We need sunglasses early around here. Okay, well we are going to talk about categoricals. To understand categoricals, yet to understand propositions. Propositions are what are true or false. It is early in the morning. That is true. Man, that is a sentence. That's true. There's 98 dogs behind me. That is false. Propositions are what are true or false. Not every sentence is a proposition. Not every sentence is a proposition. There are plenty of sentences that are not propositions. What time is it? That's a sentence. But that's an interrogative. It's a question. Questions are neither true nor false. Go lay down. If I'm talking to my dog, go lay down. That is an imperative, a command. That is also neither true nor false. Imperatives are either followed or not followed. Questions are either answered or not answered. Okay, but, or have an answer or don't have an answer, but propositions. Propositions are what are true or false. When we're dealing with categoricals, categoricals are propositions that compare things of one kind to things of another kind. This is where we're talking about categories. Categories of things. Consider lake. Lake is a category. It contains, in a sense, refers to all lakes. This is a lake. This is Lake Brownwood. This is not all lakes, just one. But when I say lake, I'm referring to all lakes, including this one. So when we are compared, when we have categoricals, we're comparing things of one kind to things of another kind. We're comparing the subject to the predicate. The subject is what's described by the predicate. So all lakes have water. All lakes are water bodies. Okay, so the subject there are lakes. That's the subject. The subject is lakes. The predicate is bodies of water. So here's a categorical. All lakes are bodies of water. Lakes is the subject. Bodies of water is the predicate. Now the predicate, of course, contains more than just lakes. So all lakes are bodies of water. That's true, but all bodies of water are lakes. That's false. So all lakes are bodies of water. Other bodies of water are oceans, rivers, ponds, streams, seas. These are all bodies of water. Lakes is just one of them. Okay, when we're dealing with categoricals, we have four parts. We have the subject and we have the predicate. We just talked about the subject and the predicate, right? The subject is what's described by the predicate. The predicate is what describes the subject. We also have the quantifier and the copula. So we got the subject, the predicate, the quantifier, and the copula. So we deal with categoricals. Categoricals are propositions. Propositions are either true or false. I gave an example of a categorical earlier. All lakes are bodies of water, right? And in that categorical, we have the subject and the predicate. Lakes is the subject. The predicate is bodies of water. The subject is described by the predicate. The predicate describes the subject. So I repeat myself a lot. I'm a big believer in repetition. So if you're not, I apologize in advance. All right. We have two other parts to categorical. We have the subject and the predicate. That's two parts. The other two parts are the quantifier and the copula. Now the quantifier tells us how many. How many of the subject is described by the predicate, right? So all is our quantifier. When I say all lakes are bodies of water, that's all lakes, not just some. All lakes. Every single lake is a body of water. All right. That's the quantifier. We have two other quantifiers. We have all, right? We have two other quantifiers. We have some, and we have new, right? So some lakes are in North America, right? In North America is a predicate. Lakes is the subject. Still, right? Still got the subject as lakes. Predicates now in North America. And we have the quantifier. Some. Some lakes are in South America. Some lakes are in Africa. Some lakes are in Asia, right? We can, you know, list all the continents. Well actually, sorry, not Antarctic or the Arctic. Anyway, so we have quantifiers, right? Quantifiers tell us how many. All says all of them. Some is some of them. At least some of them, I should say at least one. Maybe more. Not necessarily, but maybe more, right? And the reason why I say that, right? I had the categorical earlier. All lakes are body of water. Well that's true. What's also true are some lakes are bodies of water. Sure, that's true. Now it sounds funny to your ears because you're like, but, but, but it's all lakes are bodies of water. Well yes, all lakes are bodies of water, but if all lakes are bodies of water then at least some are. Okay, remember it's just true or false. That's all we're worried about here. We're not worried about what isn't said. Only what is said, right? Okay, so we got all lakes of bodies of water, all the quantifiers. Some, some lakes are in North America. Some is the quantifier. Then we have no, right? We have another quantifier. No. All tells us every member of the subject is described by the predicate. Some tells us at least some of the members of the subject are described by the predicate. No tells us that no members of the subject are described by the predicate. So no lake is what? No lake is composed of gravel. Or no lake is made of cookies. No lake, I wish I could say no lakes are on fire, but some lakes have actually caught fire because of all the pollution that's in them. No lake is gaseous, right? No lake is just a gas. I mean there's gasses in there chemically speaking, but no lake is, you know, in a gaseous state. It's in a liquid state. No lake is a member of Congress. I mean these are kind of ridiculous. Sorry about that, but no lake is a living thing. How about that? No lake is a living thing. Lakes aren't alive, right? Lakes aren't alive. They have living things in them, right? They are necessary for living things. Okay, but they themselves are not alive, much like the air, right? The atmosphere. The atmosphere is not alive. Okay. Or no lake can perform algebra. No lake is human. How about that? No lake is human. Let's do that, right? No lake is an animal. Maybe you want to say lakes are alive. Okay, fine. Have at it. Have fun. But at the very least, no lake is an animal, right? No lakes are animals, right? The subject is lakes, predicate animals. And when we say no lake, animals, we're saying that every member of lake, right, is not described by an animal. Now, maybe we, we could also phrase that one, right, in a particular way, but we're going to get to, you know, just a kind of forecast, right? We say no lakes are animals. We could also say our lake, all lakes are not animals, right? I don't want to confuse it too early, but just keep in mind, right, we got all, some, and no. Those are three quantifiers. We're talking about categoricals. Categoricals are a kind of proposition. Propositions are either true or false. A categorical has four parts. The quantifier, the subject, the predicate, and the coppola, right? The subject is what's described by the predicate. The predicate describes the subject. The quantifier tells us how many. So we have all lakes are bodies of water, all is the quantifiers, lake is the subject, bodies of water is the predicate. The copula is what tells us whether the subject is described by the predicate or not, and in this case is the word are. Now just kind of foreshadowing, right? There's a variety of different copula. They're basically the to be verbs. There's going to be some variation, but it's basically the to be verbs, right? Is, is, is, to be, is, was, to be, is, was, were, be, being, been, right? Those are the to be verbs. I can't believe I stumbled on that. So the copula tells us whether the subject is described by the predicate or not. All lakes are bodies of water, are is the copula, all lakes are not animals, are not is the copula. So quantifier subject predicate copula. Copula tells us whether the predicate describes the subject or not. Are or are not, is or is not. All lakes are bodies of water, are is the copula, all lakes are not mammals, are not is the copula. All right, so we have our four parts to the categorical. Quantifier subject predicate copula. Depending on your combinations of parts, you're going to have four different kinds of categoricals. Four different kinds of categoricals. Let's look at that next. Okay, so the first kind of categorical we're going to deal with is called universal affirmative. Remember our four parts to a categorical quantifier subject predicate copula. What a universal affirmative does is it tells us that every member of the subject is described by the predicate. So we already had some examples. All lakes are bodies of water, all lakes are bodies of water. Every single one. There is no lake that is not a body of water, right? So all lakes are bodies of water. That's a universal affirmative. Every member of the subject is described by the predicate. All dogs are mammals. Quantifier all, subject dog, copula are predicate mammal. All mammals are warm-blooded. All right. Again, all for the universe, all for the quantifier, mammal for the subject, or for the copula, warm-blooded for the predicate. All mammals are animals. Also a universal affirmative. So this is our first kind of categorical universal affirmative. It says every member of the subject is described by the predicate. Every single one. None left out, right? All right. That's our first kind. Let's try the next one. So the first kind of categorical we had was universal affirmative. It's universal in the sense that every member of the subject is involved. It's affirmative in the sense that every member of the subject is described by the predicate, right? Is described by the predicate. The affirmative is described by the predicate. Okay.  Let's look at universal negative. Let me, I'll let you take a stab at what this means, right? Universal, we just got finished saying this. Every member of the subject is involved. It's negative in the sense that it's not described by the predicate. It's not described by the predicate, right? Universal negative. All lakes are not animals, right? All lakes are not animals. So universal sense that it's dealing not just with this lake, but with every single one is not described by the predicate animal, right? All animals are not plants. All animals are not plants, right? All what? All stars are not animals. Celestial bodies up in the sky, stars, every single one is not an animal, right? Let's think of another one. All plants are not animals. So we have the, you have the quantifier all, subject, say we'll go back to lakes, lake, predicate, copula are not predicate animal. Okay. Now that's one formulation for the universal universal negative. This is an important lesson to remember. The words in particular are not what's going to make a categorical one of the particular kinds. You have to comprehend the meaning. So I said all lakes are not animals. That's true, right? We have a quantifier all and a copula are not. Well we could also say no lakes are animals. That is still a universal negative. Different quantifier instead of all, now we have no, different copula, all right, instead of are not we have are, right? We could even, you know, I was dealing with the the plural with lakes and animals. We can deal with the singular, no lake is an animal, right? Now it's a different, still a different copula because now we have is, right? So what makes a categorical categorical is not necessarily the word, right? So not every universal affirmative, excuse me, not every categorical beginning with the quantifier all is a universal affirmative, right? Okay, what it is going to be, what the proposition means, right? What the proposition means. Universal affirmative, every subject is described by the predicate, universal negative, every subject is not described by the predicate. So all lakes are bodies of water, universal affirmative. No lake is an animal, no lakes are animals, all lakes are not animals, all three of those are universal negatives, universal negatives, right? Saying the subject is, every member of the subject is not described by the predicate. Quick review time, quantifier, how many are involved, copula, whether the subject is described by the predicate or not, subject is what described by the predicate, predicate is what describes the subject, right, or what describes universal affirmative, every member of the subject is described by the predicate, universal negative, every member of the subject is not described by the predicate. These are all propositions, propositions are what are true or false. Two more