Live from Orlando, Florida, it's theCUBE, covering Microsoft Ignite, brought to you by Cohesity and theCUBE's ecosystem partners. Welcome back everyone to theCUBE's live coverage of Microsoft Ignite. I'm your host, Rebecca Knight, along with my co-host Stu Miniman. We're joined by Patrick O'Reilly of O'Reilly Venture Partners based in San Francisco. Thanks so much for coming on theCUBE, Patrick. Thanks for having me.  What are you doing here? Tell us why you came to Ignite. Yeah, well, selfishly on the VC side, we have a few of our portfolio companies here that have booths and I wanted to kind of hear what people are asking, why they're interested in the companies and how we're framing those companies to the end users. I think these type of events are really good to unlock hidden potential or things people can tell you that you wouldn't actually have thought about. So Patrick, I've known you for a number of years. I usually see you at the open source shows. Microsoft, publicly very embracing open source. They love Linux, partnering with Red Hat. Even partnering is a lot of things that Microsoft have. They were working with VMware. But what's your viewpoint as to how you see Microsoft in the open source world and how about this ecosystem? Is this a vibrant ecosystem that VCs are investing in or is it just that there's companies of yours that this is part of the story? No, I think historically we've had the build versus buy kind of way of looking at it. But when I typically think of Microsoft, it's more people building glue code to kind of connect things together. And you tend to have blinders on to not think about what open source components you can use. You look for what company has a solution you can buy or license or OEM. And I think that's changing over time. Microsoft did an amazing job with developers of giving them very easy to understand languages and amazing tooling. And then along with that, the documentation and the training. So I kind of felt like you came in to development one of two ways. You either like on the Microsoft track and using the cookie cutter approach, to doing things and getting certified on something or you were open source, you learned a scripting language and you just looked at what you can cobble together in the open source world. And there wasn't a lot of cross pollination, but now I see that those walls kind of dissolving. People are willing to mix and match. Yeah, it's interesting. Some place I've seen Microsoft a lot is in the Kubernetes show. So first got to know you, you were a cosmetic, really the first company around Kubernetes that we knew, I know you're doing a lot of different things, but we love your viewpoint on anything on Microsoft in that space as well as just what you've seen as a watcher of the Kubernetes space these days. Yeah, I mean, I've been, if I step back from Kubernetes, back to the Apache Mezos and Mezosphere days, if you're rewind all the way back there, you kind of had to do a lot of education of like, what do you mean containerization? I have VMs, why do I need containers? And now that we've gotten past that and people actually understand the value you have containers, like having an orchestration system in place that works and works with everything is obviously more important than ever. And it's, I really credit the CNCF and the Linux Foundation for what they've done to kind of bring standards around Kubernetes and shepherd the project. And I think the fairly recent announcement from Google that they're fully trusting CNCF to be the shepherd of that is huge. And it gives a framework for people like Gabe at Microsoft to work with some of the staff at Google in a collaborative way and move it forward for everyone. And I think historically containers made a ton of sense on Linux, but now that we have Windows Server supporting containers and the KubeLit working on Windows, I think in the 111, or sorry, 113 release will have full Windows Server support in Kubernetes. Like that'll be huge. And just a quick aside, like the reason I even kind of honed in on containers and thought it was interesting is the average server utilization is still so low, but we're not really trained as technologists to care about that. And we're really good at building data centers and tucking them off in places where no one sees. But when the average server is taking, it's like running a hairdryer on high for electricity and then they run so hot you have to cool it, we're really not helping the environment. So I think if we can move towards containerization, move towards efficient utilization of our hardware, it'll be better for everyone, not just this ecosystem. So tell our viewers a little bit about your portfolios and your portfolio companies that are here and how they fit into the ecosystem. Yeah, so the one I'm most excited about, or shouldn't probably say it that way, I'll reframe that. Get in our favorite, they're all your babies. Yeah, they're all my favorites. But Zifton Technologies is great. I think their integration with the Windows Defender ATP advanced threat protection tool is great. They focus on the Mac and Linux components and give you that same kind of pane of glass on the Microsoft side to see those endpoints. And like their utilization of AI, like they have an upcoming release where they're using AI to do things. And traditionally in that space, it's been like the AV vendors doing everything and you had kind of, here's our signatures, we're going to scan against those signatures. And it's a creative use of AI now to like look for just anomaly detections. These are things we haven't seen before. Not sure what it is, but it looks abnormal. And those are the kind of like spin outs of companies that I'm looking for too. Like I want to see people doing more meaningful things with AI. I think if we look at Azure and what they're offering now, like I don't need to have a bunch of data scientists at my startup, I can implement computer vision just using one off the shelf components from Microsoft and Azure. I can do video indexing, using their services. If I rewind just back three years, I would have had to have a team of like four data scientists, they'd be reading white papers, they'd be implementing code that like sort of half works and they would probably take half a year to train some models to get like moderate results. And now in the matter of minutes, I can use this off the shelf stuff. Yeah, it's fascinating. I think back to, we were pretty early at theCUBE at watching the whole big data trend. And back then it was like, okay, we're going to take that two-year project and drive it down to six months. And now we talk in the AI space is, how can we drive that down even more? In big data there was concern, everything seemed to be custom. In AI we're starting to get to more templatized solutions, rolling out through a lot of industries and it feels like it's taking off a lot faster than that space is. I know there's a lot of investment going on in the space and a lot of air, so. And I think in particular, what excites you? What makes a good AI investment versus, there's just so much happening out there. I struggle with the name AI a little bit. I understand. I'm working on a talk and I don't enjoy the artificial aspect of it because it's really just intelligence. And right now it's a buzzword, people are throwing into everything. When really they mean we use an algorithm. It's not truly AI. But when we get to cognition, we get to some day if we have quantum supremacy we'll have systems that actually can maybe have a consciousness and decide things like, that's where I'm interested. I'm looking, like on the dev-op side I'm looking for people using AI to get away with repetitive tasks. Like I would love to see someone have a system where it's like hey, we've noticed 90 times this week this guy's done this exact same thing. 99% the same way. Let's automate that away. We've been really good in this space to kind of treat infrastructure like code and be able to tear things up. I've been incredibly excited to see just in my career how we went from okay, you're going to do something meaningful on the web. You need to build a data center.  