and you've brought it to fruition and just go to the website mysterytrails.ie and and the way it's done is you print out there's there's four sheets back and front yeah yeah yeah you print it off at home yeah we can send you on for anyone that doesn't have a printer as you know i'm sure you know that the ink is more valuable than gold at the moment so there are 15 yours to be posted through the post that includes postage but 999 to download yourself you print off the kids each a copy each and off you go have a nice cream at the end you only find the location of the treasure just in case we've had we've had customers that rang us to say why isn't the treasure or you said it would be um for 999 thank you okay well just to remind people it's mysterytrails.ie want to check it out and you know this is when they're on on holidays maybe but not just that it can be in a local town as i said there's there's four here in Donegal and there's locations all around the country and in a way it's just suitable now at this time of the year as it is during the summer because during the summer you can get a bit distracted maybe if the weather's good you head off to the beach or whatever it is but uh you know we're always as you know the families and couples and whatever always a lot of things to do if we're in a you know a town wherever it is and don't let the price fill you this is great value you are going to have a ball and the customer the only the us the customers we have come back and back for more and we're on a shoestring budget to get our name out there and thanks to yourself for picking us up but people will not be disappointed at this product yeah well as a family is always looking for ideas and things to do just it's caught my attention it's the mysterytrails.ie check it out to Pat and Karen Gillick thanks so much John thank you thank you appreciate it thanks


What we're going to do now is we're going to take a look at the definition of specific heats and we will then use them to compute both enthalpy and internal energy for ideal gases. So specific heats, specific heat itself is energy required to raise a unit mass, so for example 1 kilogram of material by 1 degree Celsius. So it's the energy required to increase the temperature of 1 kilogram of some material, and that's the material that we're determining the specific heat for, and we're increasing it by a unit of temperature rise, in this case 1 degree Celsius. Now there are two different types of specific heats that you will encounter. You'll encounter specific heat at constant pressure and specific heat at constant volume, and the reason why they are different is, and I'll show you in a second, in one case we need to account for the fact that if it is at constant pressure the boundary could be moving, we have to account for the boundary work. So if you look at specific heats at constant volume, and this is assuming that we're dealing with a gas or a liquid, in the case of a solid the specific heat at constant pressure and the specific heat at constant volume would be the same, there'd be no difference, but if you're dealing with either a gas or a liquid you will have expansion when there is heating and consequently you need to take that into account. So looking at specific heat at constant volume, we use capital C with a little subscript V, specific heat at constant volume is defined as being the partial derivative of the internal energy with respect to the temperature, and we'll put a little bracket here with the V denoting the fact that that is at constant volume. So what would our system look like? It may be a box that we have our fluid within and we're adding heat and then we're monitoring the temperature of that and waiting until it goes up by one degree Celsius. So you can see given that we have a fixed box there can be no change in the volume and that's why we call a constant volume. If you look at constant pressure or the specific heat at constant pressure, again we use capital C with a little P to denote the fact that we're looking at a specific heat at constant pressure. The definition for this is the partial of enthalpy with respect to temperature at constant pressure and we need to account for boundary work here. So just to show you a little schematic, so let's say this was the vessel with which we want to test our specific heat of some material in. I'll show the boundary here. So we have a gas or a liquid inside of this and what we're doing is we're injecting or adding heat and we're monitoring the temperature just like we were doing before so we have a thermocouple in there but what is happening here given that we want to have it at constant pressure so let's say we put some mass up here in order to create a load which maintains the pressure. What will happen as we add heat is our piston will lift off of the mechanical stops and when that happens we have boundary work so all of a sudden our system has increased in size and we need to account for the fact that we're doing a little bit of work in the process so that will have an impact upon the specific heat that you're measuring and that's why we have the two different forms of specific heat. Now with the specific heat at either constant pressure or constant volume we can use these to calculate change in enthalpy and change in internal energy and we can do this for ideal gases so that means that we're quite a ways away from the two phase region and the way that we can do this is the fact that both u internal energy and h enthalpy are functions of temperature alone and so what we can write we can change the partial derivative oops sorry that we had earlier into a total derivative so we can use this to integrate these equations on the right in order to calculate the change in internal energy or change in enthalpy and we can make a couple of approximations it depends upon the process that we're looking at and and notice that the specific heat at constant volume as well as specific heat at constant pressure are functions of temperature if the temperature change that we're dealing with is less than about 200 degrees C we can make an approximation by using the average specific heats if it goes beyond that then you need to use the tables that are in the back of your textbook and enabling you then to calculate the change in internal energy or enthalpy of an ideal gas so if the temperature changes more than 200 degrees for the process that we're looking at you need to use the tables at the back of your textbook if the problem that we're looking at has a smaller temperature differential so if delta T is less than 200 degrees Celsius for example then what we can write is the following approximation and that would be an approximation for the change in either internal energy or enthalpy and values of specific heat again there should be tables at the back of your book where you can estimate the values of specific heat for whatever gas you might be looking at a final comment that I want to make about the specific heats are a relationship with the ideal gas constant so we can write Cp is equal to Cv plus R your ideal gas constant and another thing is the ratio of specific heats these are things that we will use throughout this course especially the ratio of specific heats when we're looking at different processes and the ratio of specific heats will depend upon the gases that we're looking at but it is 1.667 for monatomic gases and 1.4 for diatomic gases and air and again you have to be careful with the fact that it changes they change with temperature because that can have an impact upon the ratio of specific heats one final thing if you're studying gas dynamics or fluid mechanics sometimes you'll see this expressed as gamma however in thermodynamics we use k we do not use gamma and so just be aware of that so please don't get confused as you go through working the problems and studying mechanical engineering thermodynamics