to go. Are the universal affirmative and the universal negative are categoricals that deal with every member of the subject, universal affirmative says every member of the subject is described by the predicate, the universal negative says every member of the subject is not described by the the predicate. The particular categoricals deal with at least one, at least one. Alright, so some lakes are in North America. The quantifier there is some, the copula you're familiar with already is are, subject is lake, in North America is a predicate. Alright, some lakes are in North America. That says that at least one of the lakes, in this case it was true, right, at least one of the lakes is in North America. There are many in North America. Some lakes are in Minnesota. A lot of lakes are in Minnesota. But the particular affirmative says at least some members of the subject are affirmed, are described by the predicate. That's particular affirmative, particular because it's only dealing with some members of the subject. Alright, the other kind of particular is particular negative. Some lakes are in North America. By the way, some lakes are not in North America. Just because some lakes are in North America, that doesn't mean that some aren't. So particular negative says that at least some members of the subject are not described by the predicate. At least some lakes are in North America. Some lakes are in North America. Some lakes are not in North America. Alright, some mammals are dogs. Some mammals are not dogs. These are both true. Some mammals are dogs. That's a particular affirmative. Some mammals are not dogs. That's the particular negative. Some pets are cats. Alright, some pets are cats. I feel bad for cat owners, but hey, getting sorry, sorry, sorry. Some pets are cats. That's a particular affirmative. Some pets are not cats. That's a particular negative. Some what? Some students attend San Antonio College. Some students are not at San Antonio College. A particular affirmative, particular negative. So we've got four kinds of categoricals. Universal affirmative, universal negative, particular affirmative, particular negative, universal affirmative says every member of the subject is described by the predicate. Universal negative says every member of the subject is not described by the predicate. Particular affirmative says at least some members of the subject are described by the predicate. Particular negative, at least some members are not described by the predicate. Not necessarily all, by the way. Don't jump ahead of yourself, but not necessarily all. If a particular affirmative means that, okay, all of them are, then there's no difference between particular universal, but clearly there is. All right, anyway. Doesn't rule it out either, but let's leave that aside, right? We'll get to that couple chapters from now. So we got the four kinds of categoricals, universal affirmative, universal negative, particular affirmative, particular negative. All categoricals are composed of four parts. You have the quantifier, which tells you how many of the subjects are either described or not described. You have the subject, which is described by the predicate. You have the copula, which is whether it is described or not. And the predicate, which is what does the describing, right? Does the describing. Okay, that's four kinds of categoricals, four kinds of categoricals. And you'll be expected to identify not only which of the four kinds that you're dealing with, but identify the parts, identify the parts. Okay.  Universal versus particular, affirmative versus negative. All right, I just got finished saying in the last video that categoricals have four parts, every categorical has four parts, quantifier, subject, copula, predicate.    That's fine, right? I'm not knocking this is this is what happens with a natural language like English, right? The more we get into logic, we're going to have a, you know, artificial language or formal language, right, using a lot of symbols and as, you know, removing as much ambiguity as possible. English, all natural languages are not like, especially English, right? English loves to make a whole bunch of rules and then break them. So for instance, right, all lakes are bodies of water, right, we try to have our nice parts of our categoricals there. Well, a lot of times in English, you're going to have some lakes are not, I'm sorry, you're going to have, you're just going to have lakes are bodies of water, right? Or this lake is beautiful. Or, right, lakes are cool. Okay, that's fine, right? But you have to be able to identify the parts, you have to be able to translate, right, these, these sentences and plain natural English into our categoricals.  There are no hard and fast rules for doing this translation. You're going to have to rely upon the context. You're going to have to rely upon the meaning of the sentence within that context in order to translate it. So what, you know, the, the difference is, right, what you have to look out for is our four kinds of categoricals, whether every member of the subject is identified, is described by the predicate, that's universal formative, every member of the subject is not as universal negative, particular formative, at least one member, right? And particular, a particular formative and particular negative, at least one member of the subject is not. Let's go through a few examples and some noticeable cases. Alright, so I guess I've finished saying that English isn't always some neat and tidy when it comes to its quantifier subjects, copy those predicates. This is true. So one case, for example, is a categoricals of singulars, right? And this is, you know, these are categoricals with one and only one subject. There's only one and only one thing in the subject class. So this works, we're dealing with like individuals. So Dr. Hogan is shooting a video. Okay. Dr. Hogan shoots video. Dr. Hogan teaches philosophy. These are propositions, and they are understood as categoricals. Lake Brownwood is in Texas. That's a singular. There's one and only one thing that is Lake Brownwood. Now, here's the question. When you have a subject class of one and only one thing, what kind of categorical is it? Remember we got universal formative, universal negative, particular formative, particular negative, right? Now, whether you're dealing with a singular, that doesn't affect whether it's affirmative or negative, right? Because you could say Dr. Hogan is shooting a video. You can also say Dr. Hogan is walking on the moon. The first is an affirmative. The first, sorry, Dr. Hogan is not walking on the moon. The first is an affirmative. The second is the negative. It doesn't matter whether you're dealing with a singular or not, right? That's not a... What is important here is whether you've got a universal or a particular. So what do you think? Dr. Hogan is shooting video. Is that a universal affirmative or is that a particular affirmative? Now, you might think, well, it's a particular affirmative because you got only one. Okay. Now, remember, the particular says at least one member of the subject class. Okay, that's true, right? I mean, there's at least one member of the subject class of shooting video. That's Dr. Hogan. But the universal affirmative says every member of the subject class is described by the predicate. How many members, we would say Dr. Hogan is shooting video. How many members are shooting? One. How many are out there? One. So how many? All of them. Now, that sounds a little funny to your ears, but every member of the subject class, namely me, is shooting video. Therefore, Dr. Hogan is shooting video is a universal affirmative. Universal affirmative. Dr. Hogan is not walking on the moon. That's a universal negative. When we say every member of the subject class, we're not saying just some, right? We're saying every member of the subject class. Therefore, this, you know, when we deal with the categoricals of singulars, it's going to be a universal. It's going to be universal. Whether it's a universal affirmative or universal negative. So let's talk about English grammar a second. In English grammar, there's a part of speech called the article. Article is not what not in this sense, not what you know that thing that you had to read for your courses. That's not what I'm talking about. An article is a word and part of speech, right, that's used to mitigate quantity. Now immediately, this should get you thinking of quantifiers. And that's right, right, deals with quantifiers. Unfortunately, there's no hard and fast rules with the article to tell us whether we're dealing with the universal or the particular. Oops, that's frustrating. All right. So there's two kinds of articles, you know, at least to start, we're going to deal with two kinds of articles, the definite and the indefinite. The definite uses the word the. Right. The lake is cool. Right. That's the word the, that's the definite article. The indefinite uses the word is either a or n. Right. A bird is flying. Right. That's the indefinite article. Now the points to a specific one. Now immediately, usually it points to a specific one. Now immediately, this might get you to think that we'll deal with a particular there. Right. The lake is cool. All right. At least one lake is cool. Okay. Maybe, right, but as far as, you know, that's concerned, we could also say the lake is a body of water. The bird is a mammal. I'm sorry, the bird is an avid. The bird is an animal. Depending on context, that can either be the particular or the universal. Right. So there's no, there's no hard and fast rules when you're dealing with a definite article to determine whether you're dealing with the universal or a particular. You have to rely upon context, you have to rely upon the meanings of the terms. And in some cases you have to rely upon, you know, which one's actually going to be true. Right. So the lake is cool. All right. Or, you know, that, that's fine. Is every lake cool? Not really. I mean, some get pretty warm. So I'm a dime refrigerant. Right. Or the lake is calm. Okay. That's probably a particular. Because not every lake is calm. So you have to rely upon context or rely upon which one's going to be true. Okay. That's the definite article. The indefinite article is pretty much the same way. Right. They can either be used for the particular or the universal depending upon context, depending upon the meaning. And in some case, which one's going to be true. Right. So a boat is on the water. That's true. Right. That doesn't mean every boat is on the water. Right. Lots of boats are in dry dock. Lots of boats haven't been sold yet. Lots of boats are sitting in driveways. So a boat is on the water. That's not true as the universal. It's true as a particular. It's true as a particular a lake is a body of water. Well, yeah, that's true as universal. Right. There are no lakes or not bodies of water. Right. Okay. So, you know, as a matter of fact, the indefinite article doesn't determine necessarily whether you're dealing with the universal or a particular. You have to look to context. You have to look at the understanding meaning of the terms. And again, in some cases, you just have to rely upon what's true. Right. You're not to figure out, okay, was this going to be true as a universal true as a particular I mean, it can be both in some cases. Right. Not every case can be both in some cases. And again, sorry, English has lots of rules and we'd like to break them. So there's no determined way to figure that you're going to have to comprehend what's going on. All right. So let's take a look at the proper article and the absent article. The proper article looks a lot like the definite article because it uses the same word. English got to love it. So the proper article is used to indicate like a singular thing. Almost like a name. So the White House, the Pacific, the winner of the race. So the proper article gives us one and only one thing is what is happening with the proper article. And as far as chemical articles are concerned, yeah, they work just the same way as the Singulars. Right. Remember we dealt with Singular earlier? Well, when we're dealing with the proper article, they're treated as universals because it's the one and the only one. Now, the proper article is used most on what we're dealing with like a name or something kind of famous. Right. Even if a couple of generic terms are used for, so the White, that's a generic term, House, that's a generic term, but the White House. Right. Now