So I'm just looking for anyone on AI that's going to do something that moves the needle. Yeah, just on the terminology piece, I live through the cloud wars and the argument over what was and what isn't. So it's just the shorthand for this wave that we have there, whether you AI or ML or IBM has some interesting terms that they want to call it. We understand that there's intelligence that I can do with software, a lot of machine to machine things that are going on and it shouldn't be a lot of heavy lifting by people to go in there. Oh wait, I can train something, I can learn what's happening, so. Well I wanted to ask, I'm sure a lot of entrepreneurs ears are pricking up when they hear that you want to make these meaningful investments. What is it that you look for in a company? Is it in terms of the leadership team, in terms of any track record, what sort of makes your eyes light up? So what I try to go to as many conferences as I can because I feel that's where the hallway track and I can meet people, I can see their talks, see what they're passionate about. So what I'm really looking for is investing more in the people than in the idea because startups can always pivot. And you look at some of the greatest companies out there, they were pivots from a slightly different model and they realized that they always should go and chase down this other thing. So to me I'm looking for people that are doing something exciting where they are already, looking to make the leap, for example like the Spinnaker team or people that do something like if XED wanted to move off and be a separate company, things like that. Where they've done something and they've proven it and now they want to go start a company around it. And I think right off the bat, like if you've built some interesting technology that people are starting to use, you have a decent revenue stream just from support of that and helping those end users. And I think with O'Reilly we do something a little different than other people. I focus mostly on seed investment, very early stage. Our typical check size is around 500K. And I actually allow people to take us off the cap table and just pay us back. Like I've done nine startups in my career and it's fundraising is one of those things where you only get good at it once you don't need it anymore. And I felt the pain of being on that side of the desk and I want to be in the position where we can write the checks and not try to have a lot of governance, not try to take a board seat, not give you down pressure on what you're doing but really be additive. I think moving forward I would love to be in the position where we can help incubate a lot of companies because we found that you all kind of go through, every company goes through the same process. Like now we need a real CFO because we need financial projections. Being able to provide those services for portfolio companies where they don't have to go spend their resources chasing that down. I'm curious how much some of the big players are just the gravity of what's happening and in this space that you're looking at. So obviously we're here at the Microsoft show but Google, Amazon, a lot of activity going on and we call it AI or what you will. VMware, even Oracle, Salesforce, how much of the big players defining and you have to build around them versus, we look at Kubernetes is supposed to make things independent, I should be able to open source and be able to build solutions regardless of what platform they're on. Yeah, I mean I think we're living in a world where people have a lot of choice and we look at even like taking the example of cloud providers. As long as I don't get vendor lock in and use their specific features, like I can move around to different cloud providers, I can now say I want to negotiate a better price here and migrate over. And I think just with any of the technologies like trying to work in ways where the companies can work together and be additive, I think that's where we actually move down the field and don't know what analogy is appropriate to use but I feel like there's a lot of really interesting stuff that we should be doing and making every company doing a slightly different version of the same thing. I don't think makes sense. Like even silly things, like as we mature, like back in the day, everyone used to have broadcast television, we built all these antennas, we got all this range, and then we moved to digital and we didn't need those antennas, we didn't need that range. So they started to decommission them but then companies came along and they're like, well wait, now we have this unlicensed spectrum we can use. So now they're using it for internet. You can get 20 megabit connectivity out to a rural farm where now they can put some cheap IoT sensors and do really meaningful things of low cost technology. Like those are the things I'm interested in. Kids that want to cobble together IoT sensors and come up with a way to use what they have in rural areas and have technology actually help people in a meaningful way and I think those are a lot of very viable startups in that space. I do think we live in a world where every company is going to end up graduating into one of the camps, be it Salesforce, Google, Microsoft, but in that innovation spike, like when they're first starting improving out the companies, I think they have a ton of choice. You described a very beneficent approach to how you think about VC. Do you think, how would you describe the VC landscape right now? You said you want to be able to just incubate great ideas and help these young companies when they are not good at fundraising and they don't have the smooth slick deck that will really impress the bigger VC firms. I mean, how, what's wrong with the VC landscape today and what else are you doing to make it better?  I can speak for myself like when I was looking to raise VC money in my previous companies, like you get these great offers from people, but then you talk to other entrepreneurs and you're like, I'm not going to call anyone out my name, but you're like, well, how is this particular VC firm served you? And you start hearing like of ways that was additive, but also kind of put undue pressure on them where they say things like, well, we really didn't need to raise that round then. We could have done bridge financing or we could have figured out how to get an MVP product out there and brought in some revenue. So I just think it's the ultra high returns that VCs are looking for and the promises that those VCs are making to their LPs in their funds to outperform everyone else. And everyone talks to everyone, right? So if anything's meaningful out there looking for investment, kind of the back channel is very vibrant and it's dog eat dog.  Some other school, they're the best place in the world. And the VCs tend to kind of like fall in those camps.  Yeah, and that's the thing I've struggled with too. When you look at the, like let's take Andresa, for example, you look at their portfolio companies, like you kind of can locked into that ecosystem. Like if you want to go, you know, if I'm a mesosphere and I want to go partner with someone that's not under that, where they have a company in that portfolio that does similar things, you're going to be pressured into working with the portfolio company over going off and maybe choosing the better, you know, choice for the industry. So I'd like to see, you know, those things change. So Patrick, we talked a little bit about Zifton, security endpoint, you know, really hot space. I want to give you the opportunity, other companies you have here that we should check out. Yeah, so work closely with the team at Turmonomic. I think what they've done over time, you know, is amazing. I love products where you can just bolt it in and within a short period of time, you're getting value. Like, you know, stepping back and just saying one thing about Zifton, like I think it's amazing. So I come from a software development, you know, background and one thing as a software developer I've always found fascinating is like, when you come in wearing the developer hat, they give you the keys to the kingdom. They're like, oh, here's root access to the servers. Here's where all of our data is. Here's how you do a snapshot of production to, you know, test it, you know, in staging. And I've always thought that it was a tremendous amount of risk.    Because one of the things I see in cloud computing that we didn't necessarily have with, you know, directly leased or owned physical infrastructure is it's almost too easy to spin things up. You know, you've got the guy clicking through the UI and he's like, oh, look, this instance looks great. Like, oh, and it says it's only going to be $140 this month. And then they end up spinning up a thousand of those. You know, you get that first sticker shock of like, here's my $250,000 bill that month, you know, for cloud. And companies like Turbonomics can like, avoid you, you know, making those mistakes. Great. Patrick, thank you so much for coming on theCUBE. It was really fun talking to you. We could talk to you for hours. Thanks for having me. I appreciate it. I'm Rebecca Knight for Stu Miniman. We will have more from theCUBE's live coverage of Microsoft Ignite coming up in just a little bit.


The analysis shows that the East Asian winterman soon weakened, after the mid-1980s due to changes in North Pacific and Eurasian circulation patterns, which led to a robust warming over the East Asian region. This was caused by weakening of the 300-HPA East Asian jet and 500-HPA trough, weakened northerly winds in Siberia, and enhanced southeast lies, over the East China Sea due to an NPO-like sea-level pressure pattern. The advection of mean temperature by anomalous wind and anomalous temperature by mean wind contributed to the anomalous warm advection in the region after the mid-1980s, providing a more favourable environment for weakening of the EAWM. This article was offered by Sun Xi'an Li, Xi'an Wakhim, John Gap June, and others.