to the first CCC OER webinar for 2020, so first of the decade and first of the year, quite exciting. Today's topic is going to be attributions, authoring, and platforms. What we'll be looking at today is we'll do a quick round of introductions. We'll talk a little bit about CCC OER and then we'll have an introduction to attributions, best practices, and so on, and then we'll have two faculty share their experiences developing OER within two different platforms. We'll look at both press books and LibreText. We'll also have some time for Q&A and we'll have a few announcements of upcoming events. So let's start with the, oh sorry, the speakers we have for today. We have Jenrin Wetzler from Creative Commons and I'm going to let them introduce themselves a little bit. So Jenrin. Okay, hi. Can everyone see and hear me? Yep. Loud and clear. Okay, excellent. Well, thanks so much for having me. I'm really delighted to be here and I'm just going to take a minute to share my screen and give a quick overview. Let's see. So I guess as a... Do you want me to stop sharing? We'll do the actual presentations in a bit. Is this just a quick... Oh, okay. Then that's all I have to share right now. Thanks so much for having me. Thanks. All right, Dave Gillan from Grossmont College. Do you want to say a quick hello? Hello, this is Dave. I'm coming from Grossmont College in San Diego. I'm a counselor and professor. Excellent. Thank you. And Athena, you want to do a quick intro of yourself? I think you might be muted. We had it. There you go. Hi, I'm a professor of English at City College in San Francisco. My name is Athena Kashup and I'm delighted to be here. Thank you for having me. Awesome. Thank you. And we will hear more from the presenters in just a little bit, but I did want to go through a little bit about CCC OER, so the Community College Consortium for OER. Our mission is to expand awareness and access to high quality OER. And we do this by supporting faculty choice and development of resources. We foster regional OER advocacy, and this is all about helping to improve student success. So that is our mission, and these webinars are part of that. CCC OER has members in 16 states, and you can see them all here. And I also wanted to point out two new members that we're very excited to have on board. We have Trinity Valley Community College in Texas, and Butler Community College in Kansas. So if anyone's on the call from those two colleges, if you want to say a quick hello, and if not, I should just mention just as an aside because I was really excited to see Butler Community College on the list. I just took their accessibility course and it was fabulous. So feeling really awesome to have both of these colleges as part of our membership. Last announcement then before we get started. So I hope y'all are aware that we have Open Ed Week coming up in about two weeks, so that is super exciting. There's going to be a lot of really amazing webinars if you have attended in the past. The sheer number of really great opportunities has been amazing, and so we're looking forward to much the same thing this year. If you'd like to participate, and we highly encourage you to submit some projects or webinars or share what you're doing, there's a few links here that you can use so that you can be part of the event. We have some really great things coming up from CCCOER, Open Oregon, California. Different members are putting together some really cool events, and so if you want to get yours on the list as well, please do submit your proposals. Something to look forward to is Liz Yada from CCCOER will be posting daily digest of what's to come, and that'll just help us, I think, focus on what might be events to attend. Oftentimes, there's just so many great things that can be easy to miss out a few. But definitely take a look, and I hope you have a wonderful Open Ed Week. All right. So let's move ahead, and, General, I'm going to stop sharing, and hopefully you can share. I got many windows open. So try to share now. Let's see if that works. And so as we start our first presentation, General, I'm going to let you share your screen and take over from here. I just wanted to let folks know that I will be managing the chat. So if you have questions, please go ahead and put those in the chat, and I'll keep track of them. And then at the end of General's presentation, I will pose those questions so we can all consolidate at the end. So they will be answered, and I will keep track of them. Awesome. Thank you very much. All right. Take it away. All right. Thanks so much. And let me try sharing one more time. Perfect. Yeah. So we can see your screen and the window. Okay. And hopefully, does that... Now we see your desktop. Okay. Sorry about that. One second. One more try. Of course, it always works when you practice, and then disappears when you need it. So I should be able to get this in two seconds. Not a problem. All right. Hopefully, everyone can see this now. We can. We can see your desktop and the window. Okay. How about now? That's perfect. All right. Well, thank you so much for your patience. And I am, as I said before, I'm really delighted to be here. It's great to have a chance to present with other folks that I really respect. And also, I just wanted to give a shout out to the people I saw in the audience, many of whom who have taken the CC certificate course already. So many people here, including Susan, is more of an expert in this than I think we might expect. So I invite you all to chime into this discussion and presentation. So today, what I'm going to do is give a really quick overview of our CC licenses for people who are not familiar with them, and then get right into some recommended practices for attribution. And given our kind of short time right now, if there are things that don't make sense, please feel free to ask questions in the chat space, or you can follow up with me afterward. I put my email address here, and I'm always delighted to connect after webinars like this. Okay. So really quickly, creative comments licenses for those of you who are less familiar are licenses that exist within the realm of copyright. And you likely know copyright is a form of intellectual property law that grants creators permissions as soon as they create an original work and fix it in the tangible medium. So copyright was kind of a law built