Hopefully everything's working. So my thought is I'm going to talk a lot about terminal voltage. I'm going to do some examples from my older reviews that you guys haven't seen that will allow you to do the newer review as practice. I will take questions from the newer review as well, but where possible I'll try and find a similar question that we can do and still allow you to do the newer review. So I'm just going to scan through here and look at some of the terminal voltage type questions. And I can tell a terminal voltage type question when I see the battery with the little dotted line around it. So I'm scrolling, glancing at the circuitry diagrams right now. Haven't seen a terminal voltage question yet. Ah, number 17 must be a terminal voltage question. I see the little dotted line around it right there. You're going to glance at them really quickly. And in fact, number 17 asks, what is the terminal voltage in this particular cell? That's a great question. Terminal voltage, in terms of my ski hill definition, terminal voltage was what the voltage was after you skied down the bump. There was an equation. I'll be honest, I don't fall back on the equation as much as I know that the terminal voltage mat is my EMF, 4.5, minus whatever I lose going through there. That's the terminal voltage. Oh, unless we're recharging, and it'll be very obvious that you're recharging because it'll be a big, huge battery somewhere else, then it's not the EMF minus that. It's the EMF plus that. That's your terminal voltage. What is the terminal voltage physically, Greg? It's what you would actually measure on either end of the battery, because we said once you actually start running a battery, you don't get the EMF, which is the voltage printed on the side that never changes. You're going to get slightly less than that. So here, I would say, well, do you remember when I'm analyzing a circuit diagram, what's the first thing that I always want to try and find, do you remember? Total current. Oh, they told me it, right there. So here's what that means. These are each 10, which means I can make the assumption that the current splits up exactly in half. It's a convenient little shortcut we did. But more importantly, I know the current here is 0.8 amps going through this resistor. How many volts do I lose going through this resistor then? Whatever 0.8 times 0.63 is, 0.504. So going through this resistor, I lose 0.504 volts. I started at 4.5 volts. I lose 0.504 volts. You know what your terminal voltage is? You know what you'd actually measure? 4.5 minus 0.504. You would measure 4.0 volts. That's terminal voltage. And you notice I didn't use the, but technically I did do that. I said it's your maximum EMF minus your voltage, IR's voltage. But it's the voltage in the internal resistance traditionally symbolized with a lower case R to show you that it's not that internal resistance and total current. Is that okay? If not, we'll get there. Yes? Okay. Let's try looking at a few more complicated ones. Blah, blah, blah, blah, blah, blah, blah, blah, no terminal. I am going to ask you a question about the position or the placement of instruments, specifically an ammeter and a voltmeter. We said an ammeter to measure current, remember it's measuring skeers. We need to put it in such a way that it's in series. So it says if we want to measure the current through the light bulb, where we would need to put the ammeter, we would need to put the ammeter so that the number of skeers that go through the bulb also go through the ammeter. Not here because here there's two different currents joining together. You know what? Right there is correct, right there is correct. Right there is not because the skeers could go down the ski hill without even going through the ammeter. So right now the answer is B or D. And they also want us to measure the terminal voltage of the battery. The terminal voltage of the battery is the difference in height between here and here. It's chairlift minus whatever bump you get when you get off the chairlift. The answer to this would be D. Right, for instruments. Let's keep looking for a terminal voltage question, blah, blah, blah, here we go. So the circuit shown in the diagram below consists of a 9 volt battery. That's the maximum theoretical voltage, what we call the EMF symbol, little funky E. And a 3.5 watt bulb, A. If a current of 0.4 amps, ooh, they told me total current. So what's the current going through this light bulb, Gary? What's the current going through this light bulb? That's volts. No, what's the current going through this? So current is symbol I measured in amps, okay? And current can split up, but can it split up anywhere from here to here? So all the current must go through here. This is Kirchhoff's loss. A message for Karlu to place Mr. Flaw at 204 or to call Mr. Flaw at 294. Do I know two? Then I know four. We also know that power equals VI. So how many volts must I lose going through this resistor? Oops, let's get the V by itself, Mr. Duk. Voltage is power divided by current. It's 3.50 watts divided by 0.4. Greg, what'd you get? 8.75. So the voltage loss here is 8.75 volts. By the way, what's the terminal voltage of this? Isn't it also 8.75 volts? Because chairlift minus bump gives me only one hill. If this hill is 8.75 volts, that must mean these two combined had to have a height of 8.75 volts, otherwise you couldn't start and end up at the same height again. Does that make sense? So I gave you the formula for terminal voltage, and great. I use the concept more than I actually use the equation. Now that's not what this question wanted. So what does A want me to find? Okay, here it is. What do I know? Oh, what's the current going through here? 4. Oh, how many volts must I lose going through here if the chairlift is 9 and the only ski hill is 8.75? What must I have lost getting off the chairlift? Must have lost 0.25 volts. Do I know 2? Then I know 3 or 4. So for part A, little r, well, let's see, v equals i times r. So r equals v over i. We lose 0.25 volts. We have a current of 0.4. What is 0.25 divided by 0.4? 0.625 ohms. That's how big the internal resistance is. And there was probably a part B to this. Let's go see 0.63, there you go. The light bulb is now replaced by a lower resistance light bulb. Okay, copy. Let's go looking back up here. What is the current, what is the resistance of this light bulb right now? Because if I know 2, I know 3. Oh, if resistance is voltage divided by current, can someone go 8.75 divided by 0.4? Oh, they didn't tell me. I can figure it out. What is the resistance of this? Sorry? 28.9? 21.9. 21.9? Okay. It gives us a number. We could do this numerically if we needed to. We could make up a resistor of 10, let's say, I wonder whatever. So one way Miguel to do this would simply to make that 10 ohms, 5 ohms smaller, I probably wouldn't do 20. I'd want to make it very noticeable, and then crunch the numbers and answer the question. The question is asking will the terminal voltage be greater, less than, or the same? Or I can maybe do this now algebraically. Let's see. If we make this smaller, by the way, right now, what's my total resistance right now? I think right now my total resistance is 21.9 plus 0.625 because Matt, this and this are in series. Right now my total resistance is 22 plus 6.25, sorry, 22.625. So if I make this smaller, what's going to happen to our total? Our total will decrease. Now that our total, this time it includes the internal resistance. If our total decreases, what's going to happen to your current? Yeah, I think current will increase because you're stuck with an EMF of 9.00. Lower that, this gets bigger.  I think the total current times R is going to increase and since terminal voltage is your EMF minus that, if this number here gets bigger, what's going to happen to your terminal voltage? It's going to get smaller, right? You can crunch the numbers as well. There's an algebraic one. Let's do a few more. Let's do a bunch more. Terminal voltage. Oh, here's another one. What's the terminal voltage there? Let's see. They gave me the EMF. This is my maximum theoretical voltage. Did they give me the total current? Nope. Did they give me anything with a pair? No. I'm going to have to do this the old-fashioned way. I need to rewrite this as an equivalent circuit. What's the total resistance of this circuit? Well, Miguel, these two are in series. The total resistance is that mathematically this is the same as and the 4.5 ohm resistor where this is 6 volts. Is that okay, Jacob? Mathematically. I know there's an internal, I don't care. I'm saying, you know what? For what it's worth mathematically, it's like that. What I want to know is what's the total current? Well, that's going to be the total voltage divided by the total resistance. It's going to be 6 divided by 4.5. How many amps are running through this circuit? Greg? 1.3. 1.3 repeating? How many amps right here then, Greg? Because the total current goes through there. Oh, how many amps right here? How many volts do I lose going through here? 1.33 times 0.5, right, good old, I should put units, I times R, 0.66. So here's what you're saying. Share lift, bump at the end. So what's your actual terminal voltage, 5.33? Now there's another way you could have got that. You could have said, since this is my only ski hill, if I go 1.33 times 4, that has to equal share lift minus bump because the height of this has to cancel out that, otherwise you couldn't get back to where you started from. Mathematically, yes. Because the circuit doesn't work though. And mathematically I said, well if I want to find total current, total current is total voltage divided by total resistance. What's the total complete resistance? It includes what's in the battery. Oh, as long as you use the EMF, which is the voltage before any resistance was taken to account anyways. Is that right? I'll be doing a few more, it'll come. I still see a few blazed looks. I'm going to nuke that one because it actually got tossed. Here we go. Terminal voltage. And a part A and a part B. So let's try this one. Okay? What's the terminal voltage? And by the way, Miguel, you can tell when they're asking about terminal voltage, I just look at, oh, they got the little dotted thing that they're trying to say, it's the battery with the internal resistance. Okay? All right. Did they tell me total current anywhere, Miguel? That's going to give us a nice shortcut. This is 1.8 amps. This is 1.8 amps. Oh, you know what they didn't tell me? They didn't tell me the chairlift. But what's the voltage here? If I know 2, I know 3. Could someone go I times R for me? Sorry. 4.5, is that right? What's the voltage here? Sorry? 7.2. So, Gary, how high is this hill? 0.5. How high is this hill? To get from here to here, what's the total height you have to cross through? 11.7, right? With me? So, the total height from here to here is 11.7.  So how must, what height, what voltage must the mystery battery minus the bump have given us if the ski hills were 11.7 meters volts high? The terminal voltage has got to be equal to these two. This is a very different approach now to finding terminal voltage. We're not using the equation because we don't know the actual battery size. We're looking at the rest of the mountain and saying, well, how high did it have to be for the rest of the mountain to work? The terminal voltage here is 11.7 volts. By the way, what's the current going through this little internal resistor? 1.8 amps. How many volts do I lose going through this resistor? 