Hey, this is Brett, and this 2017 Ford Explorer XLT is stock number 13563Z. I am here at Summit Automotive in Fond du Lac, Wisconsin, you're new and used SUV headquarters. This 2017 Ford Explorer has the 3.5-liter V6 engine, puts out 290 horsepower, and it's paired up with the 6-speed automatic transmission. This vehicle has been fully-safety and inspected by a horse service shop, has a fresh oil and filter change, all the fluids have been checked and topped off, and it is 100% ready to go. I'm going to go all the way around in this video inside, start it up, and take a look under the hood to give you the most accurate representation of the vehicle possible. Shadow Black is the color, and I shoot all my videos in 4K, so if you have HD capabilities, because it is your best way to check out the quality, condition options, and cleanliness of the vehicle before seen in person. As you go down the driver's side here, the rear quarter and the doors all look really good. I didn't see any major dents, I didn't see any major dings. Looks really good, front fenders in nice shape. If you like the video, you can subscribe to my YouTube channel, which is youtube.com slash summit auto. Click the bell notifications and you'll get updates on the videos I do each and every day. Also, check out one of the largest catalogs of new and used car walkarounds on YouTube at my channel. This one comes with the painted 18-inch alloy wheels. They're in pretty nice shape, and it has Mastercraft Grand Touring LSR tires, and these tires have, I would say, probably 70 to 80% of the tread left. These are 245-60R18s. Once again, no major dents, dings in that front fender. Headlights are in nice condition, nice and clear. You get the front bumper parking sensors. The front bumper itself is in fantastic condition. I didn't see any dents, dings, or cracks on there, and you do get the chrome-trimmed grille. Comes with a really nice bug shield, and the hood is in fantastic condition. I didn't see any dents or dings on there. Passengers side front fender looks really good, and the passenger side front wheel, no major scuffs or scrapes on there, looks really good. And as you go down this side of this 2017 Ford Explorer, take note of how clean that body is, how reflective and mirror-like that paint is. I take these HD videos, so if you are far away, or even if you're close by and you just can't make the trip down, but you're still interested in purchasing the vehicle, you can see the vehicle, hear the vehicle, and have confidence in what you're looking at so that you can make a smart buying decision from wherever you're at. If this video helps you make that buying decision, let your salesmen know that you saw the video, that it was helpful, and that Brett sent you. Back wheel is in excellent shape, and the back tires have just as much tread as the front tires. Well, I want to mention this is a one-owner clean title history, clean car facts out of New York, Buffalo, New York, to be exact. Rear bumper parking sensors, and the rear gate is in really nice condition as well. I didn't see any dents or dings on there. It does have the power lift gate that goes up like so. You get the third row seats. Back storage area is nice and clean. Those seats do fold down and recline and go flat as well. So if you do that, kind of hard to do with one hand, but it can be done. You can see how nice and flat that goes, and then when that second row is down as well, you get a really nice flat storage area. I'm going to get these up. I don't think I can do it. Gotta have two hands to it. There you go. And then of course the headrests come up as well. But nice clean back here, and this gate comes down. Just press that button, and it'll go down for you. You can see that that is working nicely as well. Paint is in really nice condition on this vehicle. Nice and shiny and glossy. Back wheel is in nice condition as well. This one does have the door code entry right there. We do have the code for this Explorer. If you ever wanted to figure out what your code is on your 17 Explorer in the upper right hand part screen guide video showing you how to find that. Heated mirrors, built-in directional signals, and you do get blind spot mirrors in there as well.  Front seats are in nice condition. I didn't see any rips or tears on them. Power driver's seat, weather tech floor mat, auto headlamps, fog lights, power gate, power windows, locks and mirrors. Take a quick look at the back seats. They're just as clean as the front seats, and you do get the second row bench back here. It does have latch child safety system for any child car seats you may want to put back here, and you get factory floor mats back here. Rear air controls and a 12 volt power point, and then these seats fold down like so. Third row seats are in nice condition as well. And these seats also fold up a little bit as well, so gotta have the headrest in all the way for that to work. Let's see if I can get that to go up. There we go. So that's how you would get to that third row. That goes down like so. And we'll take a look at the radio and everything. There's your child safety locks, the insides and bottoms of the doors all look really good on this vehicle. Up inside, see that this one has 50,267 miles, and yes we will be putting some fuel in this after this video. Instrument cluster is very nice and clean. You get the nice digital displays on each side. Yeah, you get a compass display, time, all that good stuff. Comes with the leather wrapped steering wheel, bluetooth and information center controls. So that controls the right hand side, and this one controls that side, and on the left you have your cruise controls. This one has the, and that's also a heated steering wheel, has the sync eight inch radio. You get AM, FM, Sirius and CD player capabilities as well as Bluetooth capabilities. You have your climate controls here, including your heated steering wheel. You also have your heated seat controls down here. And then you have all your different apps, including Android Auto and Apple CarPlay. So while this one doesn't have the factory navigation system, you can project your cell phone to the screen through one of those apps, and then it's like you have nav right on the screen if you've got Waze or Google Maps. So really a cool system there. And then this is also where your backup camera shows up, and that works nicely as well.  You get your keyless entry remote start and power lift gate. Here is your RapidSpec four wheel drive terrain systems. You can sand, winter, off-road, and then normal, and then your downhill assist control, your six-speed automatic transmission shifter, and the passenger side format and seat are in excellent condition as well. No rips or tears on there, and the headliners in nice condition too. You do get map lights up there. We'll start it up and take a look under the hood. Starts right up. No check engine lights or anything like that. I would personally like to thank you for checking out the video today, and hopefully from this HD video, you've been able to verify the quality condition options and of course cleanliness of this vehicle inside and out. So this one does have the LED headlights as well as the LED running lights there, and the fog lights are all working nicely as well. They appear to be LEDs as well. And under the hood, we have the 3.5-liter V6 engine, 290 horsepower engine based, very clean runs, very smooth. Once again, this Explorer has been fully safetyed and inspected by our service shop, has a fresh oil and filter change. All the fluids have been checked and topped off and it is 100% ready to go. There is the emissions sticker. And I would highly recommend this Explorer from a quality and condition standpoint. And to see more pictures of this vehicle or one of our other 550 new and used cars, trucks, SUVs, minivans, wranglers, you name it, we've got to go to that website right there, summitauto.com, full pictures and descriptions of every single vehicle, all at summitauto.com. And if you'd like to check out more HD videos, you can go to youtube.com slash summitauto. Click the bell notifications, you'll get updates on the videos I do each and every day here at Summit Automotive. In fact, in a second, you will see a link to subscribe to my YouTube channel, the upper left. The link to more Explorer videos I've done and the upper right link to this vehicle on our website and the lower left and a link to one of our latest YouTube videos in the lower right. Click those, check us out and we're super excited to help you with this Ultra Clean 2017 Ford Explorer XLT in shadow black clear coat. 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All right, welcome. We are so glad you're tuning in to learn about how a statewide collaborative group created an OER package, including a textbook student printable companion and Canvas course shell sharing their thoughts today are. Ashley McCose from Lakeshore Technical College. Ellen range from Western Technical College. Cindy to make up from Nicola College. Kelly Carpenter also from Lakeshore. And Hillary Barker from the Wisconsin Technical College system. All right, in this session we will walk through how we selected medical terminology as our first OER system wide project. We'll discuss project goals. How we created the system wide work group, the process or how the work got done and lessons learned and recommendations. If anyone wants to tackle a similar project. Medical terminology is a foundational course for almost all of our technical college health science programs and is offered at all 16 Wisconsin Tech colleges. So many students take this course in their first semester of college or in high school through dual enrollment. We were hearing from students and high school administrators alike that the cost of the publisher textbook with the one time use access code was prohibitive at over $100. Open RN, which is through Chippewa Valley Technical College here in Wisconsin is also working on for nursing textbooks. So medical terminology aligned nicely with the OER work that that group is already doing. So a small group of librarians submitted a wills idea to action fund proposal in 2018 and received a $5,000 stipend to hold the state's first ever