to incentivize creators during the year of the printing press, but obviously now we have different circumstances, much more freedom for copying and sharing with the internet. So creative comments licenses actually enable creators to offer more permissions than traditional copyright and kind of adapt to the flexibility that we have online today. So they are still legal tools to better help creators. So as you see here, the copy, the CC licenses have a number of different icons, but really there are four elements to keep track of. So I'm going to talk a little bit about these four elements and how they can combine. But again, happy to follow up with more information if anyone's curious on following this webinar. So the first icon that you see is the little human in the circle. That's the CC by icon. And that basically means that the creator deserves recognition for their work. So all of our licenses have that that commonality. All copy, all creative comments licenses require the attribution. And then you see the little icon with the kind of round arrow. And that is our share alike icon. So share like means that all derivative or kind of adapted works from an original work must be shared with the same or analogous license in the future. So you as a as a user of one piece of CC licensed work, if you try to impose additional restrictions on your work that is based on someone else's CC licensed work with a share like license, then you would be infringing on their their permissions. All right, then we have the non commercial icon. So that's the little icon with the dollar sign and the slash through it. And that basically, it means that permission for commercial usage rights are withheld. So if I were to use a work and intentionally make profit from it, when it had the non commercial icon attached, I would be kind of infringing on those those rights. The interesting thing I will note with non commercial is that it really depends on the usage rather than the organization or individual using that work. So you could have a nonprofit trying to make money from an NC licensed work. And that would not be okay. But if you had a for profit organization using NC licensed workforce a an internal staff gallery walk or something that's non commercial and its purpose, then that would be fine. Okay, then we have the no derivatives license and that's the license with the little icon with the equal sign. So no derivatives mean the work can be shared, but only if the work remains unchanged. So hypothetically, if I took a work that had the no derivatives license and made adaptations to it, I could do so for myself. But as soon as I share that with other people, then I've gone against the license. So these are the four main elements of the licenses. And all the licenses, as I mentioned, include the CC by or attribution element. But otherwise, they can be mixed together in different ways based on their permissions afforded. And beyond that commonality of the by license, there are, I guess, the main things to think about are whether or not the work can be used for commercial purposes or the terms by which a downstream user could use a work for adaptation. And then we have the works kind of listed from least restrictive to most restrictive. So CC licensed works exist kind of like in between the realm of the public domain and then all rights reserved copyright. We have two tools for public domain dedications, which users or authors can use to tell people that their work is dedicated to that realm of you know, our human creativity and intellect that exists outside the restrictions of copyright. And those are those two kind of icons at the top, the C with the slash the right or the zero. So those are dedications or tools rather than copyright licenses. And then we have all rights reserved copyright at the very bottom, which is the most restrictive way to to share work. The CC licenses, again, kind of mix the different permissions afforded, they exist within that spectrum. And so you see them listed in light green, all the way down to yellow. And happy to chat about it more. But I think for for right now, we will just move on to the two main things that I want you to to take away with you from this this presentation. So in terms of attribution, if nothing else, just remember these two links or you can click on them now and save them in your browser. The first link is to our our CC license chooser. And this chooser helps you determine the best license to suit your needs. So as a creator, you can run through the chooser answer a couple questions. And then the chooser helps you determine which of the six licenses would best support your your permissions that you want to afford. And then the second link is a link to our best practices page, which rather than just looking at your work as a creator, it looks at how to best attribute other works that you end up using together for for reuse or your own kind of new original work. So let's just go ahead and we'll click on the first link. And hopefully you can see the license chooser on my screen. Okay, great. So this is this is really simple. I will note that we're we're going to be updating this chooser soon. So if you click on this in the future and don't see this kind of layout, don't worry, it's, it's probably going to work even better. So what you see in the first box is just a simple question. Do you want your your work to be adapted? Do you want to allow adaptations of your work to be shared? So you could say, you know, I have a poster that I want to upload online, I would like my my poster to be adapted. Or you could say, nope, I don't. And that would change your your license you see in the next box. Or you could say something between you could say, do I want people to be able to share their adaptations of my poster making completely different posters? Yes, but as long as other people don't add additional restrictions onto their licensed works. So those questions, or that one question, you'll have different licenses. And then the second question is, allow commercial uses of your work? Do I want to? Sure. Or I could say no, and that would also change the license. So depending on what works best for you, you select the answer, the yes, no, or maybe answer. And then you can scroll down and see the icons that reflect the license if you're choosing. So in this case, we ended up with attribution, non-commercial, share like 4.0 international. And then the best way to use this, so this is where we get into attribution, is to literally just copy and paste the icon right here, the text and the link to the original to the license, and post that on your work. You can also, if you're working on a webpage, copy and paste this code. So this is a kind of quick and dirty way of making sure you provide adequate information for attribution. Ideally, you would also put a title on your work and a link to yourself as the author of the work and so on. But this is essentially all you need. Okay, so then we'll click on the second link. And this is our page for best practices for attribution. I'm going to scroll through it because I'm realizing that we're running a little