you got a name for something in particular. Okay. So that's the proper article. The proper article gives us one and only one thing. It's like the singular categoricals, like the categoricals of Singulars and is treated as a universal because it's dealing with every member of the subject because it's just one. The absent article is when there's no article to be found whatsoever. Lakes are bodies of water. There's no article there. It's absent. It's gone. It's mysterious. Lakes are bodies of water. Yeah. Right. That when we're dealing with the absent article, we're dealing with the kind of the implicit presumption is that it's all of them. All of them. If you don't have an article and you're dealing with like maybe just one thing, bird flies. Yeah. That sounds, that's even, that's even too harmful for, you know, even for English, right? That sounds too weird, even for English. So when we're dealing with the absent article, the implicit presumption that it's, it's, it's universal. And it, you know, where the proper article is dealing with just one, the absent article looks like it's dealing with all of them. Right. Um, if, you know, if I start speaking about myself in the third person, right, with an article, Dr. Haugen is shooting video right now. It's like, okay, what's wrong with you? I was like, Oh, no, that, that, that sounds weird. So the proper article and the absent article are both treated as universal categoricals. Right. The proper article is because it's a categorical singular and the absent article because we're dealing with all of them. All right. So we have categorical singular, the definite, the indefinite, the proper article, the absent article. All right. I'm done dealing with articles. Let's move on to some weird things that happen with copula. We deal with the articles. Now we're going to deal with the copula. Now the cop up to this point, primarily when I deal with copula, we'll be dealing with the to-be words, is, at, is as it was, was, was, were, be, being, being. Right. Okay. But there are, I mean, English, again, I keep beating up on English. I like English don't get me wrong, but sometimes it can be frustrating. Um, there are other words that can be used as copula, frequently in English that, you know, indicate that the subject is, you know, described by the predicate. So birds have wings. All right, birds have wings. That describes birds, right? But the copula there is now have. You know, possessive verbs have, has, have been. These also can also be used as copula. You know, the to-do verbs, right? The to-do verbs, did, do, done, right? These are also used as copula, right? So Jack did the half mile, right? Okay, well, you know, that, that means that Jack ran the half mile, right? Jack is amongst the people that ran the half mile. Okay, I did the dishes, right? The did, you know, the to-do verb there, did the verb, did the dishes. That is the copula there. Even, you know, got, right? I got sweaty, right? That's, you know, version of the, you know, the possessive verb. But, you know, that, that's still, the predicate still describes the subject. So sometimes the copula verb is going to be, you know, non-standard. It's not going to be the to-be verb. It's actually a long list of these things.  If you're curious, look them up. And, you know, earlier we talked about absent articles. Well, sometimes the copula is absent, too, right? Sometimes the copula is absent, too. The lake flows, rather sorry, the river flows, right? The river flows. Okay, well, that's a subject. It's actually also, so we got the definite article, right? We have the subject, the rivers. No copula, but the predicate flows or flowing, right? That tells us that, that, at least that river is amongst the things that flow. Now, here's an interesting question. Is the river flows, is that a universal or a particular? I mean, it could be understood out of the way, right? Where the river talk about all rivers, or the river, that river that we're talking about. Yeah, so that's an interesting sort of question. Whether the river flows is going to be universal or particular. And again, you know, say this again, that depends upon context. So I have to probably look at that one sentence amongst all the sentences in that paragraph or whatever you're reading, right? All right. So we have the non-standard copula, and you have the absent copula. Now, whether it's non-standard or not, that's not going to determine whether it's an affirmative or negative. Probably, I'm going to hazard a guess here, but I haven't thought about this, so, you know, I might need a backtrack later on. But I'm going to guess if the copula is absent, it's always an affirmative. But, yeah, let's put a thumbtack on that, right? Or maybe, you know, maybe the idea is, if you have no clue, right? Guess affirmative. But, you know, what the copula does is tells us whether the predicate describes it or not. So you have to look into context, you have to look at the meanings of the sentence to determine whether the predicate describes the subject or not. That's going to determine whether it's an affirmative or negative, right? So, yeah, English is fun. We got all these rules and we love to break them. We have these categoricals, and what you have to do, what you're expected to do, is to be able to identify which of the four kind of categoricals you have and the parts of those, the parts of the categorical. The quantifier, the subject, the predicate, the copula, right? So, here's birds fly. Well, now the quantifier is absent and the copula. So, is it a universal of particulars, an affirmative or a negative? Fish swim. Animals breathe. Sun shines. Quantifier's absent. Copula's absent. You still have to identify which kind of categorical it has. You know, if we, if the parts are missing, well, okay, then the parts are missing. And you just kind of note that. But the, but what's important to remember here is anyway, we got four kinds, universal, affirmative, universal, negative, particular, affirmative, particular, negative, what makes a universal particular, whether we're dealing with all members of the subject or just, or just some, or at least, I'm sorry, not just, at least some, right? At least one, affirmative or negative, whether the predicate describes or is not, just does not describe. All right. Those are our four kinds of categoricals. Believe it or not, this is just getting started. This is the really easy stuff, getting started with logic. When we have to think about nexus, well, then what can we do with these? What inferences can we make?


on this edition of Titans All Access. Are you ready for some December football? The Tennessee Titans are and they're ready for a game at Nissan Stadium. The Titans host to Cleveland Browns and John Robinson has a full preview of the rematch of the 2019 season opener. A.J. Brown wired for sound and wired for action from Indy. Beneath the surface diagrams outstanding Titans offensive line play and you'll meet kicker Stephen Gaskowski in the Nissan Insider. All that and much more on Titans All Access which starts right now. The monster Derek Henry. Welcome to Titans All Access with Amy Wells. I'm Mike Keith and this is your home of the first place Tennessee Titans. First place in the AFC South after a huge win at Indianapolis last weekend 45 to 26. But on this edition of Titans All Access we're moving on. Last week is last week. This week is this week. The opponent Sunday 1202 central time to Cleveland Browns. And so we're going to jump right in. No, we're not. Mike, that's a horrible idea. That was the one of the biggest wins all season. Beat the Indianapolis Colts at Lucas Oil Stadium. I'm living in that moment. Don't take this away from me. You're calling it audible. I'm not even calling it audible. I'm demanding an audible. She's demanded an audible. I want to see it. Show me the highlights, Mike Keith. Today, Tennessee tries to even the series with Indianapolis knowing that Sloppy won't cut it here at Lucas Oil Stadium. Right side, Henry to the 10, to the five, to the end zone. Touchdown, Henry catches a TD. 25-20, 15, 10, five. What a sliding grab by Davis. Henry on the left side. So we turn from last Sunday's big win to the next game on the schedule, a home date with the Cleveland Browns this Sunday at Nissan Stadium. Time for our Farm Bureau Insurance Scouting Report with the general manager, John Robinson. And John, as I look at Cleveland and I watch how they play offense and defense and how they run special teams, new coach Kevin Stefanski seems to have a plan in place much like what the Titans want to do on a week-to-week basis. Do you see the similarities? Yeah, I mean, I think there's some carry over there between when you start to look at both clubs. They're pretty multiple on defense. They'll play a four-man line with three backers. They'll play a three-man line with, they're outside linebackers slash defensive ends in a two-point stance, much like we do with our guys. Offensively, it's a big offensive line. They try to lean on you. Couple really good running backs. A lot of tight ends involved in their packages. A lot of play-action paths, a lot of bootlegs. So there's a lot of carry over similarities, I would say, between our team and theirs. Now you mentioned their running backs. They have two guys that are pretty dominant in Nick Chubb and Kareem Hunt with 700 yards, over 700 yards rushing. How is it that they are able to generate their run game no matter who's back there? Yeah, I mean, I think it starts up front obviously with the line. It's a big line. It's a tough physical line with a first-round pick on the left side and Conklin obviously over there on the right side. Try to move guys off the football, get downhill. They do a really good job of hitting cutback seams, both Chubb and Hunt do. They're similar built backs. Stature-wise, they're both compact with really thick, strong lower bodies that can take on that load on the inside running game. Jarvis Landry, the veteran receiver, eight catches, 143 yards and a touchdown at Jacksonville on Sunday. How does this guy keep doing it and why is Jarvis Landry such a matchup problem for opposing defenses? Well, he's such a smart football player, Mike. They play him outside, they play him inside. There was a play that we watched as a team earlier this season where they needed to clock the football and Jarvis noticed something formationally that was a ride. He's yelling at one of his teammates to get on the ball so they didn't get a penalty and have a 10-second runoff. He's dependable, he's got really strong hands, good in traffic and he's really good with the ball in his hands, so, you know, he's been a problem in this league for a long time. Baker Mayfield continues to make plays at quarterback. Why is he so effective in this offense? Well, I think they're doing a good job of utilizing this skill set. You know, he's got a good arm, but they're moving him around. He's an athletic guy. They're letting him get out on the perimeter on some of these boot passes and getting these tight ends involved and crossers in the play-action game. You know, really playing off the ability to run the football and things are opening up for him. John, have the Titans faced any team this year that posed the specific challenges that the Cleveland Browns will this Sunday? Yeah, I mean, we've played some really good football teams, Mike, but, you know, this is another one this week as, you know, as evidence with their record. You know, they've won eight ball games, so they've beaten a lot of good football teams as well. They've got a, you know, they've got a potent offense, a potent running attack with playmakers with tight end and receiver. They're aggressive defensively, you know, with playmakers really at all levels of the defense. We'll have our work cut out for us. That's for sure. John, thanks so much for being with us for the Farm Bureau Scouting Report of this week's opponent, the Cleveland Browns. Thanks guys, always good seeing you. All right, when we come back, it's time for the coach himself, Dave McGinnis, to join us for this week's Beneath the Surface. Stay tuned for more Titans All Access. This is Coach Mack. Welcome to Beneath the Surface. Powered by Microsoft Surface. Today, we are going to look at the extraordinary blocking by everybody on the offensive unit that led to Derrick Henry's huge day running the football in the first half, 140 yards, three touchdowns. Let's watch and see, out of various personnel, what they did against a very good run defense in Indianapolis goals. First thing we've got here, we've got motion by the tight end of the cross. He's got a yo-yo motion back. This is a deceptive play. This is called a belly flip. Watch the motion as it comes back. Attracts the eyes of the linebackers at the second level.  