0.9? Okay. So, here's my question. How high must this chairlift be if I can lose that much, that much, and that much and end up back where I started from? Because I'm willing to bet part E, part B probably asks, what's the EMF? Let me go see. What's the EMF of this cell? Absolutely. What? Irwin, what did you say? It's the two hills and if I add to it the little internal resistor, now let me pause because you're saying, hey, you're adding. The original equation is terminal, actually, let's not use VAB. That's what they used to use, but now they use the terminal. That's the EMF minus IR. Gary, can you see if I got this by itself? I would plus this over to this side. There's my terminal plus it over to that side, right? Same equation except I moved this to there and we already said the terminal was that. The EMF then is going to be 11.7 plus, what was the voltage that we lost going through here? Did I write it on here? 0.9 volts, 0.9 volts, and we get 11.7 plus 0.9, 12.6 volts. That's your maximum. Before you hooked up this battery, it had an EMF, a maximum theoretical voltage of 12.6. Is this helping? I hope? Maybe? Sorry, that kind of. Do you want me to do a few more terminal voltage ones still? Okay. Then I'll say specific questions from the review. Are there any that you're wondering about? Yes, Alyssa? 54. 52 or 54? You're sure now? This one here? 54. Geez, now you got me doing it. Oh, a scholarship question. Okay. I'm not quite sure, but sure. Let me see. Power supply, 6 volts. It delivers a 3 amp current check. When this same supply is connected to two identical bulbs wired in parallel, the current from the supply is 5, check, find the internal resistance. So if these two are identical, what's the current going through here? 2.5, right? What's the current going through here? What's the voltage here? The voltage here is 2.5R. What's the voltage of 2.5R? What's the current going through here? Here's what I think. Looking at this circuit, by the way, my gut is I'm going to get two equations and have to do a little bit of systems plugging one into the, I don't know yet. If I walk this ski hill, if I walk this ski hill, I think how high is the chair lift?  Or I could have walked this path as well, but there's the same ski hill. Over here, this is going to be three amps, three amps. If I walk this ski hill, how high is our chair lift? Six volts, and that equals 3R plus 3 little r. How many variables do I have? How many equations do I have? I should be able to solve this. And I think what I would do, I always, when it came to systems, much preferred the substitution method.   Is that okay so far? And I'm going to stick that right there. I'll get six equals, by the way, if you're going, what the, this is a scholarship question involving systems that's fair game on a scholarship question, you're not going to have one this ugly on a test, not even close. But I'm a nerd, I'm going to keep going, six equals 2.5 bracket two minus r plus five r. Oh, this is so much fun, let's keep going.  And little r is what I'm trying to find. By the way, Alyssa, I did some thinking right here. I said, which one do I want to get by itself, because I could have minus big R from both sides and got an expression for a little r.  Excellent. I think I'm going to get this. Six equals five plus 2.5 little r. Is that right? Gathering like terms. Minus five from both sides. You'll get one equals 2.5 little r. R is going to be one divided by 2.5. Whatever the heck that is, I don't know. What do you get? 0.4? Two sig figs or three? Is that the answer? I hope, I think, I hope, I think, I hope. That was 10 marks? Wow. Either I've gotten smarter or it had gotten easier. I don't know if you can get there, Adam, using complete skier without having to do some kind of two variables, two variables, maybe. I'm not scared of systems. I like them in nap 11, actually. I won't do the one from yours, but I'm pretty sure there's one in here. I'm using principles of physics right to explain question. I know there was one in here somewhere. Yeah, I totally care. Bear with me. Let me go hunting. Of course, it was number, oh, 25. Okay. Oh, I did that one already. Let's find another one, Mr. Duk. Let's try and find another one. Let's go the older one. Pardon me? Yeah, these are old. Okay. This is sort of what you're asking, but it's phrased differently. It says use the following diagram to answer question 22 should be 21. I had to change the numbers. Yes? We're good. Great. Closing this switch is the same as adding an extra resistor. Okay. With this open, this resistor does not exist. What's your total resistance right now? So I'm going to say our total is 6. I total originally is 6 divided by 6. Yes, it's 1 amp, and I'm not worried about sig figs. This is rough work. If I close this, when you, I'm going to generalize, add a resistor in parallel. First of all, did I have a bunch of stuff to vanish? What did that go to, Mr. Duk? Okay. So we've already said originally our total is 6 ohms. I total is 1 amp originally. What's the resistance of this in parallel? Because these two are now in parallel if I close the switch. What do you get? What's the smallest resistor in here? What was the resistor originally to? Adding a resistor in parallel actually lowered. What did you say our parallel was? 1.2? So what's our total? 5.2, lower than 6. So if our total goes down, what's I total going to be? 6 divided by 6 volts divided by 5.2. 1.5. Okay. Thank you. So here's the key, folks. If you add resistors in series, that just increases your overall resistance. If you add them in parallel, it lowers your overall resistance, even though you're adding a resistor. And if you lower your overall resistance, if this gets smaller, what's going to happen to your overall current? It gets bigger. Now let's answer the question. Is overall current going through here? So will it read a smaller, the same, or bigger? Maybe, no. Maybe, no. Increases, increases. So far, so good. Now, if the current gets bigger, what will the voltage drop across here be if the current just got bigger? Bigger, smaller, or the same? Why? V equals I times R. If that number gets bigger, this number gets bigger. So the voltage drop here is going to get bigger. Originally, it's 4 volts I times R. Under the new system, it's 4.8 volts with the switch closed. Makes sense so far? Okay. If I lose 4, well, first of all, if I lose 4 volts, what must I lose going through the 2 ohm resistor? 6, 4, 2 volts. If I have 4.8 volts once the switch is closed, what must I lose going through either one of these? So instead of the original value, which you said was, now I'm reading, does it got bigger, smaller, or stay the same? Voltmeter decreases. This is wrong. Okay. That's a good example of using principles of physics, except often they'll bring in the notion of power, except a set of power, they'll say brightness of a level. VI is your brighter bulb, or weaker bulb. Again, this is kind of counterintuitive because Jacob, you'd be saying, look, you add an extra bulb and this one got brighter. Yep. Yep. This one got way, way, way, way, way different. Did I answer your question? Okay. Next. Yeah. 8 as in the number of sides on an octagon, as in 2 more than the number of sides on a hexagon, as in 1 more than the number of sides on a septagon, or sexagon depending on which part of the world you're from. But usually in North America we like the word sept because nobody wants to say the S-E-X for it anymore. Go figure. 8, total power. Okay. I'm going to, I notice my target right away, I see a resistor with two things on it. I'm going to flog that to death because if I know 2, I know 4 things. But first I'm going to copy this question. You see the resistor I was talking about again? Okay. So if I know 2, I know 3, and they gave me power. Now I know power equals VI. The problem is they didn't give me I here. What else is power equal to? Well, if V equals I squared R, power is equal to, sorry, let's try that again. If V equals IR, power is equal to, if I put an IR right there, power is equal to I squared R, which means that I is equal to P over R square root. Is that okay? Now let's fill in that gap, P 9.2 divided by 33 square root. What do you get?  You're still at playland. I know. You get 0.528. Anybody else? Divide by R square root, yes? Power, divide by resistance squared. You get 0.528. Yes? Okay. So I have 0.528. What's the voltage drop through here? I times R times 33, 17.42, I'll carry if you have to digit, 17.42. How high is the chair lift? Can I go like this and end up back where I started from? So 24 volts minus 17.42. How high must this mountain hill resistor voltage be? 24 minus answer, 6.5. How many volts must be over here? Yes. Oh, over here. Ian, do I know two? I know three. What's the current which happens to be the total current, which is one of the things that I always wanted to find anyhow? What's the total current here? V equals IR. So R, not R, Mr. Dewick. V equals V over R is this number divided by 10, which I think I could have done in my head, 0.658 amps. What's the current here? What's the current flowing into this junction? I think you thought it right and said it wrong. 0.658, right? Yeah, okay. That's my writing. I'll never make fun of you for not being able to read my writing. Although for Pete's, no, never mind. How many amps are right here, Ian? How many went this way? How many went this way? Yeah, I know. Now do it. 0.658 minus 0.52. Oh, I think I could do that in my head. 0.13 amps. I'm just filling in. Oh, wait, wait. If I know two, I know three. Except I don't care about the voltage. What is this question asking me for? Find the total. So can you go VI? Tell me the power here. How many watts? 2.26 watts. Oh, Ian, how many watts? V times I, 4.33. Yes, watts. What's this question want me to find? Power, scalar or vector? Add them up. 4.33, 2.26, and 9.2. 4.33 plus 2.26 plus 9.2. 92, Mr. Dewey, 9.2. 15.8. Is there an answer like 15.8 or 16 or something like that? There is. Power is nice. It's a scalar. Remember, I initially started saying in this unit, Ian, if you know 2, you know 3, really it's 2, you know 4 because we kind of forget about power is also one of the things that we're sometimes interested in. Does that make sense? One over R parallel is one over all of the other ones. You're saying that's the only, in circuitry right now at this level of your schooling, yes. But I can't answer that yes or no because if I answered, yeah, you're right. Actually, you're not right. There's other places where that occurs as well. But for now, Ian, sure. Next, good question. Any others from the review? Okay. On the provincial, on every single provincial exam, the second last question, they're going to give you some data and they're going to ask you to interpret a graph because they want to know can you do like a line of this bit or whatever. So this was taken from one of those. Okay. In this particular one, it says plot a graph of V versus I. So they want voltage on the y-axis, current on the x-axis. The biggest current I get is one. I would probably go 1, 2, 3, 4. I would probably go 0.25, 0.5, 0.75, 1. 1.25 is my scale here. I can see some people saying graph is a silly thing, Mr. Dewey. What number was this? Melissa, because I chopped the number off. Sorry. 44. So I would go 0.25, 0.5, 0.75, 1, 1.25. The highest voltage I get is 12. 1, 2, 3, 4. I'll probably go 3, 6, 9, 12. And a graph. The 0, 0 change colors so it stands out, Mr. Dewey. 0.25, 3. 