short on time. What you see here are examples of how to attribute an original work and then how to attribute works that are based on that original work, but makes a slight tweaks. So the key elements here that I want to leave you with are tassel. You want to make sure that you have the title, author, source and license outlined in your attribution. So whether you are sharing an original work in kind of a collection or an unadapted form of reuse, or if you are remixing it into creating a brand new work that's unidentifiable to the original, you want to make sure to kind of honor the original author and their permissions of the original work so that downstream users can best abide by those permissions and also recognize the original author or I should say creator. So hopefully that makes sense. There's so much more that we can get into and I know a number of folks in the webinar likely can chime in with some additional recommendations. We can talk if there's time about compatibility and how to best honor different attributions beyond this, but for right now I think this is the key thing that I want you to take away from this webinar. These two sites and also tassel, title, author, source, license. Okay, I'm going to see if I can stop sharing right now and take a look at the chat space. There's actually one of the questions that was asked by Valerie is how does fair use tie into all of this? That's a good question. So there are some exceptions and limitations to copyright. Fair use is one of those. So fair use is common in the U.S. and it is one of the exceptions that says even if a work exists within is restricted by copyright, people have the right to use that work given their specific circumstances. So in the U.S. there's a four factor test that judges will use to determine if fair use applies. I know in other I think commonwealth countries, predominantly commonwealth countries, there's something similar called fair dealing, but these are two exceptions to copyright. They exist outside the restrictions of copyright. And then Una posted the tassel acronym and I know one of the questions I get very often from faculty is how is attribution different from citations? A great question. So attribution is a way to recognize the original creator. I think citations are very similar, but those are more for scholarly works that are listing the sources used to generate the work. So I can come up with a really great website that distinguishes them a little bit after this, but I think the main thing to keep in mind is you can have like one essay, for example, that has citations, but then also recognizes or attributes the original work from other creators that you do from. Oh attribution. Okay. Yeah, thank you. Were there other questions? I didn't see any in the chat, but I just want to give folks a chance to ask other questions. And if we have time at the end, I would love to come back to the remixing discussion because I saw I took a sneak peek. You have a very nice slide coming up. So if we have time, we'll come back. All right. And yeah, Valerie shared some nice links in the chat for attributions. And cool. All right. Well, thank you. I really appreciate this discussion of how attributions work. And what we're going to be moving on to next are two examples of faculty work that were done in different platforms, kind of looking at the faculty experience of working with the licenses and focus specifically on the kind of nuts and bolts of each platform. So Dave, thank you. You are up. Okay. You can see my screen and hopefully not my desktop. We good. Yep. And you can hear me too. So I think we're rolling. Yeah. Okay. Hello and good afternoon, I think for most, if not all of you, I'm Dave Dylan. I'm counseling faculty and a professor at Grossmont College in sunny probably warmer than where most of you are, but feeling a bit cold to us spoiled San Yagans. I curated, I think is the best word. Curated, co-authored and edited three college success OER covering study skills, time management, career decision making. And the main one, I'm humbled and proud to say that it has been adopted now in about 2526 colleges and universities all over the United States and now in Canada. So I'm very pleased that it was not just something that I was able to put together from my own classroom that addressed textbook affordability and had open licensing and pedagogy, but also there are other people that have found value and quality with the work. And so I am right now wishing that I put this on a slide and that's partially because I'm seeing folks on the participant list that I know and I'm thankful for their contributions to the work. And so, as Suzanne was saying, this is a remix. And so I want to recognize and give proper attribution to the authors who previously openly licensed their work to allow me to be able to put this together. And so that's Elise Lamero and Phyllis Nestila at Lane Community College. And special shout out to Amy Hoffer from Open Oregon. Your mentorship was incredibly valued to me. I'm very thankful. Also to Thomas Priester from SUNY and Linda Bruce and Lumen Learning, they were the authors and open licensors and editors of the previous works. And then also a special shout out to Alexis Clifton from the SUNY system. What I wanted to originally try to accomplish was something that had the least restrictive license, so I was trying to find content that was all CC by. One of the works that I found that I felt like I just couldn't do without happened to be a CC by non-commercial license. And Alexis was willing and interested in helping facilitate and ask that ultimately resulted in a previous work being re-licensed as CC by, so less restrictive. And that made it really easy for me to put all the content into CC by the category of CC by, which then made it really simple for downstream users to take that work and not have confusion over different licenses. I used the PressBooks platform and was supported by the PressBooks team and the Reavis community team. And I'd like to show you a little bit about how attributions work inside of PressBooks. I'm also knowledgeable that many of the folks that are participating know more than I do, so feel free to jump in. And if you have things to correct or maybe better examples than I do, I'm happy to hear from you. I'm reiterating Jenren's example of TASL. This is an easy acronym to remember and just a nice best practice if you're including the title, the author, the source, and the license, and you're able to link the source and link the license. You're doing the right thing. We're doing right by our colleagues by properly attributing. And when there's no commercial game, I think this is kind of the least that we can do to ensure that we're giving proper attribution. So this is an example of what the viewer in PressBooks would see for one of the simple attributions. And as Jenren was mentioning, the licenses and attributions kind of go hand in hand. So depending on the license, that will kind of dictate some of what is required or best practice with the attribution. So this is previously shared content. It came from Foundations of Academic