Everybody pulls, number 72 out front, great block. This is an extremely, extremely well thought out play, very well blocked by everybody on this offensive unit. Nice deceptive play, big game for Derrick Henry. Now we're looking at first intense on the 12 yard line. Look at the blocking downfield. This is a run. This was a lateral thrown behind the line of scrimmage, behind Derrick Henry. It's labeled as a run, but I wanna highlight the blocking. Watch the cut block on the right side by Kelly. Then watch the downfield blocking by the wide receivers. Everybody hat on a hat. You're gonna hear me say a lot of that through this presentation. Hat on a hat. Everybody's creating scenes for Derrick Henry. And then he does what he does best. Head towards the goal line, touchdown tight. Let's take a look and see what they do now. Now the tight end comes back in the backfield. Now we've got an eye formation. The front is still set to the right. Look at the huge hole that's created because they confused Indianapolis' front the way they've got it set. And then watch the gaping hole that they have. Watch the blocks across the front. The offensive lineman do a tremendous job. Watch your full back. That was the tight end that moved back there. Come up nice block. Then Derrick Henry with that much room when he can get to his fourth or fifth step.  This is a great job of manipulating the defense with formations. And then everybody getting a hat on a hat again and creating huge holes so Derrick Henry can get running very, very quickly. Now what we're gonna look at. Last game, watch his block. Watch the rest of the blocks across the right side of our offensive line. They move the tight end off the line of scrimmage to get a little bit of eye candy for the Indianapolis defense. And then this is a pure weak side lead. This is basic football, weak side lead, man on man. Great, great area for Derrick Henry to stick his foot in the ground. He gets this close to the goal line. He's going in. Now this is an onside kick. Watch the onside kick group block. Everybody coming down. The kicker kicks it short. And AJ Brown, a very alert. He attacks the short kick. He attacks the football and has got a clean sailing into the end zone. Watch this group on the hands team. Block up front. AJ Brown attacks the short kick. Touchdown Titans, a great exclamation point to a tremendous offensive day for the Tennessee Titans. When Titans All Access returns, AJ Brown scores touchdowns and even predicts them. Wired for sound is next. AJ Brown is good at football. He's good at a lot of things specifically within the game of football. Let's think about this. He's good at catching. Yes, he's good at catching. He's good at run after catching. Yeah, yeah, he can run. And he's good at predictions. He is good at prediction. He is. As you will see in this week's Wired for Sound from the win over Indianapolis, AJ Brown good at a lot of things including calling his shot. Today, Tennessee tries to even the series with Indianapolis near at Lucas Oil Stadium. I think they had me. I think they had me. I think they had me. I'm a crew. The highs and lows. I love the lows, but to be able to get me right, get me ready for the highs, what I'm telling them. Smith, motions to the left, Tannehill in the gun. Blitz coming. Tannehill firing, pass caught. Brown 45-50, 45-40, 35-30, 25-20, 15, 10, 5, end zone. Ladies and gentlemen, Arthur 1 Brown, 70 yards. Touchdown! Buddy, yada, yada, yada, yada, yada! That's what you do, bro. That's what you do. I don't even touch the yards. I just play. After the game, I don't even touch how much I got. Whatever I get, whatever I get, I get. You running that thing, what? High formation. Tannehill gives Henry on the right side, trying to get to the corner. Henry had to wait for the signal, but the big man got it inside the pylon for the big six. Let's get this one, that's easy work. That's easy work, two, two. Looking downfield throwing, caught. Brown with an excellent catch at the mark. Boy, that good on Sunday, bro. We on Sunday. Here they come, Tannehill firing complete. Right side making the catch is Brown. If I return to the onside kick, I'm going to go with my receiving yard. Sanchez to kick off. Onside coming. It's at high in the air, the tights catch it. 30, this one in the bank. I caught him. I love you, baby girl. Final score, Tennessee 45, Indianapolis 26, as the tights come to Andy and get it done again. Love wired for sound. I do too. Always good. Yes. Next up, something else we love, the Nissan Insider. Let me give you a hint who it is. OK, could be anybody, I don't know. Fred Astaire, no. Actually, it's Steven Gaskowski, the tights kicker. He's next on Titan's All Access. I think I was thrown off by your form. The form was excellent. It was not good. It was a pun or not a kick. That's probably. Welcome back to Titans All Access. It is time for our Nissan Insider. It is kicker Steven Gaskowski. In his first year with the Tennessee Titans after 14 highly successful seasons with the New England Patriots. But for him, a lot of the storyline of 2020 is coming back home. Not, I'm sure. Made the Tennessee Titans an appealing place for him. That's right. He's from Madison, Mississippi, which is just outside of Jackson. But he was a Memphis Tiger, played football, and was a baseball player there. And he's glad to be back in Tennessee, where it all started years ago. Steven Gaskowski, Gaskowski's kick is up, and his kick is. I want to ask you to begin with, if everything we heard in the off season was true. And that is, your interest in playing for the Titans was predicated by a move of your family to Middle Tennessee. Do I have that right? I mean, that's part of the story. I mean, my wife's from Memphis, and I went to school in Memphis, obviously.  We decided that the greater national area was going to be where we were going to go. And I was lucky enough to have an opportunity to try out for the Titans. It seemed like a good coincidence not to turn down. After a wildly successful career, how hard was an off season of so many things being up in the air about what came next for you? I mean, I'm not going to say that it was hard. I mean, there is a lot of uncertainty. Anytime you get to play for a long time in NFL, you've got to consider yourself blessed. I was lucky enough to get 14 years in up in New England. And you played this long. It's icing on the cake on top of it. It's a tough business to be in, because it doesn't last very long. And there's a lot of uncertainties. And you're always a couple of games or an injury away from never playing again. And I think the hardest thing was just rehabbing my surgery I had last year kind of on my own doing Peloton workouts and watching YouTube videos and working out on my own. So I think that was the hardest thing. And only having one week of practice before the first game was odd. But I think everything about this year has been odd. And just kind of have to roll with the punches. Things don't always go your way right away. You just have to keep your head up and persevere and move on and try to help your team win. Tell us about your family. What about your children? Yes, I have three kids. I got two boys and a girl. I got a 10-year-old, a seven-year-old, a four-year-old, Slade and Gannon and Lila. And they've become great, great big Titans fans now. So it's pretty cool. I think I've seen them in the stands already, haven't I? I'm sure if you saw the only two kids, two boys with number three jerseys dancing around, that's probably them. How has that changed your perspective about your job as an NFL player? Having children who are now old enough to really know what's going on in your life? It's cool. I mean, it's pretty funny, but I guess some of your words come back to bite you in the butt. I missed a kick the other day and my son comes home and he tells me I need to practice some more. So you got some stuff like that going on. It's kind of hard to argue with him because every time he does something wrong in his sports, I tell him we need to do more practice. So I guess you learn a little bit from your kids. And I've been very fortunate and blessed. I mean, my oldest son has been to five Super Bowls, which is crazy to think about. And it's kind of cool, but at the same time, I don't think they realize how lucky they are being able to experience going NFL games all the time and playoff games and Super Bowl parades and stuff like that. And hopefully one day they'll really get to appreciate it. Would you have thought 20 years ago that you'd be pitching in the big leagues or kicking in the NFL? Well, in my whole life, I wanted to play baseball, but my kick stopped curving and my curve ball started going a little bit straighter and that kind of made the decision for me. Well, you've had a lot more success than failure in your career. And for Titans fans, we think about the 55-yarder at Minnesota to win the ball game. It's a long kick to start with. And it was your sixth kick of the day. So when you're going on to the field at that point, I'm dying to know, what's your mindset at that moment? Well, a day like that where you've already made a ton of kicks, that's when it becomes kind of easy because you're just in the zone and in rhythm and you feel really good. And you live for moments like that because those are the moments that you can show that, what you got mentally. And then you can really prove yourself to a team. I think, to me, the most important kicks happen at the end of the game. And those are the only opportunities where you can really show a little bit of toughness at our position. It makes you feel alive. It makes you feel like you're really part of the game and was thankful for that opportunity. We're thankful you're here. And we hope that your son, your oldest son, can go to his sixth Super Bowl come February. Amen. Always great to hear from the kicker. But you know what else is great, Mike Keith? What's that? Your keys. Oh, thank you. Yeah. That's my favorite part of the show. And it's coming up on the other side of this break. Stick around. On the next Titans All Access, we're ready to hit the road for round two with the Jacksonville Jaguars. We'll introduce you to all 10 of the 2020 Tennessee Titans Mr. Football Award winners. John Robinson, Coach Mack, the Nissan Insider, Mike, and Amy. It's a really big show. The next Titans All Access. Mike Keith, I can't wait any longer. Give me your keys to a victory over the Cleveland Browns. Key number one, very obvious. Cleveland has the number one rushing attack in the NFL. Titans just can't let them run the ball the way they want to. Big stat for Cleveland is not 161 rushing yards per game, to me at least. They're most impressive stat, five yards per carry. So whether it's Nick Chubb or it's Karim Hunt, got to get them on the ground and keep them from getting that run game started. You've got to win the line of scrimmage with your defense and not let them run the ball. All right, yeah, you're right. That's pretty obvious. Do you have another key that's less obvious? Not really, but here's the second one. The second one is take care of the football. The Cleveland Browns defense has forced 17 turnovers this year. That's a lot. They do a good job taking the ball away. And so just like you did in Indianapolis, take care of the football. This is a team that makes plays on defense. Don't let them do it. All right, give me your third key. I'm assuming it's something also incredibly obvious. Captain Obvious here with another one. And I'm talking about Miles Garrett and Olivier Vernon. They have a combined 14 and a half quarterback sacks. Please protect Ryan Tannehill. Take care of the Titans quarterback. Three very obvious keys, but it's December. I think all secrets are out the window right now. Yeah, I mean, those keys were basically do football things well. Yes. Keys to the game. Yes, but we're in December, two, eight and three teams. You'll be able to hear the game on Titans Radio beginning at 11 a.m. Central Time. Kickoff set for 1202 Central at Nissan Stadium. We look forward to another showdown in the AFC. For Amy Wells, I'm Mike Keith. Thanks for joining us for Titans All Access and we'll see you next time.