OER create fest slated for April of 2020. We grossly underestimated the amount of time and energy that went into both the create fest itself and writing a textbook. And the create fest being scheduled in April of 2020 was very poor timing with the start of a global pandemic. So we did still end up holding the create fest. We switched everything virtual to Microsoft teams and the create fest really ended up focusing on spreading awareness of OER and how much more we needed to learn yet about writing a textbook. At the time of the create fest there was no known textbook that we could adapt. And so the project really stalled for several months while we all kept our heads above water dealing with COVID. And until the publication of Building a Medical Terminology Foundation by Kimberly Carter and Marie Rutherford was published. So with the publication of the Rutherford and Carter textbook that really revived our focus and it shifted the goal into an adaption project instead of a creation project. That scope was just too much for us to bite off for our first project. We knew that since the access code material was so vital for both instructors and students, we knew we wanted to create ancillaries and some H5P interactive content that would help make textbook adoption easier for instructors. Wisconsin also still has very rural college populations and we knew we wanted to create a printable companion so that students who don't have access to reliable internet could still use the content. After we worked on the project for probably over a year, instructors still voiced strong desire for assessments and test banks, which had historically been barriers to OER adoption. So we were looking to minimize as many deterrents to adoption as possible. We ended up creating a Canvas course shell very near the end of the project and we chose Canvas because anyone can create a free Canvas account and export the course content. Our cross-functional workgroup includes medical terminology faculty as subject matter experts and individuals in project management and support roles, including librarians, teaching and learning, manager of open and inclusive academics, and a liaison from the system office for the Wisconsin Technical Colleges. In the tech college system, we have an OER network that I help coordinate and with representation from each college. When we first started this workgroup, leveraging this network to get the word out and identify individuals who could dedicate time to this project was really helpful. So next we'll talk about our process. First off, our process included many stops and starts. In spring 2020, we held the medical terminology CrateFest within the OER network and as Kelly mentioned, this work stalled thereafter. At that time it didn't seem like this was a feasible project given the amount of work that was needed to create these resources. But then in the summer of 2020, Cindy found the newly published medical terminology textbook from Carter and Rutherford. This textbook was key to getting our project off the ground since we no longer needed to create something from scratch but could adapt existing content. Yet it still took us a few months to really establish a process and solidify who would participate in this time consuming project. The process we landed on was having two simultaneous faculty workgroups, led and project managed by librarians to adapt the textbook, create the student companion and assessments. This work still took over a year to complete. The textbook work was mostly finished when the faculty moved the answering materials and aligning the assessments. During this time in the summer of 2022, we sent out the textbook for peer review with other medical terminology faculty in our system. The cannabis course shell was then finished at the end of the summer and this fall some faculty are piloting the resources in their classes and we plan to release the next edition of the textbook in spring 2023 and incorporate feedback from the pilot. Due to both the nature of the work and the physical distance between all participants, collaboration and communication were essential to this project. Some of the practices that we included were a shared Google Drive that everyone had access to. Not only did the shared drive give us a home to put all of our documentation. It allowed for everyone to see everything going on in the project and easily access the parts needed to continue their individual or group work. We're able to split up the faculty into two different workgroups one for editing of the book and the other for assessment to allow each to focus on their specific interests. The main project team the project manager managers and support roles would then meet to discuss work the workgroup projects brainstorm ideas and resolve any issues that arose. For this project we were fortunate enough to have access to create and clone the textbooks in the press book platform. This gave us the ability to easily edit content and add modify H5P activities in the book. Faculty were able to use hypothesis to suggest edits, additions or emissions through the book. Once these changes were gone through the librarians and the projects then updated the press book. The same process was used in peer review and seemed to work really well. So I get to talk about adapting the textbook and there were several main priorities that we had for adapting the Carter and Rutherford text to our needs. That text was itself an adaptation of the open stacks anatomy and physiology textbook and our instructors felt that there was still some anatomy and physiology content that was extraneous to the study of medical terminology. So we focused on simplifying the content videos and images and focusing more directly on the terms. We also worked to align the text to the Wisconsin technical college system course competencies for the course and to Americanize any Canadian context spelling or pronunciation. We also knew as Kelly mentioned that many of our students and instructors would want to print these materials and so we tried to consider printability throughout the project. We discovered early on that those interactive H5P activities that were so beneficial to student learning did not translate well to a printed version. And so we created a separate book which we called the student companion, which duplicated those interactive activities from the textbook into a printable text based easy to study format. We did find that the more time we spent with those materials the more we felt comfortable adapting to our context and our student needs. As we neared the end of the textbook adaptation and assessment creation processes, our work groups entered into that internal review process between the true groups that Hillary mentioned. During this process instructors reviewed each chapter and checked the consistency among the textbook, the companion and the assessment activities, while also identifying as many errors and missing pieces of information as possible. We then reached out to other medical terminology instructors within our system to provide feedback on the textbook as our external reviewers. We did create a rubric for these reviewers which we based heavily on the open RN project peer review rubric. This rubric essentially asked reviewers to answer the primary question to what extent does this textbook successfully meet the learning needs of an entry level student going into a health related field. Any corrections or revision suggestions were documented in a new hypothesis group that we created specifically for the review process. The corrections and edits were then made all at once at the conclusion of that review window. And as mentioned earlier, we initially used Google Docs to draft out the chapter word lists, learning activities and assessments for each chapter. But we later decided to actually collect and publish everything in Canvas due to that ability to share the content more easily and flexibly through Canvas Commons. While our course shell isn't necessarily comprehensive, it is a resource that instructors can adapt for their students and their teaching needs. This set of resources was an important priority for our project as it really provided instructors with some activities that they could use. Each of the body system modules includes links to the textbook chapter, the student companion chapter and a variety of different activities that they can use for formative or summative assessment. Each chapter or module generally includes a list of words to define using word parts, pronunciation and abbreviations lists, a pronunciation scenario, a vocabulary review activity, a scenario writing activity using terms from the chapter, and a bank of quiz questions. Instructors are then able to export the course from Canvas and import into their own learning management system or to use any or all of the individual activities. Now we'll talk about some of the lessons learned over the course of this project and some recommendations we have for anyone preparing an OER adaptation like this. One of the most important lessons we learned from this process was to embrace a flexible timeline and to persevere despite many starts and stops. Everyone working on this project, be it faculty or support staff, was tackling this in addition to their regular responsibilities. So it was really key to give ourselves and our colleagues some grace and we quickly recognized that our original timeline needed some adjustment to account for busy times of the year and availability of our teammates. So while this process kicked off with a lot of momentum at the Virtual Create Fest that you heard about, it wasn't until August 2022 that we were ready to pilot with this full package. So it was important for our project leaders to manage expectations when it comes to the timeline and the amount of work that could be completed within that time frame. This was something we weren't initially prepared for at the outset, I would say, and I would certainly be more intentional about this when recruiting for OER projects in the future. And speaking of those project leads, we learned that it is very important to designate a project manager. It was certainly critical to develop materials and discuss as a