Success, Words of Wisdom. That's the title edited by Thomas Priester. I'm not entirely sure that's necessary, but I thought that was the best practice. This particular essay was authored by Kristen Murick. She is the author, so T title, A author, S source. That's the link to the source of the original SUNY work and then L license CC by. And then now I'm going to call your attention to this bottom left area. This probably looks redundant, but what I want to point out here is that this is a very easy way to put the attribution information into the chapter into PressBooks. And I'll show you that on the next slide. What I kind of did here, I think from what I can understand was a bit above and beyond. I wouldn't say that everyone has to do this, but I'll show you where I think it can really be helpful, especially for downstream users later. So this is on the administrative side of PressBooks. This is not something that the viewer would see, but with the administrative access, you can go into a chapter metadata page. And I really only filled out two of these boxes. So I filled out the author and then I filled out the chapter copyright license. That's a dropdown menu that I'll show you on the next slide. If I go back, just by putting those two fields in, this is the result. So the meaning of that is that that was very simple to put together. And then to see what the dropdown menu looks like, these are the options. So once you've figured out what license you're using, either for your entire OER work or for your chapter or unit or part level, you can choose which license is appropriate and put that in there. And then PressBooks will do the rest and pop that at the bottom of the chat. You can do the same thing for the entire book. So if everything was clean and you had the consistent license, there's another area where you can put in the information for the entire book and that will show on the licensing page at the beginning of the OER. Here's a bit more complicated attribution. Again, this is what the user would see. So previously licensed content, we have the title, we have the author, we have two sources. That's because I took the original author's work from two different areas and combined them and then kind of retitled the chapter. And that information I put here in the adaptations. And this is not a requirement for attributions, but I encourage you to think about this for two reasons. One, it was really helpful for me from a record keeping standpoint because if I was either going to reuse or remix something verbatim, that was one area. In other cases like this one, I may have made some slight edits based on what I was trying to put together or for consistency to work together better with other works that were being remixed. And I wanted to keep track of that. So I thought a good place to put that was right with the attributions and licensing and that's why that's in there. Some folks are putting that information in the version history. It doesn't always, it's not always this detailed in there. So I actually have it in both places. I also find that is extremely helpful for downstream users because if anyone was going to go back and take a look at what Phyllis Nisilla had put together and they were comparing and I didn't have that adoption information in there, it could be very confusing to try to figure out, okay, what did they have changed? Why does this not look exactly the same as what Phyllis had put together? I hope that makes sense. Going further, we have the title of a multimedia video. The author in this case is Ted. We have the location or the source and the license. And to be honest with you, I'm not terribly pleased with this gap here, but that's because of the spacing with this really long source. So I think press books will eventually find a better way to present that. It is what it is at this moment. And then two images at the bottom. So title, again, author, source. The source happens to be where the title is. So you're not seeing it separate. It's hyperlinked. So the title and the source are showing together and then licensed there at the end. Okay. Challenging question for the group, is this a proper attribution? And what I would like you to do is spend 30 seconds answering that in the chat, but don't press return yet. Just have your answer typed, but not don't press return. I'll wait 20 seconds. Hopefully we can all send it together just so you're not seeing and being influenced what other people have written. 10 more seconds on this. Okay. Three, two, one. Go ahead and press enter. And Suzanne, if you could let me know if anything is being populated in the chat. Yep. Lots of coming through. More than I could read. You definitely don't have to read them individually, but if you could give me a kind of summary of... Yeah, the most common answer is there's no title link or no source. Yep. That's the most common answer. Okay. So you're right on. The title is college success in this case. I know that may not have been intuitive. You're absolutely right, though, that the source is missing. And I'm sharing this example because this was a real real lifetime thing that happened. What I was attempting to accomplish was to properly attribute this source and content. And when I went to the Lumen source, I copied and pasted what was in there for the attribution. And so low and behold, what I realized and it seems very logical now, but really wasn't at the time. Sometimes original content that is first published may not include a source link or even a source because it would be linking to itself. And so sometimes that is a practice that's done and sometimes it's not. And I think I was focusing on a hundred different things at the time and didn't really realize that it was missing that. So shout out to David Wiley, who had kind of taken a look at something when I had a few questions about attribution. And he politely and respectfully pointed out, hey, Dave, your source is missing here. And this is how it should read. And I was so appreciative and grateful for that. So something to watch out for when you're looking at that attribution. And if you follow Tassel, you're going to make sure that you have that source in there. One more example, and then I'll leave it open for a few questions. This is, again, what the viewer would see. And this is an image that my attempt was to properly attribute. And so you can see the attribution there below the image, the world and I, memo by color like four. And this is CC by NC and D. And so on the administrative end within press books, you can see the two fields on the top for alternative text and caption and the information that I have in there. And then honestly, when I was preparing for this presentation, and I went back in here, I realized the press books had built some new options. That advanced option with the image title attribute did not exist when I was originally putting together the work. And I'm excited to explore that because what I think is happening is my alt text should likely be very close to what the caption should be. And what I have for the caption should really be in the image title attribute. And what I was