0.5, 6. I'm getting a lovely line of best fit here, I'll bet you. 0.2, yeah, this is bang on. And I would connect it with the ruler. This might be accurate. Currents they can be pretty accurate with, which may be why they chose this data. Moving mechanical things, you know, bumps on the floor completely change your data. Current, we can be pretty accurate with current. Why our whole system is based so much on electricity. You weren't wondering about this. You're wondering about B, I suspect. Okay. So here's how I handle this.  I said, some of you in Physics 11 try and memorize every graph. Done. Done. Done. First of all, slope is rise over run. 12 over 1 would be the simplest possible way to go rise over run. They would want to see that bit of work, so I will. 12 over 1, units. It's volts over amps. So the slope is 12. Okay. 12, what? What is voltage divided by amperage? How are these two related in the same equation? Yeah. I would say ohms. That's what they wanted. That's one that says express your answer in appropriate units. Now, what does the slope of the line represent? Let me read if I can just say resistance or maybe they want a specific type. Let me read exactly what they did. Oh, I chopped that part off quite cleverly. That was silly of me. Okay. A student connects a power supply to a circuit and measures the potential difference at its terminals and the current delivered to the circuit. Is he changing the circuit? No. I think it sounds like what he's changing is the potential difference and you're getting a different current. I think this is the overall resistance of the circuit. I was wondering if maybe it was the internal resistance of the battery. Is that what I said as my answers? I don't think I did. I don't think it's the internal resistance of the battery. I think it's just the overall resistance of the circuit. Is that what I said as my answer? I hope. Sorry. I just said resistance. Yeah. Okay. So what's the slope? Resistance. I've seen some where the line didn't go through 00. It maybe went through here and went like that and your Y intercept was the bump at the end of the ski slope. That was your internal resistance which is why it didn't quite balance off between your maximum theoretical voltage and your measured voltage. That was a nice graph as well. What's the Y intercept? Why doesn't this go through? Oh, it's a little bump afterwards. That's why I didn't start at 00. Is that okay? Is there going to be one like that on this test? No. Will you have at the end of the year, which we're getting closer to, on your Mach Finals at least one graphing class? Yeah. They'll look very similar. That's why I gave you four provincial exams. I made up two Mach Finals identical in layout and outline. One written question per unit. A graphing question using principles of physics right to explain at the very, very end. Oh, and probably somewhere in the middle using principles of physics right to explain question two. They have changed the format a bit since then. It's now more multiple choice and less written. I think it's much better to do more written and less multiple choice. I just know they don't want to pay teachers to mark. Pardon me? I know. I also understand in the current economic climate why they don't want to pay teachers to mark. Although I think it's some of the best bang for their buck that they can do because we don't just mark. We exchange ideas at some of the best professional development I ever did. That's where I can ask any question about anything that's bugging me and I'll get a great explanation at a high school level. Tangent. We're back. Next. Yes. And you are going to have to use that at least once. How will you know? Holy smokes. They're giving me voltage and resistance, but I got no current. Oh, but they're telling me something about Coulombs and there's a how many seconds the batteries on for like you'll clearly be able to see. Okay. So every once in a while they won't give you current, but they'll give you the charge and how long it's running for either directly or indirectly. Oh heck. For you guys, I think the first question. The reason I want to say I think is I'm giving you a different version of the test. I found an older, shorter one because I was initially going to do this over the late start Friday short class. I know it's number one on my original longer version. A couple of more hints. I typed some of these questions, Irwin, and I have to be honest. Initially, I was going to do lovely graphic circuit diagrams for each one I gave up. There are some where I just describe the circuit. A battery is connected to two resistors in parallel. One resistor is three ohms. One resistor is five ohms. Draw the circuit. Draw it. No, because actually one of the IRPs says something like and sketch resistance circuits from this script, something like that. I'm not going to, I didn't give you ones like what the, there, it's pretty much draw this, then draw this, then draw this, split here because it says parallel then join here again and go to your battery kind of a thing. And I only did it on a few. Some I found old provincial exam questions that you haven't seen or I did the diagram, but this unit more than any other one would be a nightmare for me to have to try and type up everything. That's why I'm so glad I bought that book. Any others? Melissa's been trying these, good for her. Greg, let's go back to your question. This is from June 86, the year before I graduated. 23 here. Says use the following circuit diagram. Here's our circuit diagram. I apologize. It's been photocopied over and over and over. That's fine. Says in the circuit illustrated in the above diagram, which of the following changes would cause the greatest increase in the current through the six ohm resistor? Now the current going through there is I total. So really what they're saying is which of these would increase the overall current? Removing the two ohm, removing the 12 ohm, connecting another two ohm between X and Y, connecting another 12 ohm between X and Y. My battery isn't going to change. If I want current to go up, what must go down? Total resistance. How do I lower total resistance? Add another resistor in parallel. So the real question is which of those two would give you a lower overall resistance? And you could do it algebraically. Or yes, Irwin, very quickly you could go one over two plus one over two plus one over four plus one over 12 reciprocal and compare that to one over 12 plus one over two plus one over two plus one over 12 reciprocal.  Pardon me, would be going dimmer because you've added one more bulb for the current to have to split up. They're all going to have to share some of their current with this one. So the I squared R, which is the other way I think of this power, R is not going to change. The voltage is going to drop and the current is going to drop. That would be a good using principles of physics. Those are the kinds of ones that they have. And I'm fairly certain, I'm going from memory here, but I'm fairly certain the one that I gave you. I photocopied the shorter version. I don't mind giving you a shorter version for the full length. I just didn't want you to run out of time on the Friday. I think it was something to do with mucking around with the resistors. Here you go, Alyssa. Another graph question from way back when. You have the resistance versus current, actually versus one over current. This was a fairly tricky one, but whatever, I'm not going to give you one that yucky. Another terminal voltage question. Here, we don't care. That looks like a newer one. In fact, that looks like the one I gave you on your quiz. Oh, that's where I got it from. It's exactly the same. I know one time I lifted one of these and I used it on one of my final exam, some diagram similar to this. And I just changed the battery. I crossed it out and I wrote something above it. It turned out it wasn't a strong enough battery to power the circuit. Mr. Duke, why am I getting a negative voltage in one of my resistors? I have to change that one in a hurry. Sure, absolutely. And easy. You wouldn't find the power. What you would find is either the voltage or the current. Probably the voltage by the time was said and done, because you would have had the voltage here, the voltage here. You would go 12, minus this, minus this. All three of these are the same, right? Once you have the voltage, if you know two, you know three, you have the current and you can go VI. Or if you want to go directly, I think power is V squared over R. I think if I substitute the voltage, there's three power equations, only one of which is on your sheet. That's where I got that one from. Now I know. Find the potential difference across the 4 ohm resistor. So find the voltage drop going through the 4 ohm resistor. Did they tell you the total current? Okay, so you'd say those two are in series. That's a 12. 1 over 6 plus 1 over 12 is 1 over R parallel. And you would do your little scratch diagram over here. This is totally a fair game question. In fact, the odds are pretty good on your written section. I'm not going to give you total current. And I'm not going to give you two, so that if I know two, I know three and it all breaks down. Probably give you at least one where, hey, you got the voltage. You got your resistors. Rewrite it using the resistor rules. Okay. Oh, there's your little internal voltage. So once you had total current, terminal voltage would be 120 minus 1 times whatever the current was minus IR. I don't think I have a recharging battery question on my test. It's fair game on the provincial, but I'll be honest. I haven't seen it in years. I almost think they put it in here because it's a neat concept. Oh, that's what's happening in my iPod. That's why I can't recharge my battery in five minutes. That's why it takes longer to recharge than to drain it sometimes depending on how the system works. Although they're getting better now and I suspect they've come up with better ways to, well, the lithium batteries, I think have a much higher internal resistance. So you can send a much greater difference in voltage through it. But my gut is that's why it's on the formula sheet and I've covered it. I haven't seen it. And again, the one or two times I've seen it, it's like been staggeringly obvious. I think even the question said this is recharging them or something like that. Or it might have had the current clearly going labeled with an arrow or something like that. That make sense? Okay. Oh, here you go. Here is an example of a recharging battery. See it? Well, what's your net voltage? Five? Oh, except actually no. I would lose a little bit through there and lose a little bit through there because this is a tougher question. First of all, the power dissipated by the 18 ohm resistor. I'm pretty sure my net overall voltage, including all of these is, let's see, five volts. My total resistance is one plus one plus 18, 20. I total is five divided by 20. Now I've got I total. Now I can walk through each one of these right the current, right the current, right. And you know the voltage drop and the power drop and whatever you need. This would be an example of a recharging one though. And can I see a date on here? Well, you can see even from the font, I'm pretty sure this was probably around 92 or 93. And I just finished the end of this. That helped, I hope, answer questions. So who would like a copy of the ones that we did? One, two, three, four, five. Five of you? Okay, let me first of all hit pause on the video.