group, but those project managers were really there to facilitate the discussion, solidify objectives, assign and hold people accountable for action items, and handle those project technology and logistical pieces. There were definitely moments when the group got a little lost in the weeds, I would say, but that project manager was really key to bringing people back around to the larger vision and keeping everyone motivated and invested when there were differences of opinion. We also learned that the size of your workgroup is an important decision. Ultimately, we wanted to balance having a diverse set of perspectives while also keeping the size manageable logistically. A smaller group will make it easier to get everyone on the same page and keep the project moving forward. Finally, we learned that imposter syndrome is alive and well in projects like this. The faculty experts will feel it, the project managers will feel it, you will feel it. For many of us, we just didn't have the background in publication or in copy editing or writing textbooks, so it was a steep learning curve that can be intimidating, but staying focused on that potential student impact and tackling the project in small pieces will slowly push those intrusive imposter feelings to the background and let you achieve something incredible. So if you're on the edge of your seat just ready to dive into a project like this, here are a couple of tips we'd like to share as you start your journey. So first of all, really think through and lay out your project timeline and milestones from the outset and share that with any interested faculty and support staff as you're recruiting. As we mentioned, you want to manage those expectations and recruit people who are really willing to put in the work over an extended period of time and who wouldn't necessarily expect to see a finished product within six months. Understandably, they would be a little frustrated if progress was slower than anticipated, so really set that expectation. I would even say set a pessimistic timeline, that is to say with plenty of breathing room for other priorities so that everyone's aware that certain priorities could put a pause on your OER progress. Take careful notes of your meetings and keep meeting minutes. This will really help you stay on top of ideas and priorities and action items and help inform future projects. And we also recommend creating a plethora of surveys. So in the front matter of your OER work include a textbook adoption survey so you have a sense of how widely your work is being used. And also include a survey where readers, students, faculty, anyone who's engaging with your book or materials can send corrections and suggestions. And then finally create some sort of survey to check in on student experience and feedback. This will give you information beyond just adoption numbers and help give you a picture of how students are using the book, what works well for them, what barriers they're facing when using the book. Because the beauty of OER is that you can continue to improve the material in response to user needs. So in that way you can really take advantage of the living nature of your OER materials and use them to adapt to student needs in real time. Project management training is also a recommendation for your project leads or even for everyone in your work group if it's possible. In retrospect I feel this would have been very helpful and made the process a little more efficient in the long run. And an investment in that kind of training upfront will really pay dividends over time since that skill set can be useful with every subsequent project. And then finally find ways to maintain motivation by reminding your groups of the long term goal to help students. For us there was real motivation in seeing the hundreds of thousands of dollars students across the state could potentially save thanks to our efforts. And for your group it's really about understanding what their motivations are, maybe having more control over their curriculum and learning materials is a major motivating factor for your faculty. So keep those objectives at the ready when things start to get a little lost in the minutiae and that will really help your project move forward. And ultimately when we look back at this project over the past two years and see the progress that was made it is pretty incredible. We have an OER medical terminology textbook adapted to the needs of Wisconsin Technical College students. We have a low tech companion for students to use as a printed copy of the text. We have our Canvas course shell for instructors with a plethora of learning assessments to support the curriculum. And based on the number of students taking that term currently and the amount they pay for their current textbook. These materials have the potential to impact over 8600 WTCS students and 3300 dual credit high school students across our state, saving them a collective estimated $895,000 a year. These savings will help increase access to many in demand health sciences career pathways. So our work group is really proud to be part of these ever increasing OER efforts in Wisconsin. And we know that this work is just another step in the growing statewide OER movement that is making education more accessible and affordable for our students. So if you'd like to reach out to any of us about this project, we'd be happy to answer questions. Here's our contact information. If you're listening to this asynchronously, please feel free to shoot us an email. And if you're here at the live session, we welcome your questions. Thank you.


So for inviting me, I want to thank Maddie Bratt and Jose for all the help with the presentation. And this is, I went to the Graduate Center for my PhD, so I know this space very well. So it is both a homecoming and very intimidating, so. So I want to start with a little bit of reminiscing. So I remember distinctly the experience that sparked my passion for theater. I was 10 years old, and I sat in the front row of the Mezzanine at the National Theater in Washington, DC. During the performance, I leaned forward. My forehead was pressed into balcony and railing. My eyes were glued to the stage. And in the weeks that followed that performance, despite repeatedly recounting it in vivid detail to anyone who would listen, I felt incapable of really expressing in words the show's powerful impact on me. It's narrative and choreography were not the source. The spectacular set, makeup and costumes were not really the cause either. And although I'm certain I'd seen other plays before this one, this is the production that stays with me even now. It was Cats. Something happened at the theater the night I saw Cats. The performance lodged itself inside my body and remained there in a very visceral, tangible way. Trying to express this sensation in the weeks that followed, I recreated Cats in my family's living room, singing and dancing to the entire two cassette soundtrack every night. That's like what was before CDs. You've never seen one. So I'd like to flip it and then put the other one to flip it, but I was committed. So this evening ritual was the only thing that I could do with the performance that seemed to have lodged itself inside my body. We deem a play successful, pleasurable, or no worthy for any number of reasons that might provoke us to think in new ways, challenge our expectations or entertain us. The text could be cleverly written or the performance brilliantly acted, skillfully designed and innovatively staged. But plays that transform us, that prompt us to commit ourselves to theater, that we recall years later, not just mentally but also physically, these plays would do something to us. Their performances certainly leave traces in our mind, but more remarkably, they embed themselves somewhere inside our bodies in such a way that we carry them with us, not only to every future theatrical event, but also to our other encounters and experiences in the world. Many performances move us, but transformative theatrical events remain inside of us where they continue to affect us for years and perhaps forever. So with these passages, I opened my first book on performance culture in late medieval York. They point to an interest in a methodology that guided that project and then continued to guide my research into both medieval and contemporary religious performances. I also related to interest in biology. I earned my undergraduate degrees, my bachelor of science degree in biology and chemistry, and although I ended up eventually with a PhD in theater and I'm an M.A., or an M.D., I should say I can't even say M.D., I'm so good to get it. My interest in the human body and its functions has been really central to my research, and it has also led me to use a range of different theoretical frameworks. Among them are cognitive theory. So for theater studies, especially cognitive studies and cognitive theory have really helped us understand reception much better and the way in which we kind of interact with what we're seeing, the way in which the body is and the corporeality of the body is as well as the materiality of objects on stage really impact us. So in my work on performance in the late Middle Ages, I used theories from cognitive science to think about how medieval spectators engaged and understood religious performances. But doing so also involved using my own body and its responses as a platform for analysis. So for example, here, I would walk around the 21st century York, which really retained some of the same elements of its medieval character and typography. And it really inspired me to ask questions about how spectators saw and interpretive performances in that medieval scene. I wondered about how seeing religious plays performed on wagons against the backdrop of familiar buildings and businesses and homes might have impacted the religious meaning that they would derive from the plays. And then alternatively on the flip side, how could seeing these performances annually that would circle through the city in those medieval streets then layer the everyday environments with ongoing devotional meaning. So religious meaning that might be reactivated each time they walked down the street or