doing was kind of a workaround so that the proper attribution would be seen on the screen. But that's not really what we want for the caption part. And so further, many of you may already be familiar with this. For the caption, we want we want to ensure that there aren't issues if someone is reading on something that doesn't display images essentially. And for alt text, for search engine optimization and for accessibility, for screen readers, for visual impairment, those are extremely important to have in there. So things I learned along the way and clearly some more work that I need to do to ensure everything is in the right place. This is one of the last slides. If you are working with press books or interested in learning more, this is a fantastic resource. It is constantly updated. Huge thanks to the press books and read this team for putting this together, for answering my questions. Shout out to Steele and Aperva because they've been phenomenal supporting me and answering my questions and helping me with trying to ensure that attributions are as smooth as they could possibly be. Okay. So I think there may be a couple minutes, Suzanne, for questions if there are any in the chat. Yeah, I think we have about a minute or two. The first question is with your example from Lumen. Who owns the copyright? Would it have been the author or Lumen or how does one find that out? Yeah, that's a great question. So I'm going to share something that I'm not sure how much I'm supposed to share. What likely ordinarily happens is that in this case, the author is Lumen Learning. When I was putting together the remix and combining specific names for other works, it seemed a bit odd to me that I was going to have an attribution to a organization rather than a person or a team of people. So I had both reached out to Lumen and where that lead took me, I ended up speaking in Linda. And so in a candid conversation, my ask both to Lumen and Linda was, can you tell me who wrote the work? Because I would like to properly attribute this. And so it was a consensus that it was really written by Linda and that's where I wanted to attribute it. So I don't at all mean to leave Lumen out and certainly they are included in the source. But I thought the best, the best, most accurate attribution was to Linda. Did that answer the question? Yes, that was very helpful. Thank you. So for my angle, I don't expect everyone to do that, but that was what I thought was the most comfortable or best thing for me to do. Yeah. And then the other question, and I'm going to read it because I'm not sure I follow quite, but when using applications like RISE, there is access to a content library of public domain images but with no metadata. Who is responsible for attributions in this case? We often put a caption but can't get it source title, etc. And I think that's kind of what you were showing is if there's not a clear way to add the metadata, there's workarounds like putting it in the caption. But yeah, that's not ideal if there's no place to put the metadata. And that may be a time too to have content at the end of a chapter or the end of a page. That's really more text-based even though it's technically not an attribution, but where you can put that information. Yeah, I think it's a great question too. So shortly, I think one, it's the author or authors or publisher that are responsible for that information. And in a few instances with my work, I have had to write the alt text and or the caption as closely as possible for what I think they're supposed to be and learned a lot through that process along the way. If you have an accessibility expert on your campus, that's a great way to try to get some more information. On the other question, if the platform you're using doesn't have space for metadata, I would just put it in plain text either above, I think above the the images best or below. Above I think is best for from an accessibility standpoint. Yep, and then Jenner points out for public domain images, we don't technically have to attribute, although it is nice too. So yeah, great point. And I am going to move us along because I think we're in Athena's time. So, Dave, if you stop sharing, I am going to move her slides along. So give me a second, Athena, are you ready to go? Yeah, I can try sharing my screen and if it's not successful, then I'll go back to you. That's fine. I can manage if you like. Or do you want to try yours? Yeah, let me try mine. Okay, so we can see the program and I bet if you go to presenter, it would be just fine. Yeah, maybe one. Great. Yep. Okay, hi. Yes, thanks once again to everyone. And as Dave said very aptly, there are a number of you who probably know a lot more about this than we do. You know, I've worked on two OERs, I'll tell you a bit more about myself, but please, you know, please chime in with your expertise and share that with the whole group and me at the most appreciative. So this is a presentation on my experience working on two with two OERs using LibraTex. So I wanted to tell you a bit more about LibraTex and why I chose it over the other platforms. So I've already given you an introduction about myself. I have two books that I worked on, two OERs that I worked on last semester. And we're just finalizing them this semester and they should be ready to go in the summer. But one was, you know, writing and critical thinking through literature. And the other one was writing, reading and college success. And, you know, we had a number of interesting situations come about with attributions. So, you know, through all of this, the LibraTex founder and main person Delmar was extremely helpful, which brings me to why we chose LibraTex. LibraTex is a platform from UC Davis. They've got a big grant. And it's free. It has all the tools Pressbook has as well as the bigger team. But the main reason we chose it was for the one-on-one support, the, you know, there's an onboarding once a week on Tuesdays and then then top of that there's office hours. And then you also have a very responsive team over email. Like I would literally ask a question and within one hour I would get a response. So that was extremely helpful and, you know, very grateful to Delmar and the whole LibraTex team for helping us so much with our courses. So I just wanted to give you, as I said, a brief overview of our experience using LibraTex and then especially the attributions process of it. So the kind of attributions we came across, you know, obviously you will know that some of them already had a Creative Commons license. And so we had to just follow that format for proper attributions, which I'll show you what LibraTex expects. And then those that did not have any copyright or licensing information, that had a special procedure. And then those that had a copyright, but we had received permissions to use. So we had to deal with these three different kinds of attributions. So now the one thing that was very helpful to me was to find out what LibraTex minimum requirements were. So when talking to Delmar, he kind of said that he sees himself in between. Like he's, you know, he, for him getting the link is most