All right so good evening and welcome to another video and today I'm going to do something that I've been running away from for the longest time or you know trying as much as possible not to attempt but I feel like I should do it right now and I'm going to be reading something from Zadie Smith's book well an essay from Zadie Smith's book book Intimations and the backstory to this one which is also I run it to the title of the particular essay I'm going to read is the fact that I was thinking of what to do this week or today right now this video you're watching and I settled on reading a part of a book and I wanted to even title it Random Chapter and Jazz and so am I looking for something to read Elaine suggested that I read something from this particular book which the writer Zadie Smith wrote during the peak of the lockdown and dedicated or decided to give yes all to charity so it's a good thing and it's an essay about something to do and why we do the things we do especially during that time and even now it's just something we do or something we have to do and so I'm going to read off this essay right about now and hopefully you do enjoy it as much as I would and if you do can you give it a thumbs up like this video and the purpose of this particular reading is just to spend time with you this Saturday night that's why I decided to have it released at this time just spend time listening to a read out and while away time while I keep you company with some soft music and something to do from Zadie Smith so I'm going to start let's cue the music and get to it if you make things if you're an artist of whatever stripe at some point you'll be asked or may ask yourself why you act sculpt paint whatever in the writing world this question never seems to get old in each generation a few too many people will feel moved to pen an essay called inevitably why I write or why right and the which title you find a lot of convoluted more or less self-regarding reasons and explanations I have contributed to this genre myself only a few of them are any good and none of them including my own see fit to mention the surest motivation I know the one that I feel deepest within myself and which when it's all said done stripped away as it is at the moment seems to be at the truth of the matter for a lot of people to wit it's something to do I used to stand at podiums in front of my own at podiums or in front of my own students and have that answer at the tip of my tongue but I knew if I said it out loud it would be mistaken for a joke or fake humility or perhaps plain stupidity now I'm gratified to find this most honest of phrases in everybody's mouths all of a sudden and in answer to almost every question why did you bake that banana bread is something to do why did you make a fault in your living room well it's something to do why dress a dog as a cat it's something to do isn't it fills a time out of an expanse of time you carve a little area that nobody asks you to carve and you do something but perhaps the difference between the kind of something that I'm used to and this new culture of doing something is the moral anxiety that surrounds it there's something that artists have always done is more usually called off the rest of society and by mutual agreement this space is considered a sort of charming but basically useless playpen in which adults get to behave like children making up stories and drawing pictures and so on though at least they provide some form of pleasure to serious people doing actual jobs the more utilitarian minded defenders of art justify its existence by insisting upon its potential political efficacy which usually is overstated artists themselves are especially fond of overstating it but even if you believe in the potential political efficacy of art as I do few artists would dare count on this timeliness it's a delusional painter who finishes a canvas at two o'clock and expects radical societal transformation by four even when artists write manifestos they are hopefully aware that their exigent tone finally borrowed only echoing and mimicking the urgency of the gorillas demands or the activist process rather than truly enacting it the people sometimes demand change they almost never demand art as a consequence art stands in the dubious relation to necessity and to time itself it is something to do yes but when it's done and whether it's done at all it's generally considered a question for artists alone an attempt to connect the artist's labor with the work of truly laboring people is frequently made but always strikes me as a tenuous as tenuous with the fundamental dividing line between the question of the clock labor is work done by the clock and paid by it too art takes time and divides it up as rc's fit it is something to do but the crisis has taken this familiar division between time of art and the time of work and transformed it now the essential workers who do not need to seek out something to do whose task is vital and unrelenting and then the rest of us with a certain amount of time on our hands not to mention an economic time bomb which for many people exploded within the first few weeks within the first few days one of the radical political possibilities of our new revelatory expanse of free time as many have noted is that it might create a collective demand to reassess and reconfigure as a society how we protect the rights of those whose work exists only in the present moment without security or protection against unknown futures the most obvious of unknown futures being sick leave the rest of us have been suddenly confronted with the perennial problem of artists time and what to do in it what strikes me at once is how conflicted we feel about this new liberty or captivity on the one hand like pogs who have been lifted out of a body of water our little limbs keep pumping on as they did when we were hurrying off to our workplaces do we know how to stop those of us from Puritan cultures few work must be done and so we make the cake or we start a gardening project or we begin negotiation with the other writer in the house for those kid free hours each day in which to work on something we make banana bread we sew dresses we go for a run we complete all the levels of Minecraft we do something and then photograph that something and not infrequently put it online reactions are mixed even in our own hearts even as we do something we simultaneously accuse ourselves use this extremity as only another occasion for self-improvement another pointless act of self-realization but isn't it the case that everybody finds their capabilities returning to them even if it's only the capacity to mourn what we've lost we had delegated so much it seems it would follow that writers so familiar with empty time and with being alone should manage the situation better than most instead in the first week I found out how much of my old life was about hiding from life confronted with a problem of life served neat without distractions or adornment or superstructure I had almost no idea of what to do with it back in the playpen I carved out meaning by creating artificial deprivations within time and the kind usually provided for people by real limitations of their jobs things like a firm place to be at nine every morning or a boss who tells you what to do in the absence of these fixed elements add makeup things to do or things to abstain from artificial limits and so on running is what I know writing is what I know conceiving self-improvemented schedules teaching day reading day writing day repeat what a dry sad small idea of a life and how I suppose it looks now that the people I love are in the same room to witness the way I do time the way I've done it all my life for me the cliche is true the only way the only way out is through trying to preserve some space for yourself in the crowded domestic sphere feels like obsessively cupping your hands around thin air you carve it out the time you need after much anxiety and debate and get into a separate space and look between your hands and there it is nothing an empty victory at the end of april in a powerful essay by another writer or tessa mosfet I read this line about love without it life is about doing time I don't think she intended by this only romantic love or parental love or familial love or really any kind of love in particular at least I read it in a platonic sense love with a capital L an ideal form of essential part of the universe like beauty or the color red from which all particular examples on earth take their nature without this element present in some form somewhere in our lives there's only time and there'll always be too much of it business will not disguise its lack even if you're working from home every moment god gives even if you don't have a minute to spare still all of that time without love will feel empty and endless I write because well the best I can say for it is it's a psychological quirk of mind developed in response to whatever personal feelings I have but it can't ever meaningfully fill the time there's no great difference between novels and banana bread they are both just something to do they are no substitute for love the difficulties and complications of love as they exist on the other side of this wall away from my laptop and is the task that is before me although task is a poor word for it for online writing is terms can't be scheduled pre-planned or determined by me love is not something to do but something to be experienced and something to go through that must be why it frightens so many of us and why we so often approach it indirectly here is this novel made with love here's this banana bread made with love if it wasn't for this habit of indirection of course there will be no culture in this world and very little meaning for pleasure for any of us although the most powerful art it sometimes seems to me is an experience and a going through it is love comprehended by expressed and enacted through the artwork itself and for this reason has perhaps been more frequently created by people who feel themselves to be completely alone in this world and therefore wholly focused on the task at hand than by those surrounded by loved ones such art is rare we can't all sit cross-legged like buddhist day and night meditating on automate matters or i can't but i also don't want to do just do time anymore the way i used to and yet in my case i can't let it go old habits die hard i can't rid myself of the need to do something to make something to feel that this new expanse of time has been wasted still it's nice to have company watching this manic desire to make or grow or do something that now seems to be consuming everybody i do feel comforted to discover that i'm not the only person on this earth who has no idea what life is for nor what is to be done with all the time aside from feeling it so yes that's the end of this particular essay i hope you enjoyed it and hopefully i can read more or a couple more essays or chapters like this in time but if you enjoyed this particular one make sure you hit the like button and i wish you a lovely evening and i'll catch you in the next video adios