gazed upon a building. And then I used cognitive theory to suggest answers to these questions and their relevance to how we understood medieval drama. So as I hope this illustrates, I'm keenly interested in how live performances make meaning and specifically in how the material event-ness of or surrounding a religious performance generates ongoing meaning through the physical bodies of the spectators. I focus on a performance's dramaturgy or its dramatic composition to analyze how the different elements of a theatrical event operate in combination to affect the physical bodies of spectators. Now, while my work on New York really focused on representational elements of what spectators would see and sometimes hear, my more recent work has been concerned with non-representational elements of performances such as pacing or rhythm. These are primarily felt by spectator's bodies and therefore they only become really apparent when a person physically experiences a performance. So this research has focused on Christian performances that depict the last days of humankind at birth or the end times. I've examined performances that represent the events on a personal or global scale and in both medieval and modern contexts. One similarity across these is the prevalence of violence, specifically violence that does not just function through representation. So I therefore spend a lot less time interpreting what I see or the violent images and more time really thinking about the physical sensations that they produce in order to understand how those might impact the religious meaning that the audiences then make from the planes. So I visited a number of these, contemporary end times plays. Hell houses and judgment houses are more familiar. They're almost canonical to this genre. They've attracted a lot of attention by theater scholars and then also by the popular press. George Radcliffe's 2001 documentary, Hell House, was in part responsible for that attention. These shows are licensed, they're packaged and the congregations purchased them with scripts, production directions, design elements, sometimes sound effects, and they both of these genres use a kind of small group walkthrough structure. So although they differ in significant ways, both use this and then end it with a kind of scene in which spectators are directly forced to confront and consider their own moment of judgment at kind of the pearly gates moment. Spectators watch as characters who that are stand-ins for themselves encounter recognizable depictions of everyday violence. And I've argued that these performances with their vivid violence provokes a kind of individually oriented fear. And that focuses people on a personal moment of judgment. All right, by contrast, Hell's Gaze is an outdoor reality drama that's produced by Lighthouse Baptist Church in Dawsonville, Georgia. And it functions very differently. I initially approached this production thinking it would evoke the same kind of fear that I had had an experience at Hell House and Judgment House. However, my own physical experience of the production revealed something quite different. And so this is an example that I'll spend the rest of my time discussing. Hell's Gaze is an annual event with a four-week production schedule, time to coincide with a Halloween and content house season. So right now, the Hell's Gaze website describes the performance as, quote, nine action-packed heart-pounding scenes filled with scares and pyrotechnics that will leave you staring death in its face and wanting to find the way out of Hell's Gaze. So, and then this is another, from their home page. You can see there's a parental advisory because it's quite graphic. There's also a one-minute publicity video on the home page. So if we can move to that right now, that would be great. And as that will show, this is really a piece of immersive theater that situates spectators as participants in the end-time events as found in the book Revelation. And so we're gonna watch that. Pretending not to know, what are you ignoring? Should you be focused on today? What means to be lost? A huge group of people really showed me that this works. I mean, people were incredibly emotionally moved by this. There was a lot of tears, there were a lot of prayers, and it was much more so than Hell House or Judgment House, which seemed less sensational, so they might work more. But this actually seemed to, at least from my position, provoke a really powerful response. So analyzing the devotional function of a performance like this, in a really considered thoughtful way, to kind of respect and try to understand what it's doing, required opening myself up to feeling its effects and effects, to really performing the actions and responses that the performance's dramaturgy encouraged. And by performing, I don't mean to pretend or to simply go through the motions. Instead, I really tried to enter into a genuine, meaningful, bodily relationship with the form, experiencing all of its sensory contours and meeting its expectations as fully and sincerely as I could, even if I could not ultimately arrive at the point of belief. And of course, to be useful, this kind of engagement cannot be casually undertaken. It must be grounded in rigorous critical research of various contexts, textual, cultural, social, theological, and historical, all of which, from which the performance emerges and into which it's produced. Engaging Hell's Gates in this way allowed me to consider how its violence functioned differently than the other end of time performances, rather than presenting clearly legible representations of violence to provoke fear. I argue that Hell's Gates relied upon violent intensities to induce really strong, unsettled feelings that the production would then organize and make legible by using biblical scripture. The production was divided into several scenes that took place in a variety of different locations. Some episodes were staged in large outdoor areas with the action happening all around us, while others occurred in warehouse-like spaces with spectators standing or sitting on the bleachers. The first episode took place in a cordoned off outdoor area with a film screen at one end. Standing in the space, we watched a video that outlined various signs on Earth that all point towards an appending end, capital E. These events included wars, pestilence, famine, and earthquakes. And after the video ended, gates opened in front of us and several guides began yelling at us to follow a path that wound through a very realistic, post-wrapture scene of pandemonium. We saw a section of an airplane that had apparently fallen out of the sky and crashed to Earth. We passed the site to various car accidents where bloody victims hung out of the vehicles and the walking wounded staggered all around us. We passed fires and carnage as we traversed the disaster area. The performance also happens after nightfall and the lighting is produced almost exclusively by elements within the scene. So in this case, flashing the ambulance lights, headlights, search lights, fires, and unexpected explosions provided that lighting also created a really disorienting atmosphere. Representationally, that violence is typical of pre-tribulation Christian narratives. When all believers are suddenly raptured, disaster will result as the cars they're driving corine and crash, airplanes they're flying, crash to Earth. However, the disorienting somewhat chaotic scene also assaults spectators sensorially. So many things are happening simultaneously and all around the audience. That the scenes of violence confronts spectators on a level of sensation really rather than narrative. I responded physically and emotionally into the violence long before I really understood its representational meaning. This violence of sensation remained consistent across much of the performance with episodes roughly following a standard tribulation account and all of them very elaborate with respect to production. So for instance, one ends with the two witnesses that are referred to in chapter 11 of the book of Revelation appearing on the top of the building and they begin proclaiming the word of God and those on the side of the antichrist start to shoot at them and the gunfire is whizzing over the spectator's heads. The witnesses are uninjured and then in a flash of smoke and light they disappear, they vanish. And then all of a sudden in all of this yelling, all of us who are respecting us are rushed into a warehouse space for the next scene. So at the end of every scene, the guides shouted at us to run or to hurry into the next space and then they aggressively instructed us to remain quiet or to stay standing once we reassembled. They created a really hostile environment in which law and order had seemingly been supplanted by law and such an overwhelming environment really prevented me as a spectator from immediately interpreting the scene's present moment. Instead it left me suspended in a kind of unsettled emotional state and seeking some kind of narrative order. That order is then supplied into episodes where the rhythm and mood shift really drastically. In one of these, a young preacher uses scripture to explain what has just happened and planted spectators in the audience ask questions that the preacher then answers by referencing Bible verses, specifically passages from Revelation. In this intimate quiet space, yelling and disorientation were totally replaced by the preacher's composed demeanor, his rational explanations. Sensory chaos was made orderly and legible by the word of God. In contrast to Hell's house or Judgment House, Hell's gates also superimposes its end times theology onto a global landscape. During the performance, I was not following the story of a single individual or seeing a metaphor for myself. Instead I was living in a culture as it collapsed around me and feeling an increasing loss of control as the events have folded. A number of dramaturgical elements really inscribed this feeling into my body, being herded in a big group, yelled at incessantly, ordered where to stand when to sit. All of these reduced my sense of agency and personal liberty. The episodic structure and the quick transitions cultivated a sensation