important because that gives you, gets you to the base of the, like the source. Like so including the link is super important. And, you know, while we as a team agreed, we wanted the link to the exact page where we were getting it from. He seemed okay with just even the main page of the course or the source we were getting the text from. So, and then LibraTex also has a meta box, the same thing that Dave was showing us with pressbooks. And, but that is on top. And I'll show you how that works with here. So for LibraTex requires the name of source linked to the homepage author publishing house or original platform and then the license. So nothing new there. So this is how it might look. And again, you know, with, with LibraTex, we had to put the source down on the bottom. We like to embed all the links because we found that when we were printing out, the links would you know, really mess up the text. So we wanted to embed all our links within there rather than give the web links separately. So, so this is the link to the web page. And as I said, the homepage is okay. And then this is the platform and then this is the license, seeing information. So this is the drop down menu. And this is on top. So each page after you compile all the information. So as Dave put it aptly, we just, you know, massive compilers of all this wonderful information on the web. But then we have to put in the most restrictive license on top here, because even though some of them might have a very open license, but it's the most restrictive license that determines the whole page. And if somebody then wants, they can go in and see which, you know, which is the least restrictive, most restrictive. But, you know, we, we have to put this as and show the most restrictive for the whole page. Then, so there's a process for getting permissions to use content currently not part of the Creative Commons. So I actually came across a lot of very useful information on educational like university sites, because I was working on, you know, a literature course and writing composition course. And many universities had wonderful information on them. But and I contacted them and they were like, yes, you can use it. We don't have, you know, it's free to use, but we don't have anything to do with Creative Commons or anything yet, but you're welcome to use it.  It's just that they haven't gotten on board. And those initial tools that we saw earlier in the presentation would be a wonderful thing for everyone to share with these kind of institutions, so that they can have a licensing practice. So what do you do in that case? And then also, what do you do when you have copyright? You have permission to use a copyright piece of work. So we came up with this permission form along with Labor Text to send to them. And this actually had to be linked in some way, you know, along with the attributions. So and then also Delma wanted me to mention there's a new attribution warning system. So he quoted and I've taken a screenshot of it. So if you wanted to use any of the material on a Libre Text course, it immediately tells you what the copyright is. I mean, what not, I'm sorry, what the license is, you know, right in a pop-up. So that makes it very clear. So with photographs, what's different is we put the, in Libre Text, we put the licensing and all the information directly beneath the image. So when we know the photograph, the photographer, we definitely include that and we include who, you know, who the photograph is about. And so this would be a good way to attribute it. But as opposed to press book, it goes directly underneath and not in the bottom section. And again, if it's from a source where you don't know the photographer, but it's, you know, part of the, it's not copyrighted, you can just link to that page and then say it's from, say, Pixar Bay or something. And for the videos, ideally, you can link to include the link directly under the video. But as far as a lot of the videos YouTube go, sometimes you don't really know where that source is. So with Libre Text, they prefer not to host YouTube videos on their site. So you're actually linking to an external site, in which case it doesn't, you know, it is not Libre Text's responsibility to, to kind of mention, find out, you know, where the actual videos come from. But technically on the YouTube site, they have, you know, once we link to them, it's their kind of responsibility. So he hasn't been too particular about not, about including any links for YouTube videos for that reason. Any questions so far? I feel I'm, I'm running along like a freight train to make sure we have enough questions at the end. No questions so far, lots of great chat, chat or in the chat, but no questions. So you're good to go. Okay, and excellent. So snags and how to avoid them. So for us, having that conversation with Delmar from Libre Text was really wonderful to find out what the minimum requirements were.  And I think they have an FAQ, but they're fairly new. So they're getting together the guide, getting together a guide and stuff. So the other thing I would recommend is providing attributions as you go along. I was sure I knew where that source was coming back, coming from, but then when I actually went back, I didn't remember exactly which course it was, and I had to search all over again. So, you know, how always have a backup and prepare for permission forms not arriving in time. So in addition to the main OER databases, we found Google Advanced Search to be very helpful for finding content that could be shared, because it has an option that allows you to search only for work that fits in a particular license. And then we found using a style guide really important to get a certain consistency. So this was the style guide was for the whole course, but this was for the the contributor section. So one, what kind of header to use, and then getting a certain format that we could then replicate. So what I also found very helpful, and this is a kind of personal attribution builder. But if you know, often you find yourself drawing from the same sources again and again and again. So rather than building each page individually, I had a separate Google Sheet where I listed all the main courses I was using and correctly formatted them. And I had it open the same time I was working on the course. So I could just cut and paste very, very quickly rather than writing in each, you know, each each attribution. So wish list, you know, for LibreText to build up this guidelines page, that would be really helpful. And I wish we had all this information before we started, but we've had a wonderful experience working with it. And yeah, and it's very great to get to know this community better. Yes, we can take questions. Thank you. Yeah, there was really great discussion in the chat that I'm trying to summarize as a single question for anyone that may know the answer. And there's there's some some good answers in the chat as well, but about sources where the content goes away. And the point was made that even if someone changes the license downstream, you can't backwards revoke or whatever the term there