What do you think of password? It should be easy because right now I have an iPhone and then all my banking app, I don't use any password.  So if I can do that for such a secure application, why do I need to type and remember a password for logging into Google or GitHub? I think maybe a little bit of history changed. So as we discussed earlier, that option may be a bit of a resistance. People go something new, but I always started to remember my password and then use some tool which I have to pay to manage all these passwords. And then I'm scared that can get lost when they are hacked, I mean. So something happens like that. So NASPAR, so one password for the tools can kill the battery. So maybe cost, I don't use a Windows or a Mac, so I can use my ID and all with the bus key that it sells safe for all students.


John Marshall is one of those great, great instances of cronyism because a lot of people you learn about John Marshall, I took APU as history when I was in high school. I've read a lot of history books. I've read a lot of stuff on John Marshall and his constitutional opinions. And you got all these people. It's the great man of the court. The great John Marshall. He's the big government advocate. What? None of the, you don't learn this at all. And I just find this simply astonishing. Borderline scandalous is two things. One, that John Marshall and his brother James were enormous land speculators, right? So you're dealing with someone who's like, who has dealt with immense amount of land speculation, including in Virginia, and that these guys are also linked with, who was at the time in the 1790s, one of the wealthiest richest men in America, Robert Morris, James Marshall, John Marshall's brother, had married the daughter of Robert Morris and they had engaged in various speculation schemes together. So when you read this, you're like, whoa, whoa, wait a second. Why was I not informed of this at all? Like this might influence some people's opinions of this man. And John Marshall was someone who was very concerned about what would happen in the Yau Zoo. What would happen with the Yau Zoo claimants? Because John Marshall was undergoing, he was suffering a similar experience in Virginia. There was a large land grant in Virginia that now the Virginia legislature had wanted to rescind. The Marshalls were involved in it. They didn't want that to happen. So the case of Fletcher v. Peck, all right, which is a Supreme Court case. This is John Marshall recalling what we spoke about in an earlier podcast regarding judicial review used to protect federalist cronyism. John Marshall is using judicial review to overturn a state law, Georgia, basically rescinding the Yau Zoo land grants and saying, nope, can't do that. You gotta provide compensation for them. And okay, so why do you want to do that? Obviously, John Marshall was a big government person ideologically. He wanted to find some defense of this using the contract clause and all of that. But he also clearly wanted to protect his own land speculation. So he wanted to set a precedent for this. And you saw this in later Supreme Court cases where basically the Supreme Court upheld the validity of the Marshalls titles to land in Virginia. Now, to be fair, Marshall had excused himself from these various court cases. But Joseph's story, who was also on the Supreme Court, he was someone who had also worked for land speculators. He had also worked for the Yau Zoo land speculators. He's basically doing Marshall's dirty work on the Supreme Court. So it's all fascinating story. It's similar to the George Washington, moving the capital to benefit himself. This is just a very simple, tight explanation of just personal cronyism. And what makes it all the more remarkable is this is a chief justice. This is supposed to be a person who's above all this. He's a great legal analyst. He's kind of making deals basically to line his own pockets. And you're going, well, it's good to know nothing's changed in the United States history.


We'll now continue our discussion right away with the next panel, spotlight on Rijeka museums. We unfortunately can't be in Rijeka. Tiana was already mentioning that we should have been there, but 2020 is a weird year, so we are all in front of our screens, but that doesn't mean that we can't learn about what our colleagues in Rijeka's museums are up to and what the latest developments are. So I'm giving the floor right away to Dargo from ICOM Creature. Actually, this whole panel, and this is maybe what I want to say, has been conceived by our colleagues from the Creation Museums Association and ICOM Creature, Vlaster and Dargo. And thank you very much once again for your input and the willingness to contribute to this. So Dargo, the floor is yours. Thank you, Julia. As you said, and as it was said before, sadly, really sadly, we are not in Rijeka, just to give you a short illustration, colleagues will do that much better than me. And because even myself, I'm sitting in Zagreb, the capital of Croatia, not in Rijeka.  And that's just part of the reason why we are also sad that we are not there. Anyhow, the situation is as it is. And the only option we had is to organize the panel and to put the spotlight on the Rijeka Museum this way through the online session. And for the most, I would like, as Julia said, this session is organized by Creation Museum Association, together with me, I can Croatia partly, and of course, colleague from Rijeka Museums to give you some kind of overview. It's not possible to give the entire idea of Rijeka as a city. And the surrounding of Rijeka as well and as a museum and heritage in 45 minutes. Anyhow, we will try to do it in next one hour, with a showcase of four museums based in Rijeka, just to give you idea of not only what you are missing or what we are all missing, sadly, but idea of complexity of the city and the diverse heritage Rijeka indeed possess. As we had in our previous sessions here too, you are welcome, all your attendees are welcome to, you know, put your question in the chat. We will try to answer some of them probably. It will not be possible to answer all. Anyhow, we will try to do as much as possible. So not to steal the time from my colleagues. I will just introduce now our first panelist in this session and that's Zelka Modric-Surina from Natural History Museum of Rijeka. So, Zelka, please. Hello, everyone. I hope you can hear me. As you can see, I am currently very happy to greet you in front of our museum, in front of the building of the museum. Happily, the weather is fine. Although Rijeka is a pretty rainy and pretty windy town, I am situated in front of the museum because of this epidemic situation. My other team is working in the museum and we are not supposed to mix. So I will share my presentation with you in a bit, just a second. Okay, so this is the building of our Natural History Museum in Rijeka. And this was supposed to be a short movie, sorry. Just a movie clip to introduce you to our museum. I hope you will be able to... So this was a short introduction to our museum. Our museum was founded in 1876 by the Natural Historian Josef Roman Lorenz and the conception of the museum was done according to the Vienna Natural History Museum and it was meant to be a regional Natural History Museum as it continued to be till today. The museum was founded in 1945 as the first museum in Rijeka, the oldest museum and it was opened for public visiting in 46 a year after the Second World War. About our collections, as Darko said, we have the opportunity to work with a very diverse region, very diverse in a sense of natural history and biodiversity. So we treasure about 90,000 of specimens in our collections and our collections represent minerals, fossils, plants, animals from our region as being regional museum. We do most of the collecting ourselves beneath the sea or on the land. Our exhibitions, our permanent exhibition is of course promoting the natural history of the area, not speaking about some distant places, but our own region. And we try to make it as interesting as possible. So recently we have developed an anti-exhibition that was done in 2014. And the anti-exhibition is the exhibition where nothing is exhibited until you want to see it. So everything is in dark until you approach the exhibit. Once you approach the exhibit, then the exhibit is shown but without any interpretation. If you want to see the interpretation, you have to actively engage and use our application. So this is a really researching experience for the visitors and we have it only in one part of our exhibitions because to visit the museum in this exploring way, the whole museum, it would be very demanding for our visitors. We also do a lot of temporary exhibitions. This was an exhibition of Patagonian natural history, the giants of Patagonia, the dinosaur skeletons that traveled from Patagonia to Rieke and we used an old warehouse to exhibit this exhibition. Since we have a very small building, we use the public spaces as much as we can and we have exhibitions on airports, fisheries, parks, other museums, city streets or squares. We also have living parts of our museum because this is the best way to represent the natural history, the fragile beauty of living beings to our visitors. This is the best way to make them connect and feel concerned for the endangered species also. And in our museum in 1947, there was a small zoo and aquarium that was open. The zoo and aquarium were closed because of the bad conditions for the animals because everything was really small and not made in the best ways for the animals. But today we try to have botanical garden that I'm sitting in right now and that represents about 100 of plant species that are characteristic for our region. And also we have several initiatives to start with botanical gardens and real big aquarium here in the city. We give a lot of intention to different communication and education programs with our public. So every year before this COVID situation, of course, we had about 400 different workshops for different public target groups yearly.  So these 400 workshops in 365 days is a lot. But in this way, we try to engage the community and we've kind of developed a good communication with our local community. Today we have a lot of trials to do educational and other communicational activities online. So we have started with making our own little documentary movies or that are on our YouTube channel. And we kind of try to compensate with this lack of physical contact with our public. We also do scientific research as our regional research center. Regional biodiversity is really very rich. Our curators are very motivated in scientific works. So we've done a lot of explorings and we also discovered some completely new species that were not known for the science before. New plant communities, new animal bio, new animal communities and et cetera. And we have these whole type specimens, the specimens that are the first representatives of some new species in our collections that are the most valuable part of our collections. We are also engaged in protection of nature, natural habitats and species. We use our knowledge and the data that we have in our collections to actively participate in different projects concerning active protection of nature while helping some species or some habitats to survive all the changes in the environment. And this was especially challenging for us during this Rieka 2020 year where Rieka is a capital of culture because there were several great participatory projects done within the program of Rieka 2020. One of them gave the local communities and people the power to make our city greener but the understanding of a greener city and helping biodiversity by public is not necessarily the correct one. So we had a few examples where very good intentions were not so good for nature. And this was a pretty challenging year for nature protection