of constant change about stability or trustworthy leadership. And indeed the fast pace often left me just trying to figure out how I was gonna navigate this distorted, disoriented world logistically. During scenes that are staged indoors, spectators are usually squeezed against one another and this lack of personal space and freedom really reinforced the feeling of personal liberty lost. So by assaulting the senses in this way, the terror of being left behind became less about the individual violent acts and more about how the tribulation event as a whole overturned cultural values and principles. This upending was conveyed through sensation, hurting, rushing, yelling, crowding, combined with random and often very startling use of lights, gunfire, and explosions. They all produced a violence that suspended me in a state of confusion and frustration. I may have been intent on physically navigating the present as I often was, but my feelings were pitched anxiously forward towards a future in which I would hope those sensations made sense. This chaotic atmosphere was then made orderly and calm and intelligible through scripture during the scene of the pastor and in a final scene which also takes that same tonal shift. Last slide. So Helmsgates provides spectators with felt evidence of what will happen. And that's its goal. And it expects, really, spectators to understand why consequently it only makes sense to believe. From start to finish and despite what really might sound, I'm sure it does very overwrought, very melodramatic. The show's tenor remains pretty logical. Moreover, it cultivates this religious message through feelings that may then be refelt later in different circumstances and in reaction to a variety of other seemingly secular triggers when watching news coverage of the devastation and rescue attacks following a natural disaster. When passing a car crash on the side of a highway, when watching an international espionage movie of Jason Bourneville or a domestic thriller series like Homeland, re-feeling allows those subsequent experiences to also be imbued with that same religious significance, taking ostensibly discreet experiences and then through emotional association, uniting them into a common religious interpretation. By means of this re-feeling, the religious significance of Helmsgates is always coming into being. It makes ongoing religious meaning by providing spectators with a way to organize and make legible subsequent encounters that evoke the same kinds of disorienting, troubling or unsettled feelings. However, ultimately it was only by actively and trying to sincerely engage the performance itself and then interrogating my own bodily responses that this logic of feeling really became apparent to me. So I was asked to kind of present you with an example of the kind of work that I do as a scholar and so this is what I chose and I'm very happy to talk, answer questions or just open up conversations. So thank you for listening. When I first returned to New York City, my upstairs neighbors were Easter-forming Christians and they had a really modest study class in their apartment which was extremely noisy. And they also were often out of town and I started to realize it was coincidental with the RNC fundraisers. And then when Trump was elected, I just couldn't resist and I found one of their Facebook pages and he likened Trump's election to Moses. You know, that this was much like Moses and then another reference that I didn't even know how to look it up, it was, you know, I think that this is a lot of why people just wanted to accept what's going on in this weekly because there's been a lot of work done to make that association on a visceral level. Yeah, I mean I would say that I've done a lot of research historically and that's true of American history since like the 1600s. It's very interesting and it's been really on all sides. The Apocalypse, the Antimes has been used as a really powerful political tool. And it's very much, although it's, you know, you can say it's global, but it's very much a part of kind of American religiosity which is, you know, there's something unique to it in this culture for any number of reasons, but yeah. So I would be surprised. I mean, I know that these things that it's often recalled, it was, it often came up around references to the Antimes around Barack Obama's presidency. References to Antichrist and things like that were thrown around a lot, so yeah. Thank you, this is so wonderful. So if I'm understanding what you're saying correctly, you're talking about using this kind of like artificially traumatic experience to put people in a space where they're receptive to some message which has been given to them in the prior to these Bible verses. And I guess I'm wondering, while that feels important to me in many ways, I wonder if it seems that there is a possibility in that form for something more liberatory in terms of putting people, I guess, like what I dream of they're doing, right, of like having an experience by which we actually be feeling more capable, more individual, more empowered, as opposed to I was made powerless and then was given an answer. And I guess I wonder if you've encountered kind of what the reverse side of this coin is, either in research or in your personal life, or like what that dramaturgy might look like in a way that's effective. Yeah, I probably would not give you a good answer to this. I would, you know, an interesting person doesn't work on evangelical performance culture forms like this, but with a look at how it works as social activism is John Fletcher. So he's kind of tried to flip the script on that a little bit to kind of see the ways in which this can be, these kinds of tactics can be used to kind of promote other kinds of feeling, kind of more of liberatory feelings. I would say that if you are not within this community, this probably doesn't seem like liberation. When you're in it, there is a degree talking to people who went to it. There's something very freeing about finding that structure.  I mean, it takes us through this emotional journey and then, you know, the catharsis if you want to talk Aristotle or whatnot. And this is just using it to present a kind of theology. But also a lot of people come in to these experiences kind of looking for it. So it's not as if they came in totally fine and then it's like, you broke me down and built me up. Instead, there's a kind of searching that's involved in it. One of the things that a lot of people, myself included who studied this look at is that these are not really meant to convert people. These are meant to kind of reinforce and help reinvigorate the faith of those who already believe, but might be in a moment of searching and are looking to kind of find stability again. So I don't know, does that kind of get out of some of what you're talking about? I think so. So maybe what I'm saying is something slightly impossible, which is like, how can you do this in the end instead of buttoning it up with an answer, button it up or unbutton it to a non-answer? Yeah, yeah. I think that the Hellenhaus does that a little bit because that leaves the question open. Whereas this does definitely wrap it up a little bit more tightly. And I think that's why it functions in a different arena. Yes. Thank you so much. Thank you. We're going to move to one right next door to have a look.


The narcissist expects dry spells in obtaining narcissistic supply. He knows that narcissistic supply is a flow, like a river. It has its ups and downs, it has its tidal moments, it wanes and waxes. And he learns to expect these irregularities in the supply chain. That is precisely why narcissists team up with intimate partners. The main role of the narcissist in significant other is to regulate the supply, to stabilize it, to flatten the curve if you wish. The intimate partner provides secondary supply, which replenishes the missing primary supply. So narcissists are well trained at regulating supply one way or another. But what happens when the narcissist runs out of the ability to regulate supply? When people around the narcissist are so disillusioned, so disenchanted, so disappointed, so angry and so hurt that they want nothing further to do with the narcissist. What happens when the narcissist moves from one pathological space, exits it and yet didn't have the time to establish a new one? What happens when circumstances and the environment conspire to prevent the narcissist from obtaining sources of supply, for example, is hospitalized or is in prison? What happens in other words when the narcissist faces the dawning realization that he will never have narcissistic supply again or that it is very unlikely? How does the narcissist then regulate his internal environment? How does he cope with such an imminent and very frightening threat? And this is the topic of today's lecture, the second or three on Schizoid Narcissism. And I would like to open with a quote. It's by Ferenci and Chando to noted psychoanalysts. It's titled Notes and Fragments. It was published by the International Journal of Psychoanalysis, Volume 30, 1949, when I was a young man. And this is the quote. A surprising fact in the process of self-splitting is the sudden change of the object relation that had become intolerable. This object relation changes into narcissism. The man, abandoned by all gods, escapes completely from reality, creates for himself another world in which he can achieve everything that he wants. He has been unloved. He has been tormented. And so now this man splits off from himself, a part which in the form of a helpful, loving, often motherly minder, commiserates with the tormented remainder of the self. Nurses this remainder, decides for it with the deepest wisdom and most penetrating intelligence. This part, this motherly part, is a guardian angel that sees the suffering or murdered child from the outside. It wanders through the whole universe, this child, seeking help, invents, and this part invents fantasies for the child that cannot be saved in any other way. But even though this child cannot be saved in any other way except via fantasy, in the moment of a very strong repeated trauma, even this guardian angel must confess his own helplessness and well-meaning deceptive swindles. And then nothing else remains but suicide. This was the quote, by the way, launched called therapy. Ferenci and Chando are discussing actually re-traumatization. They warn that such a process, when the false self collapses, is disabled, modification inactivates it. There's no further protection and nurturing. And the guardian is dead, the guardian angel is dead, or gun. They warn that it inexorably leads to suicide. It's not true, but it's partly true. And today we're going to discuss the solutions that narcissists deploy and employ and use to cope with the removal of narcissistic supply as a self-regulatory instrument. My name is Sam Wackney. I'm the author of Malignant Self-Love, Narcissism Revisited, and your favorite professor of psychology. When narcissistic supply is no longer available in principle and clearly will not be available for a very long period of time in the foreseeable future, either because all sources of supply had been alienated and depleted or because pathological narcissistic supply had crumbled or because external circumstances conspired to prevent the narcissist from going out there and obtaining supply or because internal circumstances prevent the narcissist from obtaining supply, rendering the narcissist a covert narcissist.  