Hello, earth citizens. In this video, I will show you a 10 minute routine to do to exercise your upper body joints. So when I mean upper body joints, it means from your waist up. So if you're somebody who experiences a lot of tension in your arms, your wrists, your shoulders, neck, we will work all of those areas to help you release any kind of stiffness, any kind of pain that you may have in your upper body, particularly in your joints. So let's get started. First, stand with your feet shoulder-width apart so you have a solid foundation and you want to keep your feet parallel, so like this, so not like this. Feet parallel. When you make your feet parallel, it will contain your energy rather than leaking it out. So make your feet parallel and slightly bend your knees. Slightly bend your knees. You'll feel your body weight shifting to the bottom of your feet. From here, slightly shake your head side to side. Shake your head side to side.  So imagine you are shaking the base of your skull from there going down vertebrae by vertebrae. So imagine you are shaking the back of your skull and going down vertebrae by vertebrae, releasing tension from your cervical vertebrae, releasing tension from your cervical vertebrae. Now shake here for 10 more seconds 10 9 8 7 6 5 4 3 2 1 stop now point your chin down more stretch your neck back of your neck clasp your hands and push gently down on the back side stretching the back side of your neck lightly bounce like you're stretching a rubber band one two three four five six seven eight nine ten stop now bring your left ear to your left shoulder push your right fingers down more create space on the right side of your neck use your left hand to push gently down create more space gentle bouncing one two three four five six seven eight nine ten now switch other side right ear to your right shoulder left fingers go down create space in your left neck use your right hand to push down stretch stretch stretch now gentle bouncing one two three four five six seven eight nine ten release now from center point your chin down and rotate your neck feel your vertebrae it's very important you feel your vertebrae since we're focusing on the joints in this video feel your cervical vertebrae vertebrae of your neck I suggest keeping your mouth slightly open to breathe out release any tension you have in your neck switch direction other way okay now return all right so next your shoulders touch your shoulders point your elbows to the side and now we're going to rotate your shoulders but imagine you are making circles with your elbows so you want to pull your elbows out to the side so you're not crunching like this give room to your shoulders and from here make circles bring your mind to your shoulder joints your shoulders should feel like they're rotating like this because there are a ball and socket joint they rotate this way so feel your shoulders okay rotate your shoulders let's go ten times one way ten times the other way one two three four five six seven eight nine ten now the other direction one feel your shoulders two three four five six seven eight nine ten great job relax shake your shoulders up and down shoulders up and down and next side to side whoo get your neck and shoulders for ten seconds shake shake shake ten nine eight seven six five four three two next your elbows point your palms towards me make a fist and now rotate just your elbows so watch like this that's one so in essence your palms start forward but then they end backward like that okay so with your fist palms forward first rotate your elbows don't move your shoulders just your elbows one two feel your elbows can you feel your elbows you can feel the muscles around there moving to four five six seven eight nine ten now the other way so start with your palms backwards this time and then they're gonna end forward okay so palms backwards make a fist and now rotate so now my palms are forward flip again rotate feel your elbows okay palms start back and they end forward ready ten times make a fist palms back one two three four six feel your elbows seven eight great job shake your hands shake your feet right next is your wrist now you want to clasp your hands but clasp them on the first knuckles so you don't want to go all the way in like this not even your second knuckle your first knuckle the first knuckle that you have cross your fingers on the first knuckle place your thumbs together on your index finger imagine you're holding a tennis ball tennis ball inside you don't want to drop the tennis ball and you don't want to squish the tennis ball so keep a nice rounded shape in your hands and this time rotate your wrist so you're pushing your wrist forward first I feel a little awkward if you're not used to moving this muscle it might feel awkward but that's okay just keep imagining a tennis ball and push your wrist forward let's do ten seconds one two three four push your left wrist right wrist push forward five six seven eight nine ten now this time push your wrist in towards you so pull your wrist in towards you so now if you have a lot of shoulder tension you might feel your shoulders going up but try to drop relax your shoulders and move your wrist so now pull your wrist in you might hear some snap crackle pop ten seconds one two three four five six seven eight nine and great job shake shake shake shake shake shake shake shake shake shake and return so next is your finger joints I made a ten minute video routine about how you can exercise all of your finger joints make sure you check it out using this link above so to exercise your fingers face your palms forward and you want to squeeze your palms together so squeeze your fingers and then open as wide as you can squeeze open squeeze open open stretching your fingers like this ten times okay one two three four seven eight nine ten okay shake shake shake shake great job all right now last one your waist so we're gonna stop at the waist for the upper body exercises bring your feet shoulder with the parts hands on your waist push your waist out to the right side feel your right waist and then out from here make a big circle with your hips so big circle backwards like that big big circle with your hips so pushing your hips forward pushing your hips back let's do five times on each side one you don't have to go that fast make sure you're feeling your butt that's the important part to breathe great now the other side push with your hips make big big circles one feel your body now feel your upper body do your joints feel a little bit more limber of course ten minutes is not enough time to completely feel relaxed and completely feel open but it will definitely help you bring the circulation to your upper body especially if you have a lot of pain in your joints neck shoulder elbow wrist fingers and then in your hips as well you did a great job to experience a full one-hour brain education based class please visit a local body of brain yoga studio near you


Today I have the job of explaining an entire section of Kandel, about five chapters to you on the motor system. I'll talk really fast. And clearly, well, it's mashed already. Mason has done an excellent job of putting my draft lectures up on the website. He is going to have some differences from the most recent draft. I have a special guest appearance by Jonathan demonstrating the stretch reflex. You're used to my procedure of starting with molecules and going to higher systems. But Ralph and I have been mixing it up this year, beginning with higher order events and going down to reductionist events. So we're going to try that for the motor system, too. We're going to talk about higher motor functions, then about motor cortex, about the basal ganglia, so still in the brain, then the corticospinal tract, which goes from the brain to the spinal cord, then motor neurons in the spinal cord, and then reflexes and the properties of muscles. From top to bottom, top-down approach, this keeps me interested and therefore it's a nice challenge. Now, we already have some clues to organization of the brain from lesions and from damage. But a more recent clue to the organization of the brain comes from patients with intractable epilepsy, who are not very well controlled by drugs. In this case, people implant some rather simple arrays of electrodes into the brain, in this case in the motor cortex. And this helps to localize an epileptic focus. We haven't discussed epilepsy here. You know that epilepsy is a seizure disorder characterized by more than one seizure, by recurrent seizures, and you really do want to find out where the seizure originates. And so people put electrodes into the brain for the purpose of recording those seizures. But in the process, it is legal and ethical to stimulate with those electrodes. And one sees a large range of either motor events. For instance, with 16 electrodes, you can actually 32 electrodes. I guess if you stimulate between A1 and B1, you get a motion of the right foot. And clearly there are some additional motions of the foot with nearby stimulations. Then there are motions of the trunk and of the hip. And then in some places, as we move along, there's not actually a motion, but the person reports an urge to move. And so this gives us an indication that we have in the cortex both higher order phenomena, the idea that we're going to move, and also more motor associated phenomena. And there appears to be a map of the body on the motor cortex. I think I have maintained that slide, at least I hope so, because it's really quite pretty. If not, there are elements in Candel of the map, the so-called homunculus. To give you a summary of where we are in understanding motor systems in 2015, here is work from Richard Anderson's lab right here at Caltech. You can read a little more about his and other people's attempts to interact with the brain directly in one of the boxes in Candel. As you remember from Ralph's lectures, the motor cortex is in the frontal lobe. It's everything forward of the main sulcus. And here in the parietal lobe is some more abstract ideas. So in the process of vision to motor transformations. And so if we go to work from Richard's lab from a recent paper that he published, let's go first of all to the patient who has left and right hand on top of your head. Left hand to mouth, left hand to head, right hand to mouth, right hand to head. This is an array of, signals from an array of electrodes. I don't know how many there are, probably 16 or 64. In the patient's cortex, this patient is not an epileptic. He is a quadriplegic. He cannot move any of his limbs due probably to damage in the spinal cord. So the title of the paper is Decoding Motor Imagery from the Pasteur Parietal Cortex of a Tetraplegic Human. So the idea is that you want to understand what the human wants to do by recording the volition in his Pasteur Parietal Cortex, which would get transmitted to the motor cortex, but does not get transmitted to the spinal cord, presumably because of spinal injuries. And you want to allow a robot to do that instead. So here now is the patient being instructed by one of Richard Anderson's postdocs. And one of the electrodes in the patient's cortex, the subject's cortex, is giving signals that are good enough to display on a computer. The computer is recording all the time here. And so it's taking all the data in. And when it gets a signal that exceeds threshold, it displays that signal. And so the patient is being commanded to think about doing various actions. And the array of electrodes is decoding which cells are giving that information. Left hand to belly. Left hand to head. Right hand to forehead. Right hand to head. Left hand to mouth. Left hand to head.  Left hand to mouth. Left hand to head. Right hand to your chest. Right hand to your eyes. Right hand to your mouth. Right hand to your ear. Right hand to your nose. Right hand to your mouth. Right hand to your head. Left hand to your eyes. Left hand to your mouth. Left hand to your head. So remember that there's an array of electrodes doing this recording. And after the software has learned the patterns, it is possible... Here's the patient who's got an array of electrodes on his head. It's following the target on the screen, and his assignment is... It has actually been possible for patients like this to show data like this. Thank you, Matthew. Thank you, Jonathan.  