in Rieka actually, although it sounds probably very weird. We also operate in a very small town in a mountainous area of our region in Brodnokupi. This is a small town situated on the border with Slovenia. And we inherited some hunting, fishing and the forestry exhibitions there that we are just currently completely remodeling to a very new permanent exhibition representing the diversity of mountainous areas in our region and coming from the karst underground till the mountain tops and skies beneath the mountain tops in this mountainous region of Croatia. The opening of the new exhibition is planned in December. So I hope that there will be other opportunities for you to visit Rieka and also this small town of Brodnokupi. And just to conclude about our museum. So we have different and interesting items in our collections coming from 500 million years ago, coming from great depths of the sea, coming from great heights of the mountains, coming from about 2,000 different localities. And we try to use different ways to communicate the importance of the natural history of our area, the diversity of it and the need to preserve it to more than one million visitors we had since our museum was founded. So in short, this was an overview of our museum. Hope you were able to see it. Thanks a lot, Jelka. I could confess as it's worth to go there, it's worth to visit your museum. And now we are moving just few, less than 100 meters away to Anatomac. And that's the Meritimen History Museum of Croatian Coast. And I'm inviting Vana, she's with us, to share part of their experience, part of their story. Please, Vana. Yes, of course. Thank you. Hello to everybody. And thank you, Darko, but also to the organizers for this wonderful opportunity to present our museum. Just let me share the screen. So our museum has a very long name, Meritimen History Museum of the Croatian Literal Rijeka. It is regional museum, such as national museum that Jelka just presented for the regional. County. And also it belongs to a type of complex museum, which is reflected in two aspects. First being that our museum comprises of several very different departments, such as archeological, ethnographic, maritime, art history and cultural history. It collects, preserves and partly exhibits over 60,000 at the museum exhibits divided in 47 museum collection. But the other part of our museum being complex, it's regarded in the fact that all that museum preserved heritage is very often in need of multi-perspective interpretation because it was created in the cultural crossroads between the European East and in the European West. It was created in the midst of diverse, sometimes joined, but sometimes confronting identities. Some of them, for example, regarding our unique geographical position which comprises of maritime but also continental highlands components. Then regarding our very rich cultural, linguistic, ethnic influences which have accumulated over the centuries. Then regarding our very unique political and social influences as well. So if you were living in Yereka in the 20th century, it was most likely that during your life in the United States. Also, there are some other more general, we can say, similarities which manifest between rural and the herbal and something then the whole spectrum in between which can manifest between the genders and so on. Another thing, our museum also covers a very large timespan from prehistoric times until the modern age. So it has accumulated also all sorts of human experiences as well. Some of them are challenging. Others are relaxing. Some of them are dealing with vanity and others with substance. Some are dealing with creation and other with destruction. Some are inviting and the others are defensive. And then some are dealing with traveling, distant places and surviving. And the others are dealing with returning home. And in our museum case, home is our governor's palace which is situated in Yereka which is a wonderful, wonderful exhibit in itself. It was built by the end of the 19th century by the Hungarian government. And now it is preserved as a national cultural heritage. Also, governor's palace is a home of our permanent and temporary exhibition of our educational program. It is the meeting point of our present and test. It is a place of making sense but museum making sense is an endeavor that cannot be achieved without good cooperation and partnership with the local community. So over the years, we have recognized and supported several local, mostly bottom-up initiatives which were aiming at local heritage protection. So we have gathered and institutionalized several dislocated collections and made them museum subsidiary units such as ethnographic and archeological units on the island of Kirt, Tzitzki, and Dobrin. Then we have a wonderful maritime collection in the oldest still working shipyard on the east of Adriatic in the Krajevice. We have a beautiful local museum in the old city of Kasta. And then we have a memorial center which we opened in the village neighboring to Slovenia, Lipa. Memorial center Lipa Remembers. I will say a few more words about this, our dislocated unit because it deals with a very difficult heritage. The museum was dedicated to the atrocities during the Second World War when the Nazis and the fascists in just a few hours killed 269 people from Lipa and burned the whole village to the ground. So the permanent display of the memorial center is composed out of two opposing strength holds. So in one hand, we have a continuity of living in Lipa from the prehistoric times until today and on the other hand, we have a horse of war. We have life opposing the death, good opposing the evil. And in that sense, we wanted to emphasize the local identity. We wanted to present various local heritage as a testimonies on profoundness of life so that museum can contribute to recovering the main effect of trauma that is one's lost sense of meaning. The home museum here in Lipa was entirely conceived with the cooperation of the local community. Four generations of surviving people of Lipa. So today, they are considering a museum to be an extended part of their homes. It is their platform for communicating, mediating their memory. And also are quite involved in creating and implementing all the museum programs. And in programs, we are trying to combine community engagement with the culture of remembrance and then with all sorts of contemporary art forms as well. We wanted in that mix to research what are the museum's potentials to contribute building world's peace. So we have tried, as you see, very much to include people in our museum, but not only as visitors, as spectators, but as contributors to everything the museum is doing. And we weren't still satisfied enough because all that we were doing was not systematic. It was not permanent. In order to achieve those two things, we had to go back to the main structure, to the existing structure of the museum, whose work is governed, is managed out of two instances. First being governing council, which is dealing with the financial and general museum business. The other being expert council, which is dealing, is composed out of museum experts, curators, educators running core museum business. And then there is director who is balancing between. So we thought it was very important to integrate within this museum structure another instance that will manage museum from the perspective of its users, the citizens. And do that through the organization of civil society. So our director founded Civic Museum Council, organized composed out of five NGOs. And for the past few years, they have been intensely working in defining their place within the museum in creating a framework for their activities and responsibilities. They were delivering all sorts of documents regulating their work and positions such as strategy, rule of conductment, conduct rule book on criteria for selection of new members and so on. And by adopting those documents by our museum director, our museum became the first in Croatia to fully implement participatory governance. The decision of the first convocation of the council was that council should always be comprised of six members, one always being museum and the other five coming from the NGO. One of them always has to represent the socially excluded groups. The others come from all other sectors of the civil society, health education, sports, culture, social policies, whatever. Every three years, the old members of the civil society are picking up selecting the new members. As for their duties and activities within the museum, they are obliged to give their opinion on the museum yearly programs. They are obliged to themselves implement one exhibition and two educational programs per year. That's minimal, they can do more if they're interested and engaged. Then they are collecting objects for the civic museum collection. Their administering digital online platform museum has installed for the public engagement. They are the administrators of that communication with the public online, via online. Also they are coordinating all museum participatory and multi-sector activities, and so on and so on. So we established the Civic Museum Council as our way of making the museum more sustainable and more relevant in the future. Thank you for your attention and that's it. Thanks a lot, my name. It was just as you can imagine now out of these two presentation, it is the diversity of the city and diversity of the region through, of course, natural history to the history and everything what one actually explained to us. And now moving even more, now we are moving to the Rijeka City Museum. Some city museum and the valid package will share with us some of experience of the city museum. So, valid, please. You need to unmute yourself first, please. Perfect, you can go on. Hello, once more to everyone. I want to tell you a few words about Rijeka City Museum. This little presentation have a title, as you see, Scattered Museum. Why we can hear on another, on another pictures. On the beginning of this presentation, I want to tell you a few words about biography of our museum. As you see, at 1971, we established as the Museum of People's Revolution. We work from 1976 in modern building, so called the cube. Why the cube, you can see on this picture. At 1994, we have a new role. We were reorganized and renamed as institution in the city museum of Rijeka. Last few years, four or five years, we have expansion on several locations. And this is the reason why I called, I have title of this presentation, Scattered Museum. The term scattered is stolen from tourism industry. We know for term scattered hotel. This is hotel, which function on several locations in the urban organism of the city. Our first location on square, Ricardo Zanella in the center of the city is of course, R the cube. This is the place for periodically exhibitions dedicated to the city's history or city's art. On this photograph, you can see, this is the new photographs and you can see unusual situation. Museum is not the part of USA election process. This is the moment of building of renovation for better use of energy. This process of renovation was made to last two years. Our second location is at Crashimiroa Street, 28. This is one Sugar Palace, former headquarter of Sugar Refinery. Sugar Refinery started his work, its work in the middle of 18th century. Later was part of Tobacco Factory and Factory Ricard Benchage after World War II. And today is museum of the city, new location. We opened this location few days ago. Museum's new space will be for first permanent exhibition about city's history. We have not until this moment place or conditions for our permanent exhibition dedicated to the city's history. You can see what was inside of the palace few years ago. Sugar Palace become most important exhibit of museum of course. Originally that was the biggest business palace in