is. So you're okay. But how do you link to something that no longer exists as a way to prove what the original license was? Is that a good summary? And does anyone have a good answer? And it's willing to jump up? Well, I know from my experience that some sites mentioned specifically, like there was an open learned site from England, which had some good material I pulled from, but they said specifically that their material could be pulled at any time. So they were saying while it has this Creative Commons license now and can be shared, we cannot ensure that it will always be the case. So sometimes they stay upfront. And then I don't know, you know, how you are to find out when it changes. But I guess once it changes, you can't use that material anymore. You can, but it's hard to kind of have the evidence there as well. And Una had a great point in the chat. Quill had created a nice way to keep track of all the resources that that folks are using in their own creation. And that way you have the link and Alexis, yes, that's a great idea. The Internet Archive or the Wayback Machine will allow you to find old websites. And it doesn't archive everything, but it's been pretty helpful in the cases that I've had to use it. So yeah, keeping a record is definitely a starting point. And having them all downloaded, I tend to, you know, flash drive space is pretty cheap. I tend to just download everything. And then at least I have a copy of the PDF or whatever it might be that hopefully has the information. But yeah, that's a really great, maybe a whole other webinar in fact. What do you do with sources that go away? So I am going to screen share again, if I can find it, just for a few wrap up bits of information. Hopefully you can see my screen. We have webinars as listed here that are 3pm Eastern Time unless they're noted otherwise. We have some really great webinars coming up about open pedagogy, user friendly design, and so on. There's of course open Ed Week where there will be lots and lots of fabulous things happening, including webinars from CCCOER. If you'd like to, there we go, if you'd like to stay in the loop, be sure to join our community email and take a look at our website. There's also a really great post happening in the EDI blog, Equity, Diversity, and Inclusion. Oops, not what I meant to do, sorry about that. So thank you. We're right at the top of the hour, but if folks have questions, I can hang out for just a little bit and continue some discussions. And just lastly I want to thank once again our presenters. This was really helpful and we appreciate the time you took in sharing your process and the information that you had for us. So thank you very much. Thank you.


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The vast majority of pro players in any FPS game have a low sensitivity. In this video I will show you why this is the case. 1. Because you can make more precise movements for your mouse or controller. Let's say you move on your mouse on high sense 1 inch. You're probably gonna do a full 180. Now if you aim 20 degrees right on the screen, it's going to be much harder to do that because you would have to try to move your mouse 1.6 of an inch every time. It's a lot more inconsistent. Also taking into consideration your fingers are probably the one that controls your aim. Moving your fingers in a specific direction is a lot harder than using your whole arm to aim. You can tilt your elbow and forearm more precisely than your fingers as well. Think of it this way. If you have a smaller piece of paper, it's going to be a lot harder to draw a picture. Just because a big piece of paper allows for more movement and detail. 2. Low sense makes it harder to have shaky aim. With high senses you aim a little bit left or right. You can't hit the target because even just a little shake or a reflex in the hand could cause you to swing too far or too close. Low sense makes it a lot harder to move up or down as well. So if you're aiming at head level, doing a 180 is much easier to continue aiming at that level. It's also better for flicks. Flicks are harder to do with high sense because again, you can only be so accurate in that amount of space. If you want to flick to a target, it's one big swipe. Mastering the muscle memory for that is easier because making a bigger movement is easier. Lastly, tracking is also a lot more consistent. If you want to maintain consistent glide of your joystick or mouse, high sense is easier. Because taking a slow makes it easier to build muscle memory for tracking. Just like flicking. 3. It's because it isn't as fatiguing as high sense. When you're aiming with high sense, it's mainly with your wrist. Wrist aiming can be easier for the first half hour, but after a while all that tension will cause your wrist to tighten up. It's also going to affect your hand long term in most cases. Think about writing with a pencil for too long. It's the constant strain on your wrist that makes it tiring and eventually it's going to be painful. Some long term effects of this can cause or tingling and numbness in serious cases.  Just try to experiment with low sense even if it doesn't fit you for the first few days. I would give it at least a week. Once you get used to it, it's hard to go back. It might feel like larger movements are harder to make for the first few days, but most of the time, games like Valorant or even Fortnite don't require a high amount of accuracy for large movements. So I think the trade off of being able to master small movements is worth it. When you sacrifice the speed of making large turns on your screen, just there is a 5 or 10% of pros who still use high sense, but if you really want to get better quick, this is the biggest reason why you're stuck in whatever rank you are right now. Just try experimenting with a low sense and that would usually cause you have way better aim in the long term. Do you like gaming news, tips and other videos like this? Subscribe for more. I post at least once a week and thanks for watching.


I'm Corporal Kathy Nunez, and this is the Core Report. On March 19th, Staff Sergeant Lewis Cardin, a field artilleryman with 2nd Battalion's 6th Marine Regiment, died in Northern Iraq while supporting Operation Inherent Resolve. Our control officers go out to the family and friends of Staff Sergeant Cardin into all those affected. Semper Fidelis. Marines, we need your opinion. An online survey regarding the new female dress blue coat and skirt design is open until all Marines until May 27th. You'll have a chance to see these uniforms and take the survey in person during a road show in May. Click the link in the video description or just click this box to take the survey. And really, just click it. Last month, Task Force Spartan hit ISIS infiltration routes with artillery rounds, or as we like to call it, steel rain, to disrupt their freedom of movement and ability to attack. It worked. Although we're technically not in combat, Marines and allies in the Middle East will continue to support Operation Inherent Resolve. That's all for this week. We'll see you next payday, right here on the Core Report.