This is great. This is terrific. And what causes that? This is hyperthyroid or too much thyroid hormone? Thank you, sir. This was wonderful. Just wonderful. Thanks. Barred this from my wife, the FNP. Okay. Good. So Jonathan has a key element, actually, in the patellar reflex. Is that these rinshaw neurons here are inhibitory neurons. So in order to extend the leg, the body relaxes the flexors. So flexing means toward the body. Extending means away from the body. So in order to get good extension, you relax the flexors. And vice versa, in order to get good flexion, you relax the extensors. Now, when you're in the gym, you always exercise both extensors and flexors, not at the same time, but on different machines or different weights so that they are equally strong and one can nicely oppose the other. So what is actually going on when Jonathan tapped Matthew's tendon? We'll explain that in a minute. But the key element in order to explain what has gone on is that, as Jonathan explained, there are the alpha motor neurons, the final common pathway, are commanded by descending facilitation and inhibition from the corticospinal tract, and also, as Jonathan explained, you can inhibit those motor neurons from above. And so there's a feedback loop synthesized by the alpha motor neuron. For instance, the force required to hold an object is specified crudely, and then the length change in the muscle fiber is fed back and modulates the motor neuron to get exactly the correct amount of force and displacement. And in fact, when Jonathan was hitting Matthew's patella, he was actually stretching the muscle, and the receptors in the muscle were perceiving a stretch. And you could think then that they were sending their response back to the alpha motor neurons, which were readjusting, but in an open loop fashion. So some of the stretch receptors in the muscle are the spindles. Just bulge out a little bit. Very small fibers. Spindles are actually neat because they detect stretch. They are both sensory and motor organisms. So they get commanded by motor neurons to contract. That allows them to set the desired length that the spindles should be at. But the spindles also include sensory fibers, which detect the deformation of the spindle itself. So these spindles are marvelously complicated. They have both motor innovation. They don't get their motor innovation from the alpha motor neurons from the final common pathway. They get their information from smaller motor neurons called the gamma motor neurons. And so the gamma motor neurons set the length of the spindle, which is then sensed by a couple of fiber types. Now back in the old days, when all you had was a stimulating electrode and an oscilloscope, you could stimulate the nerve to a muscle and record the groups of fibers on an oscilloscope near the brain. Some of them were very fast. They would be called group one. And then in group one, and they had the highest, the lowest threshold, so you could stimulate them very nicely. And so the ones that stimulated very nicely and were the fastest were called the 1A and then the 1B, etc. And then there were group two. And people spent lots of time categorizing the velocity and the threshold of these fibers. That's nice, but we have other ways of doing it these days. So there we have the spindle. And you can then excite the spindle fibers in one of two ways. You can excite them by stimulating the gamma motor neurons, which contract the spindle. Or you can excite them by stretching the muscle, as Jonathan did to Matthew. And so this diagram shows that if you supply external strength, you can measure signals, external stretch, you can measure signals from the afferent axons, that is the ones leading to the central nervous system. You can also stimulate the static, the gamma motor neurons. And again, there are a couple of types of gamma motor neurons. And these themselves will stimulate the fibers in the spindle. And so you can basically what the body does is to set the desired length and to use the gamma motor neurons and the spindle afferents as sensors to feed back onto the alpha motor neurons. There's another type of sensory organ in the muscle, the so-called Golgi tendon organs. And even though Jonathan was hitting the Golgi tendon, it was probably the spindles that were being excited. And the tendon organs detect stretch only. They have no motor innervation. They are embedded in collagen fibers, which move ever so slightly when stretched. And there are, again, sensory cells, which detect very small stretches. And these fibers also send their messages back to the spinal cord. So this feedback is quite important, and it allows us to do very fine movements, including under a microscope. So there are some generalizations that we can make about damage to parts of the motor system. And the results of that damage in terms of what the subject sees. We can have damage to the lower motor neuron, the so-called alpha motor neuron. The upper motor neuron, the Betz cell in layer 5 of the motor cortex, or damage to the basal ganglia. Lower motor neuron damage obviously causes paralysis. Upper motor neuron may still allow the lower motor neuron to function, so it causes weakness, or so-called peresis. The basal ganglia do not damage to the basal ganglia, do not themselves cause what you would call paralysis. A good example of the basal ganglion disease is Parkinson's, and we'll show you Parkinson's patient who can move, but has trouble initiating movement. Again, the lower motor neuron causes muscle atrophy, even though damage to lower motor neurons is called amyotrophic lateral sclerosis. There is some atrophy simply because the muscles are not contracting. The upper motor neuron causes diseases do not cause atrophy typically, and basal ganglion diseases do not. Lower motor neuron diseases, based on what you've seen here, you can understand how reflexes would be disturbed, and because the lower motor neuron is in charge of setting the length of the muscle, you can see that the muscle tone would also be disturbed. The causes of hyperreflexia, as Jonathan explained it, too much reflex, hypertonia, too much tone, and spasticity generally arise further up in the upper motor neuron, and we've talked about the two diseases of the basal ganglia that are most common Parkinson's and Huntington's. Huntington's, as you probably know, is hereditary. Where was I that I had heard a very nice lecture on Huntington's? It was in the last week. You know from your molecular biology that Huntington's is a triplet repeat disease. The Huntington gene gets expanded in some patients. We don't understand the pathophysiology, but it selectively destroys cells in the striatum, the so-called medium spiny neurons. Chorea means writhing movements. It comes from the same route as choreography, meaning a little bit of dancing, and also patients move less. Typically motor, and now we talk about where the spinal cord decasates or crosses. Typically in the lower motor neuron, which projects right out to the muscle, there's only ipsilateral damage. Depending on whether the neurons have yet crossed, the upper motor neuron can cause a contralateral deficit if it occurs above the decastation or an ipsilateral deficit if it occurs below the decastation. That is if the axon of the upper motor neuron is damaged. In basal ganglia, the projections all cross, so they are contralateral. Going back to very high level phenomena, here in frontal cortex is a remarkable region of the brain called the anterior cingulate cortex. It is a favorite of both Ralph Adolfs and of John Allman on the faculty here, and lesions cause impairment in the will to act, which is one of the hierarchically highest levels. These patients have what you might call akinetic non-movement mutants. They're not paralyzed and they're conscious, but they respond very poorly to their surroundings. Sort of like a teenager, I guess. But they sometimes respond to very autonomic things, like picking up a phone that rings at their bedside. Again, like a teenager. But then they say nothing. Then after a bout of akinetic autism, they recover and then they explain they were fully conscious, but just lack motivation to do anything and didn't act, respond or act. The other fascinating topic has to do with links between perception and action. We've talked about those links a great deal today. The question is, why can't you tickle yourself? Why does somebody else need to tickle you? The favorite explanation these days is that when a person commands a movement, there are neurons that make predictions and make a so-called efference copy that pretend to be the movements themselves and that it is in ticklishness is in fact a discordance between the predicted sensory feedback, so-called corollary discharge, and the actual sensory feedback. And if there's no discordance between those, then one functions normally. But if there is discordance, because you got a sensation without commanding that sensation, then that's tickling. So that's what people now think about ticklishness or tickliness. And if you want to talk about this more, I'll have office hours on Friday. See you then.


No one's paperwork's here? No, there's paperwork. With C and remotor right there, keep your thoughts off. Take your time and don't take it forever. And I'll explain stop which is a malfunction here in a minute. When you find your part in the next five, you'll stand here and say, Got it? This is the slide release. This will actually help you out. Okay, and Chief's got you. Everybody good? Okay.


I'm getting ready for season 2 of this YouTube channel. It started for real in July 2021 and since then the channel has grown to more than 2800 subscribers, 160,000 views and more than 40,000 watch hours in total. I've taken a bit more than a month break lately, spending most of the time in the US, first at UCSF, working on network visualization, some of it in virtual reality, and after that at ISMB in Madison, Wisconsin, where thankfully none of us drowned in the big data lake. Now I'm preparing for season 2. I plan to cover new data types including proteomics and single cell data. I plan to cover new network tools including interspecies networks and networks in virtual reality and as a new thing I'll cover broader topics including how to write a paper and how to get it published. I hope you'll join me.


Welcome back to the AI for good global summit here in Geneva to stay three and I'm now joined by chase of Lee Who's the ITU t director? Hello? Hello? You saw you last year as well good So now you had a key role in the ITU taking the initiative to organize the summit Why is this important? Yeah several years ago We have to recognize this AI machine learning is coming to us But we are challenging the very negative side darker side as people were easily raised But we think the people to look at right to side So we are aiming for how AI support of SDG is a setting goal from the UN systems so that's the reason we have to start of this AI for good global summits and And In terms of the perspective of setting up a standards body such as the ITU t. What's the influence there? Yeah standard is I see teams standard is going to more conversions this conversions coming from that's a use of this emerging technology like I ut 5g is going to more and more case to use of data but data need some of our Automative ways to processing of this data. Definitely AI machine learning is critical platforms So we are looking for how we can utilize what is AI machine learnings to support of many applications That is the first part second part is also we want to get us some more collections of our Particle industries because it's a AI machine learning is cross-cutting all vertical applications and And of course what you need is consensual approach amongst all the members to accept this Harmonization and standardization right? Yeah, definitely. So we this is our basic So we getting over this like this Summits we have a more consensus more multi-stake or multi-disciplinary ways In house of our consensus you said you wanted AI to look on the positive aspects. What do you mean by that? For example, so AI people easily raise over questions AI will Stealing of their jobs or remove of this or robots Get some of harm to the people that would be something happen But rather than look at of this we are looking for how AI help of this each individual Personal productivity Efficiency economics if you can look at over that that would be much better So my observation is the best way to that with against of dark as you bring the light Was that in mind? What was you would you like the outcome to be at the end of this week? Yeah, this week We have a soda additions again. We have a We already collected some of the important the subject So we try to identify what is action items. We don't want to stay as a new talk show We want to something action items bring practical value to support of STG's So we see a special those five break sessions How they bring there's a conclusion to ask the old communities participating communities to address our Step forward to act. I remember just a couple of years ago. They'd be those 500 people the more than 2500 today. Yes, so you're doing something, right? I think it's this is a quite well reflect the the markets or our People's our communities Requested so this is a good opportunity Specifically our summit is aiming for good specially targeting for STG's quite the relevance of all communities Thank you. Well, that's just Lee the director of ITUT talking to me here still got some busy more meetings coming up Thank you very much for your time. Thank you very much


The Verges, West Davis wrote an article called Google's open source AI tool. Let me play my favorite Dreamcast game with my face software that just uses your webcam so you can program up to six facial gestures to act as your mouse or keyboard actions. The algorithm is able to use what it sees from your webcam and translate that to head tracking so that you can do tilt, open mouth, that kind of stuff to control. My brother, after he had a stroke and he lost a lot of the dexterity in his hands, but the doctor said, you know what, if you can give him a controller and let him mess around and stuff, let him do it because it's familiar to him, you know, and it'll help the brain rewire and, you know, it's good for him. So, yeah, so anything that I see that can help folks that have had some type of accident or just, you know, haven't had the ability, but now they have the ability. Man, I'm all for it. This looks like it's a very promising.