Habsburg Empire. And the starting point of Yakas industrialization from the 1750 until today. You can see on this photograph moment before end of building renovation and big interest of local inhabitants for this palace. Last three years we have bigger reconstruction of Sugar Palace as a part of future Yakas Art Square Benchage in the center of the city. This moment of reconstruction is also part of project of Yaka Capital of Culture, European Capital of Culture 2020. This is photographs from Hall of the Dutas. Another part of the palace is very close to the situation. Process of restoration of wall painting and the stucco's and other elements of interior during 70 years, during 17 years. And these photos are made I think one year ago. On this photograph you can see moment of three days scanning sculptures of the head on the front side of the palace for making replicas. This is not just a usual, this is not just everyone's usual situation because you can see on the hair of this guy on the wall of the palace, sugar cubes. This is the symbols of sugar refineries. Museum opened in 2020, few days ago, we have a big ceremony. This is our Friday 13, but it was a lucky Friday and we made first time in history of this museum permanent exhibition designed as combination of original objects, replicas of original objects, modern technologies and interactive way of thinking. On this photograph you can see hall dedicated to the story about Rieka's torpedo invention. This is the installation which included films, photographs, parts of original parts of torpedoes mechanism and interactive elements. Our third location is permanent exhibition on Rabitsa square four. This permanent exhibition have its title, torpedo of Rieka first in the world and everything happened in complex of the old railway storage house from 19th century. This permanent exhibition on the Rabitsa square four was opened in 2016. Our fourth location is at Užavska street in the center of the city. The city museum of Rieka together with the Jadrank Galenski laboratory Rieka is also living the pharmacy museum. This pharmacy museum was opened at this year as you see just one month ago. Our fifth location is ship Galleb. This ship was made at 1938 and from today's point of view it's a very good link between industrial heritage of the city and political history from this country and from this part of Europe. The ship is today in reconstruction process in shipyard in the city of Krajewica very near to the Rieka and we all believe that will be a very big futuristic attraction. The idea is to after reconstruction of this ship to give the inhabitants and tourists and all of other chance for visit this ship in the main city's breakwater today's ship I said in reconstruction but next year we want to see this ship in the center of the city as a big cultural monument of industrial heritage. This is a look inside of the city before reconstruction of course the chapter of the story from period of USLA President Josip Ro Stito he is very famous political figure all over the world and you can see original parts of the ship's furniture from the 50s and from the 60s everything is now in the process of restoration some parts are finished some parts are not but all from this since you can think how interesting is interior of the ship. So we have many locations but we believe that many locations produce many questions but we believe everything is easier when you work in a good team but we in museum have a very very good team we don't be afraid of this but it is very interesting conditions thanks to all of you. Thanks a lot, it was indeed interesting and as you mentioned the two locations you are running actually one open in October and one open four days ago on Friday as a course part of not only initiative connected with the European capital of the culture but also partly connected with it. I'm monitoring I'm guessing the others are doing the same there is some question in a chat and there is always some answers in a chat we will have some time at the end for a question in live but if you follow that you can find some of your answers over there to be quick and to have the time to give the floor to the museum of modern contemporary art and to introduce us to give us an idea about the fourth museum we are presenting in this session. Okay, hi everyone from this fourth spotlight in the panel on the museum of modern contemporary art with my fellow curator we will briefly unfold actually a response to the title and explore how contemporary artistic practices help us make sense. So some of you have yesterday had the opportunity to have a look at the museum's current exhibition of town dedicated to a famous character from our childhood which actually addresses different audiences unfolding many contexts. It is for once the playground for children but it also besides that it brings to public historical research on film production in socialist Yugoslavia as well as it explores different issues and social values such as friendship solidarity community building or ecology but it also brings to the museum which was established in 1948 in this post-war wave of building cultural institutions for a new society and since then has been renamed couple of times and actually also moved to couple of locations before settling to the current venue in 2017 a repurposed factory building in a former industrial complex so this situation actually gives the museums today its shape and identity and it is in the neighborhood that the City Museum of Prijeka just moved in and we believe this synergy will actually form new momentum such as the history of renaming and name changes and developments is inscribed in the developments of institutional policies as well as the understanding of art. In the museum programming lately the attention was on artistic practices of the 60s and 70s and relations we established today it was an important period in the history of art that embraced criticality and informed current artistic curatorial and institutional perspective. Such critical positions also the global artistic scene it was the period of exploring new and alternative ways of artistic production and presentation of art redefinition of the work of art and the change of conventions and questioning of the system of art. So such analytical and critical relations to art and its social context actually remains a main trajectory of the museum concepts and methods and Xenia will guide us through some examples of programs and activities at the museum. Hello I hope that you can hear me for all so thank you hello. We can hear you but we cannot see you yet. Okay but you can see the power point. Yeah we see the power point we can go on. Okay thank you. So also thanks for the intriguing conference and all the insights. I would show you short travel through the museum history. Our museum is also known as the Red House and it's actually the first tenant of the former industrial complex Likert Benchich where it moved three years ago after 70 years of relocation. The new building is also called a one million euro baby and it was adapted based on the principles of gradual growth with respect to the former industrial architecture. It was designed by Dinko and it was presented as part of the creation program for the Venice Bay annual in 2016 under the motto we do it. It is the space with an enormous potential and positive atmosphere. It is often referred to as the new city center or the extended city center. However we are still facing some limitations as the work has not been finished yet. So the second and third floor are still undergoing reconstructions and we are moving this first floor of the building. Because of that we are struggling with the lack of space especially for our collection and larger art installation. The collection or as we tend to call it the hidden museum gathers around 8,000 works of art with the focus on the second half of the 20th century and the regional art scene. Parts of the collection are made accessible online as part of the European Union Project Digitization of Contemporary Art and Portal Europana. Actually we are one of the first museums in Croatia to offer online presentations of our works. One of the programs that showed the collection was the exhibition by Rieka born artist David Mykovich for the opening of Rieka European Capital in 1990. The artist exhibited around 300 works on the three meter high pedestal. He presented the collection in an experimental way pointing to the issue of the museum's limited spatial conditions and also overstaffed storage rooms. So the excitement of discovering new artists establishing dialogue between the agonists have been part of the museum's history from the very beginning. The museum was entrusted with the organization of quite known large scale manifestations firstly salons, then international drawing exhibitions and then the Biennial of Young Artists of Yugoslavia. And this shows also points to the constant update of the museum's role. The traditional important part of the program are the exhibitions of works from our collection. We present the collection mainly every two years with flexible, changeable setups that also include parallel activities like workshops, play rooms especially for older people and also for youth. Equally important are the exhibition-based exhibitions and also case studies that deal with the changes within the modes of producing and exhibiting art. Relevant for understanding of contemporary art practices but also for broader cultural changes of great significance even more in corona times are the shows with international scope that bring together young artists and motivate new productions. Those shows are dedicated to urgent issues like migrations, otherness social-political upheavals for example smuggling ontologies or risk change projects that were European Union funded projects. Spialica roughly translated Get Together is another collaborative international project we gauge in. It is a project that is still evolving in the format of interventions in public space with around 20 productions per year. We plan to develop it further also in the Benchage district with a vision of the museum as a polyphonic space shaped through the imagination and we really hope that we could meet live in the Benchage district soon. Thank you. Thanks a lot. Thanks a lot, Branca and Xenia for short introduction as you can all easily imagine bringing four museums in 60 minutes it's not an easy task and the time for presentation was pretty limited. Anyhow, we have some 10 minutes at least to answer your question my phone is ringing, sorry. I will say for a beginning that as I already mentioned there is some question and a comment answer so already in the chat one about the Civic Council which one presented one already shared the link as a part of extra experience with that and in that relation we have question to one of course that the finances always kind of the question going on around and the question is for one is more or less working with the Civic Museum Council how much extra resources do you need to manage stay in touch communicate work with them so one can you share a little bit of that experience? Yes, it is a considerable source that you need and that is never planned when planning participatory programs your own time and activities that you will be sharing in that direction but there's another way of looking at it if you consider people, citizens are real partners in creating culture, defining culture then our citizen partner is no different than the designer than the other consultant any other part of the process that is now present so in my attitude I consider people from the Civic Council to be my co-workers like any other co-workers like other curators other educational workers in my museum I consider to be on equal level because it doesn't need extra energy because we are all doing the same thing and we are all collaborating so first you