Suspense. Autolight and its 96,000 dealers present Miss Betty Davis in Good Night, Mrs. Russell. A suspense play, produced and edited by William Spear. Say, Harlow, what's the idea? Why do you stand there so stifly and keep banging your hand on your forehead? I'm saluting, Hap. Saluting? Yeah. Oh, I get it. Saluting Autolight-Resister spark plugs. No, no. Not that those wonder-working wide-gap whizzes don't warrant a whale of a whack on the welkin. They do, they do. But tonight, I'm saluting the truckers of America. The nifty nonpareil purveyors of conveyers who are holding their annual get-together and gabfest in Boston, Massachusetts starting tomorrow. Oh, you mean the American Trucking Association? The same. Why, they've got millions of accident-free miles to their credit. Sell them, if ever. Make a mistake on the road. How do they do it? I'm not sure, but I think Autolight-Resister spark plugs must be behind it. Because, well, because you're always right with Autolight. And now, with Good Night, Mrs. Russell starring Miss Betty Davis with Elliot Reed, Autolight hopes once again to keep you in suspense. There's no escaping now. He hasn't said a word for 10 minutes. I know he's turning over in his mind how he's going to kill me. Argument and reasoning are useless. It's almost dawn now. In a little while, the milkman and the paper boys will be making their rounds. I'll be dead. The cafe was just half a block away from where I worked. It was a small, pleasant little place, thoughtlessly clean, the large plate glass window in the sidewalk. And there was always a beautiful-looking roast turkey and a juicy baked ham in the window. And you could watch Henry carve off succulent pieces of meat and arrange them into neat sandwiches with an olive and a dab of potato salad on the plate. Every noon, all of us who worked in the Hilmar building would go there for lunch. We crowded in on the high stools and jambered, as women do, while Henry patiently served us and put up with our female chatter. He was always the only one there. How are you today, ma'am? Fine, thank you, Henry. How about some of your nice baked ham? Yes, ma'am. Coming up. Always especially nice to me. I suppose that was because I'm well a little older than the others. Other girls are all very young, very cute. Henry always seemed uncomfortable a little with them. Yes, ma'am. Coffee? Please. And I believe I'll have some of your cherry pie. You're an excellent cook, Henry. Well, thank you, ma'am. I'm glad you think so. Twenty and fifteen, thirty-five, and... Henry had been right in the middle of adding up my check, and he stopped and stood very still and looked out of the corner of his eye with his head cocked on one side as though he were listening to something. His expression was a little horrified. I thought maybe he'd heard a sound that meant something to him. You know, like the refrigerator out of water or something. Then all of a sudden he shook his head and brushed away whatever it was he'd heard. Twenty and fifteen, thirty-five, and forty-five. You should try one of my dinner sometime, ma'am. Yeah, Henry. Henry, how about some service? Oh, excuse me, ma'am. That was Henry. Oh, one other thing, funny, but Henry never smiled. Perhaps I should have realized about him because of that. But I didn't. He was so nice and clean and polite I rather liked him. As a rule, I make my own dinner in the apartment, but one night I had to work quite late at the office and I decided to stop by Henry's and get a little bite before catching the streetcar home. Ever since my husband's death, I've felt just a little uneasy on the streets alone at night. I was glad to see the bright light in Henry's little cafe down the block. Henry's alone inside and I could see him fussing around cleaning up the place. He didn't hear me approaching. What's that?  I didn't hear you coming. I just thought I'd try one of your dinners tonight, Henry. You mentioned it. Yes, I know. Sit down, won't you? Ma'am? You weren't closing or anything? No, no, not at all. What would you like? Oh, I'll try your number four dinner. Number four? Yes, ma'am. He seemed frightened about something or suspicious. Yes, that was that he seemed suspicious about something I thought. I wanted to help him somehow, but I didn't want to butt in. This is the first time you've ever been by here at night, ma'am. Yes, I had to work late tonight, Henry. Didn't want to go home without dinner, you know. I see. Is something wrong, Henry? No, no. I'll get the rest of your dinner. Delicious soup. Thank you, ma'am. You don't often work late, do you? No, I don't. This is the first time, in fact. My boss asked me to stay late to type some letters. I know. You work in the Hilmar building. Yes, I do. How do you...? I know lots of things, ma'am. This is a good dinner, Henry. I guess I'm not as hungry as I thought I was. I'm afraid I'm going to have to leave some of it. I thought you liked my cooking. You said so just the other day. I do. I think you're a fine cook, Henry. I'm just not hungry tonight. I waited too long to eat, I guess. You don't have to make excuses, ma'am. If you didn't like it, just say so. Oh, no. I mean it. Your food is wonderful, Henry. It weren't I wouldn't have come here. Wouldn't you? No. Now, could I have my check, please? 85 cents, ma'am. All right. Here you are, Henry. You may keep the change. I'd rather not, ma'am. Here. Very well. Good night, Henry. Good night. Yes. Next time you come, I'll have something you like. But I did like... Oh, good night, Henry. Good night, Mrs. Russell. It was good food, but I... Oh, I felt ill at ease in there for some reason. That's why I couldn't eat. I decided not to go back there alone. Rather hard to talk to Henry. And I didn't go back alone. That is not for three weeks. Had to work late. And again, and for the last time, I went to Henry's. Hello, Henry. Wow.  Why, Henry, I've been eating here every day. Not at night. What's the difference? Well, in the daytime, you're always with your friends. I like to eat with my friends. Now come on, let's have no more of this silly talk. How about one of your wonderful dinners, Henry? I promise to eat all of it tonight. All right, ma'am. Which one? I'll try the number four again, please. I think that way I can convince you I really like it. Why? Why? Well, because I think four is lucky, don't you? All right, ma'am. It's all ready. You don't have many customers at night, do you, Henry? No, ma'am. Not many. I'm surprised you say open. Are you? There you are. I hope you... I hope... Henry, what is it? You seem to be listening for something. Is there...  I hate to sound like I'm prying. I know it isn't my business at all, but I... I do think something's bothering you. Do you? Yes, isn't there some way I can help you? Nothing's bothering me, ma'am. Yes.  Did you? He was in the army, killed in the war. He was very much like you. I see. That left me all alone in the world. My husband Leonard died four years ago. Yes. He was a wonderful man. Everyone admired him. A contractor, you know. I see. He didn't notice that I talked away about my family and everything. He became very quiet. He sat down on the cooler back of the counter and just watched me. His face absolutely blank. Couldn't tell what he was thinking. When I'd ask him a question, he'd just answer with I see, or yes, or no. Sometimes he wouldn't answer at all. Just stare at me. I was getting uneasy again. I just about decided to make up an excuse to pay my bill and leave. It was getting quite late when... when my head began to feel heavy. And I began to feel sick. Henry. Henry, I feel ill. Henry, I'm awfully dizzy. I don't think I can... Henry, can't you hear me? I believe I'm going to faint. Perhaps you'd better help. Did you do something? Good night, Mrs. Russell. The light is bringing you Miss Betty Davis in Good Night, Mrs. Russell. Tonight's production and radio's outstanding theater of thrills. Suspense. Harlow, how'd you stain your tie? Oh, that's from the alphabet soup we had at dinner. Boy, do I love that soup. Crazy about it, huh? We have a special alphabet, too. Only the letters A-L-R-S-P. A-L-R-S-P? Stand for Auto Light Resistor Spark Plugs. Oh, brother. Say, when you eat it, do you make noises that sound like A-L-R-S-P? Noise? No, sir. Everything's smooth with Auto Light Resistor Spark Plugs because only Auto Light Resistor Spark Plugs have the built-in 10,000 ohm resistor that makes practical their wider gap setting and results in... One. 200% longer electrode life. Two. Quicker starts in cold temperatures. Three. Better engine performance on leaner gas mixtures. Gas savings. Four. Less spark plug interference with radio and television from passing cars and trucks. Auto Light Resistor Spark Plugs are backed by the engineering know-how of Auto Light, leader in resistor spark plugs. Millions are in use today. So get yourself a set of Auto Light Resistor Spark Plugs. Remember, you're always right with Auto Light. And now Auto Light brings back to a Hollywood soundstage our star Betty Davis with Elliot Reed in Good Night, Mrs. Russell. A tale well calculated to keep you in suspense. I don't know how long I was unconscious. It seemed just for a moment, the moment crowded with horrible nightmares and dreadful sounds. I remember hearing a woman screaming. Screaming and crying horribly. It was ghastly. I must have been unconscious several hours. And when I opened my eyes, it was dark. Pitch dark. A clock was ticking somewhere, and I realized that the screaming woman had been me. Is anyone here? Where at? I'm tied up. Who's there? Can anyone hear me? Mrs. Russell? Henry, where was he? The room was black as night. I could see nothing. What was I doing here? Why was I tied up? How did I get here? I remembered nothing after... after feeling... it is it, English. So that was you. You put something in my food, didn't you, Henry? Yes, I did, Mrs. Russell.  Yes, Mrs. Russell. Can you? Ben. Why, Henry? Why? Because you're my enemy, you and all the others. Your enemy?  I've always liked you. I... I do... Don't lie, Mrs. Russell. You thought I didn't know, didn't you? You thought I didn't know what you were up to. What I was up to?  Night after night, I've heard you. All of you were outside my window whispering. And how you were going to kill me. Didn't you know I could hear you? I'm saying... Oh, no, I'm smart, Mrs. Russell. And you know it.  Get rid of me. Oh, it's just lucky I found out you were one of them. You'll be the first to die, Mrs. Russell.  How do you like that, Mrs. Russell? Be quiet, Mrs. Russell.  I tried to make myself think. I remembered you're supposed to humor people like Henry. I tried to control myself. No one can hear you. No one even knows you're here. And I'm not going to untie you either. Not until you're dead. Henry. Henry, I'm just... I'm only informed... You'll lie here in the dark and listen to the clock. For half an hour. Just half an hour, Mrs. Russell.   Henry, I'm just an ordinary woman. Oh, I'm smart enough to see through those remarks you made. Remarks? Always talking about what a good cook I was. As if you felt I wasn't a man. I know what you were thinking. Henry, I didn't mean anything of the sort. I really... And then rubbing it in about your precious son in the army. Rubbing it in, torturing him. Henry, that's wrong. And always ordering number four dinner. Oh, I'm smart. You see, Mrs. Russell, I can figure things out. Number four is lucky, you said. Four for four F you meant. Henry, Henry, all those things they were your imagination. I didn't mean them that way at all. I didn't know about the army. Weak excuses, Mrs. Russell. Oh, you're like all the rest. I'm too smart for you and you know it.  I'm a dangerous enemy, Mrs. Russell. Oh, how long have I got to live, Henry? Oh, a half hour. I don't know. The alarm will ring.  I was resigned to it then. It seemed so hopeless. But then I thought if I could just get him to turn on the light, I might see a way out. It was a forlorn hope, but I tried it. Henry, you know you set the clock right. Henry! I heard you. No, you didn't. Answer I thought. You thought you could get me to turn on the light. Sorry, Mrs. Russell. Henry, you're torturing yourself more than you are me, Henry. Do you know that? What do you mean? Well, you don't know when the alarm's going to ring either. You must be sitting on the edge of your seat waiting to hear it. Aren't you?   Murder, Henry.  It is true then, isn't it? You can't trick me into turning on the light. I'm too smart for that. Oh, you're going to suffer in the dark. As I have. I decided to turn on the light, Mrs. Russell. At first I was blinded in being the dark so long. Then I saw his hands. They were long and slim and brown. Blue veins stood out on the backs of her. I looked up at him. He was glaring at me from beneath his, bulging for it. Then he picked up the alarm clock and looked at it. Henry, I see it's ten minutes to three. Yes, Mrs. Russell. You have ten minutes to live. Can you wait? It was a tiny, neat living room. I was on a couch. The shades were down. There was no foaming. Well, the front door might be unlocked, it might. I can wait, Henry. Eight minutes now. Somehow with the lights on, I felt more optimistic, though. The hands were racing each other around the face of the clock. If I could just get untied now, there'd be a chance. I'd have to be careful, but quick, quick. Five minutes, Mrs. Russell. Henry, what? Are those things strapped to that board over there on the wall? Huh? Oh, that's my collection. A collection? Match folders. Oh, do you collect match folders? Oh, yes. I'll show them to you. Oh, hell, my brothers. He took them down off the wall. That clock would only stand still for five minutes. Here. See? I have folders from all the famous night spots. Here's Siro's, and the Stork Club, and 21. I bet you didn't think I'd been to all those places, did you? Oh, I know. Have you, Henry? Oh, sure, lots of times. People would never believe me. That's why I have these. Well, lovely, Henry. Henry, my arms and legs are numb from being tied up like this. Could you? No! I warned you not to get tricky, Mrs. Russell. I just wanted you to loosen my hand, so I could look at your collection. Just your hands. His collection for the moment. But that alarm would go any second and I would remind him. As he untied my hands, my eyes fell on a large jade bookend beside the couch. There. Now, be careful, Mrs. Russell. You just wanted to see my collection, remember? Yes, Henry, show it to me. Now, oh, see this one? That's from the Coconut Grove. Yes, yes, Henry. I let my hands steal along the couch toward the bookend. Isn't that beautiful? Yes, yes, it is, Henry. I had it in my hands. You're not paying attention. Oh, yes, I am! Henry! When I was some hour, I'd gotten the bindings off my feet and I was outside in the night. He'd been telling the truth. His house was completely isolated on one block. I ran down the block as hard as I could. I didn't even think about direction just ran. I knew he'd come to in a minute and I had to get out of sight. I'm not used to such exercise and my heart was pounding so hard it ached. In the middle of the next block, I stopped for a moment and leaned against a tree to breathe and I looked back and I saw him. I could see him beneath the street lamp. He'd stopped not knowing which way I'd gone. He was wild, his mouth was hanging open loosely. I shrank back further in the shadows and prayed he'd go the other way. He didn't. He started walking rapidly again in my direction.  It was after 3 a.m. and the people would be asleep but I knew I could run no further. Help! A note pinned to the door. It said no milk for 10 days. I could hear Henry's footsteps down the street and I knew he must have heard me. It would burst. The street was deserted. And then I heard a car approaching. He was a block away. We're going home again, Mrs. Russell. Now escaping now. He hasn't said a word for 10 minutes. I know he's turning over in his mind how he's going to kill me. It's almost dawn now in a little while the milk man and paper boys will be making their rounds. I'll be dead. You shouldn't have tried to get away, Mrs. Russell. You made me very mad. I know. You shouldn't have hit me either. You were even smarter than I thought, Mrs. Russell. You almost made it. But you weren't smart enough. Were you? If you're going to kill me, Henry, please do it. Haven't you tortured me enough? You see, it just didn't do you any good to be my enemy, did it? I don't like to kill you, but I have to. It's the only way I can protect myself. Don't you see you're not well, Henry? Please try to listen to me. You'll have to kill all the others, too.  The others. Oh, don't pretend you don't know, Mrs. Russell. Oh, I've heard them whispering about me. You must have heard them, too. The voices. The voices. All the time, just like I told you. When I'm at work and even here at home, I hear them plotting. I don't know. I know. Henry, there's no one. It's all in illusion. Don't you see? Just like you are. They're afraid of me because they know I can outsmart them. I'm too clever for them, and they know it. That's why they want to kill me. That's why you want to kill me, isn't it, Mrs. Russell?  Oh, I sort of got to like you, Mrs. Russell. If you weren't dangerous to me, I might let you live. I'm not dangerous to you, Henry. Oh, yes, you are. I've decided to choke you. If you close your eyes, it will happen very quickly. You'll hardly know it. Are you ready, Mrs. Russell? Please don't struggle. It'll be much easier for both of us. Aren't you going to close your eyes? No. What's that? What? Listen, you can hear them. Don't you hear them? The voices. The voices. The voices. Don't you hear them? Yes, I hear them, Henry. See? Now you believe me, don't you? You hear what they're saying? Yes. Yes, it's just as you said, Henry. They must be right near. Yes, right near. There are a lot of them. Too many. You'd better hide, Henry. Yes, but where? They sound louder all the time. They're getting closer. Have you a closet? Yes, that's it. The closet. Over here. Shall I help you, Henry? Yes. Yes. But be quick. This closet. I'll hide in here. All right, Henry. I'll protect you. There. A good place to hide. What if they find me here? I'll lock the door, Henry. No. I don't want to be locked in. They're getting closer, Henry. You'll unlock the door when they're gone? Yes, Henry. Suspense presented by Autolite. Tonight's star is Betty Davis with Elliott Reed. You know, Harlow, it's really marvelous how safely and courteously American truckmen drive. You said it happened. Autolite cooperates regularly with the American Trucking Associations in their excellent highway safety programs. Say that swell, Harlow. Swell? Say that reminds me. We haven't said anything about the more than 400 products Autolite makes for cars, trucks, planes, and boats in 28 plants, coast to coast. They're swell, too. And Autolite makes complete electrical systems for many of America's finest cars. Batteries, spark plugs, generators, starting motors, coils, distributors, all engineered to fit together perfectly, work together perfectly because they're a perfect team. So, folks, don't accept electrical parts that are supposed to be as good. Ask for and insist on Autolite, original factory parts at your neighborhood service station, car dealer, garage or repair shop. Remember, you're always right with Autolite. Next Thursday for Suspense, Victor Mature will be our star. The play is called Momentum. And it is, as we say... A tale well calculated to keep you in... Suspense. Tonight's Suspense play was produced and edited by William Speer and directed by Norman MacDonald. Music for Suspense is composed by Lucian Moraweck and conducted by Lud Bluskin. Good night, Mrs. Russell was an original radio play written by Ben S. Hunter. Betty Davis will soon be seen in the Warner Brothers production Beyond the Forest. You can buy Autolite resistor spark plugs, Autolite staple batteries, Autolite electrical parts at your neighborhood Autolite dealers. Switch to Autolite. Good night. This is CBS, the Columbia Broadcasting System.


I received a question from a viewer that I'd like to answer here in this video. The question was, George, why do you write out the full ideas of the video accompanying the video instead of just writing out like a teaser couple of lines so that more people will watch the video? I thought that was a great question because as a marketing coach myself and as an experienced marketer I know that I would get more views of the video if I just wrote something teaser. So let me explain three reasons why I write out all the ideas. So if you're watching this on YouTube you know that all the ideas that I share in the video including additional details and nuances and links are underneath the video and if you're watching this on Facebook it might be located above the video. So depending on which platform you're viewing this on, actually if you're watching this on the Facebook group and I share it from my fan page then the notes are below the video. So anyway, look for the full notes if you never knew it was there. So why do I do this? Three reasons. One is the golden rule. Authentic marketing can actually be summarized in this way. Follow the golden rule in your marketing. What would you, if you were in the shoes of your audience member what kind of marketing would you want to receive as an audience member? For me I would want to receive marketing that makes me feel cared for, that feels generous, that feels easy to consume, that doesn't feel manipulative or makes me jump through hoops like entering an email address to get something or sitting through a long video to finally get some pieces of wisdom. So that's what I would want to experience as a consumer and audience member. So I do the same thing to other people. And so much of life can be easier, more fulfilling, more fun, more enjoyable if we just think about the golden rule in more situations in life, in marketing the same way. So that's why I write out the videos because as a viewer on social media I love it when people write out the ideas so I don't have to watch the video if I don't have time to. So I really appreciate that so I do the same thing for others. The second reason is interestingly once I started writing out the ideas of what I said on the video out of a feeling of courtesy and service I found that it unblocked my writing resistance. I used to have so much resistance to writing blog posts. I used to feel intimidated by it, I wanted perfectionism and when I'm writing in courtesy and service summarizing a video I just did it just unblocks me and I'm able to write. So that's the second reason. And I think we each need to find what unblocks us with content creation and then for some of us it's writing. For you if it's writing an article unblocks you then you could read the content of the article in a video or you can attach another content creation method to what is natural for you. So that's the second reason and it unblocked me, my creativity. And the third reason is that when I write out the words, search engines, and there's buddy, search engines are much more able to find my video than if I only wrote very little because search engines work by finding words, finding text. They can't actually understand the content of a video unless something is written out so they understand the title of the video, they may understand some hashtags but they of course understand the description of the video as well. So by writing it out the search engines are more likely to find my video. So I hope that's helpful, always open to your questions and your comments and until the next video I wish you well.