have to make a mental switch to consider them really as your partners in work okay it's always as we know it's always when you're doing any kind of there is more and the question about the finance will come partially off okay about the finance all the projects of the Civic Museum Council are funded like any other museum project so museum council is writing the project and applying the project for the ministry, the county like any other museum project so it's no different but I would also if I have okay I would want to take a bit more time okay thanks thanks Zelka I'm guessing you saw the question in a chat more or less it's how anti-exhibition if you will use the same words in Rijeka received by the visitors in Rijeka if the question is correctly proposed our anti-exhibition is really an anti-exhibition since when you enter the exhibition room everything is in dark except for the sharks because sharks are very big and we couldn't put them in the dark so everything else is hidden and once you come near the object and it's on then you are kind of surprised that there is something and if you want to know what this is you have to use our application and this thing with application is a kind of challenge for some people they have a natural hesitation to technology used of technology in our museum the elderly especially but general public like the idea they spend more time in this exhibition room that they used to do before we had this anti-exhibition with almost the same exhibits in the room so generally it is very good it is taken very good but it wouldn't be a good idea to do the whole museum permanent exhibition in this way because it is too demanding for the visitors they have to do something all the time and people are not people are reluctant to do this the whole visit to the museum Thanks, thanks Rieka and Branka and Xenia can you comment a little bit more about Balthasar city in Rieka the main idea behind it and what was the guiding through and main idea actually behind that can you comment a little bit about that we have questions about that and you please yourself sorry the exhibition at the museum is actually a collaboration with European Capital of Culture and their program line Children's House it is a new infrastructure for culture for children that is building up next to the museum in the same neighborhood with the city museum of contemporary art and it's going to open to be open next year it will be a place for children including film, contemporary art, but also a library so this was kind of a starting point to have a children's exhibition in Rieka another thing which is interesting is as sometimes or often many ideas developed from a footnote in an interview by the master the cartoonist of the Balthasar saying that in the second decade of the cartoon he was inspired by the vistas of Rieka to construct or to include it in the image of the Balthasar town formerly it was the mix of Zagreb and New York to shape Balthasar town and in the second decade of the cartoon was also an inspiration so this is another next link and the third one is in unfolding the exhibition with the designers and the curators was actually the idea how to bring a totally designed almost a Gesamtkonspekt design for children into a place for play and this is how actually this film historical part is included into this decorative designs so I hope this answers the question I do so, thanks a lot and well can you comment shortly about the Ciccerana Palace you opened on Friday and maybe a few words about the museum pharmacy and what are the reactions and this kind of the stuff it is very recent anyhow but what is the first comments you are receiving back you need to unmute yourself put the microphone on can you hear me yes first reactions are very fantastic many inhabitants of the city make groups for visit of museum first eight days this is our week we have organized during the whole day visit to the city from early morning until late at night every 90 minutes two groups of visitors go in the museum in the group of 25 people of course because we have 60 minutes for visiting the whole exhibition and 30 minutes for this little pausa for this infection of the space we make tickets yes and the tickets we have also disappearing in 24 hours fantastic reactions of the city another question was for museum of pharmacy yes this is our newest parts of activity collaboration with Yadrangalinsky laboratory this is a very attractive exhibition dedicated to the history of the pharmacy in the city and all of the world we are linked of the world and this is very attractive atmosphere very specific, very good place new technologies, atmospheres inside very inspirative for the visitors and we believe that will be very, very nice and good story for the next days thanks a lot we are coming very close we need to end as you can follow several comments about the positive experience people are looking to come to the museum all of you there is some more questions there is interest you can follow that you can go in touch with those people asking about that there is discussion about that my final comment before giving floor to Yulia you said it is windy but it is not rainy we see the sun in your background today it is not rainy but Rieka is one of the two cities in Croatia that has the most rainfall during the year we are coming close to 2,000 km per square meter so we are in a rainy region statistically true not on your image I am very happy to be in position to moderate this part I am thankful to NEMA Creation Museum Association I am giving floor back to Yulia Yulia please thank you all colleagues in Rieka this was a great presentation we know what we are missing we have all of us and we all put that to our bucket list so please be ready to welcome a lot of colleagues in your museums in the future we will continue our program after a well deserved very long lunch break at 3.30 CET Central European time for the webinar we will publish a visitor experience planning for museums the webinar how to become relevant will be facilitated by Lisa Baxter and Jan Warnecke please join in time we want to start at 3.30 CET for those who have registered you should have received a separate link for the webinar in the afternoon if you are interested in joining and have not registered in this webinar in this chat so with this I leave you for your break and I am looking forward to seeing you later bye


Fast forward nine years, and he's got some seeds, and he decides to pop some more seeds. Yes. Okay?  Yeah. And it seems like the one true keeper that came out of that was the D. Yeah. Okay? So there was the D.


Hi, I'm Mike Murphy and welcome to this short, the news roundup from IBM Research. First up, we're checking out the prettiest location for a quantum computer. Now lots of chapels have chandeliers, but there aren't many like this one. This past week, Rensselaer Polytechnic Institute broke ground on installing a quantum system one on their campus. It's the first IBM system on a college campus and it happens to be housed in a former chapel which has been converted into a computing center. Last year, it'll be measuring the state of qubits while being vast in sunlight through a stained glass window. How serene. Next, let's learn a bit more about AI inferencing.  But then what happens? The answer is inferencing. It's the moment of truth for an AI model. It's, you know, the test of how well it can apply what it learned during the training sessions to solve your task. Can it flag an email, spam, transcribe a conversation? Can it identify a hot dog? An AI model spends 90% of its life in inferencing mode. So IBM is looking at ways to make inferencing faster through innovative new hardware concepts like the AIU and working with platforms like PyTorch to make building systems as seamless as possible. And in case you missed it, AI is looking to fix Wall Street's spaghetti code. Transition critical systems around the world rely on secure legacy code languages like Cobalt. But for companies looking to modernize their operations with more flexible cloud-based systems, the transition from Cobalt to newer code languages like Java is a massive challenge. Now through a new generative AI system called WatsonX Code Assistant, IBM can turn legacy software into modern code in the fraction of the time it used to take. For more on the latest innovations from IBM, make sure you subscribe to our newsletter, Future Forward. Till next time.


Hi, I'm Dr. Don and I'm going to give you an overview of chi-square test, but let's start with pronunciation of chi-square. It's K-I as in kite, not chi or key square, it's chi-square. You may be familiar with a t-test and we can use a two-sample t-test to see if there's a significant difference in the average of two groups or two levels on a categorical variable on some metric, some measurement. This is an example where we're comparing the average graduation rate of schools in two counties. If you've got more than two groups, more than two levels on your categorical variable, then you can use an ANOVA to compare the averages. Here we're comparing the average salaries of attorneys in a law firm's five offices. We can use a regression to see if two variables are correlated or we can predict one variable from the other. This is a multiple regression and here we've got obesity and poverty as the independent variables predicting a state's cancer rate. What can we use a chi-square for? Let's look at some examples. We've got a manager of a large medical practice and she thinks that patients miss more appointments on Mondays and Fridays and other days. She gathers data from the records and she has the counts of the no-shows that were experienced on five days of the week and if there is nothing unusual then the expected proportion would be 20% per day. She can answer her question using a one-way chi-square goodness of fit. She runs that test and she concludes at the 5% significance level there is no difference in the observed and expected proportions. She also thinks that patients who are unemployed miss more appointments than employed patients. She wants to know is a patient's employment status related to whether a patient makes an appointment is a no-show or cancels in advance. She can use a two-way chi-square test for independence with these data and she runs that test and she determines at the 5% significance level there is a relationship between employment status and appointment outcome. Finally she thinks that there's too many errors being made currently in patient contact information. She gets a sample of patient records for this quarter and last quarter and she wants to answer the question is the error rate in quarter two significantly differ from quarter one and she can answer this question with a two-way chi-square test for homogeneity. So she runs that test and she finds out at the 5% significance level there is no difference in the error rates for these two quarters. So chi-square tests can answer a variety of questions but there are also limitations. You have to have counts for your observed values. You cannot use measurements, something with a decimal, a rate, a percentage. Chi-square is limited to both small samples and very large frequencies. If you've got counts in the thousands then a very small difference is exaggerated. The test will not give you an effect size like a Pearson correlation you get from a relationship. It just says two variables are related or not. And if you're trying to see if order matters, chi-square's not for you. If you were looking at the distributions over four quarters of the year, sliding second quarter into third place wouldn't change the outcome of your chi-square. So what's next? We're going to briefly explain a little more in depth how the chi-square test work and then we will jump into each test and show you how to use technology to solve each one of the three types of chi-square tests. So I hope this helps.