In all these cases, supply suddenly becomes not scarce but absent. It's not a deficiency of narcissistic supply. It's the vanishing of narcissistic supply from the narcissist's landscape. Nothing could be more frightening than this because the narcissist uses narcissistic supply to keep himself together, not only to regulate his moods, his negative emotionality, his negative emotionality can overpower him as well as others, and he uses supply to regulate this, but not only to reduce liability, not only to ameliorate anxiety, narcissistic supply has so many psychological functions that the only thing that can compare it to in normal people is love, actually. Maternal love, spousal love, other love, object relations. Narcissistic supply is the narcissist's object relation. Only the object is himself. The narcissist has a libidinal investment in himself and he invests it via narcissistic supply. Narcissistic supply is the affirmation and the confirmation that the narcissist's fantasy world, his shared fantasy, his false self, his grandiosity, his inflated self-perception are real. Narcissistic supply reassures the narcissist, deludes the narcissist, deceives the narcissist into somehow believing that he is still capable of maintaining a modicum of reality testing. But there comes a point that he is unable to completely ignore contrarian opinion, countervailing data. Confirmation bias doesn't work anymore, so he reframes them. He ignores them, he represses them, denies them, blocks them out, transmutes them. There are many, many ways of coping with information or data that countermand undermine, challenge the narcissist's self-perception and grandiosity. But if it goes too far, if he is no longer able to face the dismal failure that he is, the narcissist can react in one of two ways. He can continue to remain in reality and undergo modification, narcissistic modification, and I advise you to watch my videos on narcissistic modification, that's one way. And the other path is to essentially become psychotic, divorce reality, withdraw into an inner world so complete that it is misperceived by the narcissist as reality, and that is a good definition of psychotic disorder. This is hyperreflection. So when the narcissist is confronted with utter lack of supply or with overwhelming negative supply, the narcissist either is modified, loses his false sense, or withdraws from reality, becomes technically second, to soothe and solve the pain of disillusionment, the challenge, the disintegration, the falling apart, and the threat, the existential threat, as Ferencisse says, you know, could end up in suicide. The narcissist administers a mixture of lies, distortions, half-truths, outlandish interpretations of events, et cetera, et cetera. But what if this fails too? What if the narcissist is undergoing modification and all his strategies, all the instruments he had developed since early childhood are not working anymore because there's no supply to drive them? What to do then? Well, the narcissist in this case, especially the schizoid narcissist, the schizoid narcissist has a dual problem. Not only he is not able to tap into new sources of supply, he finds the interaction with sources of supply very distasteful. He is socially averse, sexually averse. Schizoid narcissists are in a double bind. So what do all these narcissists do when there's no more fuel to the car? In 1995, I compared narcissistic supply to fuel that the car engine needs. You can have the most amazing car with the most perfect Rolls-Royce engine but without fuel. It's not going anywhere. And if it's left standing for long, it decays. It decays, it falls apart. And it's no longer recognizable as a car but as a metal wreck, a scrap metal. So what to do to avoid this vampire-like conversion to dust? You know these movies where vampires are exposed to the sun or you run a steak through them or silver bullets or whatever it is that works nowadays and they suddenly go up in a puff of dust. What to do to prevent this? So narcissists have several strategies, last resort strategies and solutions. The first one is the delusional narrative solution. The narcissist constructs a narrative in which he figures as the hero. The protagonist. He's brilliant in this narrative, in this piece of fiction, in this movie script. He is perfect. He is irresistibly handsome. He's destined for great things. He's entitled, powerful, wealthy, centre of attention, etc. The narrative is usually counterfactual. It is counterfactual. That's why it's essentially a delusional disorder. The narcissist develops a delusional disorder. And the bigger the strain on this delusional charade, the greater the gap between fantasy and reality, the more the delusion coalesces and solidifies. Attacking the delusion makes it more coherent, more pervasive, more resilient. Finally, if it is sufficiently protracted, the delusion replaces reality. And the narcissist's reality testing deteriorates. He withdraws his bridges and may become schizotypo, catatonic, or full-fledged schizoid. The next solution is the antisocial solution. The narcissist again renounces reality and everyone in reality. To his mind, the people who pusillanimously failed to recognize his unbound talents, innate superiority, overarching brilliance, benevolent nature, entitlement, cosmically important mission, perfection or justice. These people do not deserve his presence. Do not deserve the gift that he is. Nor do they deserve empathy and consideration such as he can muster. The narcissist's natural affinity with the criminal, with the antisocial, his lack of empathy, his lack of compassion, his deficient social skills, his disregard for social laws and morals and mores, his defiance, contumatiousness, lack of impulse control, reactance. In other words, the commonalities between narcissists and psychopaths, they now erupt. They flourish and blossom like an unseemly poisonous blight. The narcissist becomes a full-fledged antisocial, psychopath or sociopath. He ignores the wishes and needs of other people. He breaks the law. He violates all rights, natural and legal. He holds people in contempt and disdain. He derides and decries society and its codes.  He becomes vindictive, sometimes obsessively and compulsively vindictive.  They are responsible. Alloplastic defences. Everyone is guilty. Everyone is to blame. Everyone is responsible except of course the narcissist by acting criminally, by jeopardizing their safety, their lives, by absconding with their property. He's just rebalancing. He's just recreating cosmic justice. He's just putting things right. The third solution is the paranoid schizoid solution. And before I proceed, a lot of this will be familiar to you. You know, with the recent developments in the United States and so on. All these things apply equally to collectives as they do to individuals. Enough said. Apply these things to your daily news. The paranoid schizoid solution. When narcissism, so that's the third solution, yes? Paranoid schizoid. When narcissism fails as a defense mechanism. The narcissist develops paranoid, hyper-vigilant narratives. Self-directed confabulations which place him at the center of other people's allegedly malign, malevolent, malicious, surreptitious attention. The narcissist becomes his own audience and self-sufficient, self-supply, as his own sometimes exclusive source of narcissistic supply. The narcissist, in this case, develops persecutory delusions. Hyp... and ideation. Paranoid ideation and persecutory delusions. He perceives slides and insults and conspiracies and collusions and malevolence where none exist or were intended. He becomes subject to ideas of reference, referential ideation. People are gossiping about him. They're mocking him. They're prying into his affairs. They're cracking his email or whatever. They are, you know, they are out to get him and so on. He finds that he is the center of malign and malintentioned attention. People are conspiring to humiliate him, to punish him, to abscond with his property, to delude him, to impoverish him, to confine him physically or intellectually, to censor him, to impose on his time, to force him to action or to force him to inaction, to frighten him, to coerce him, to alter his behavior and all choices to surround and besiege him, to undermine, part with his values, victimize, even in extreme cases, murder him. Yes, he's the target of a plot to assassinate him. Some narcissists go so far down this rabbit hole. We draw so completely from a world populated with menacious and ominous objects that they reach the point of dangerous, paranoid grandiose psychosis. All these are projections of internal objects and processes, of course. That's the problem. The problem is that in the absence of supply, the narcissist's inner environment is totally dysregulated. All the levers of control are gone. Things, I mean, the inmates break out of the asylum. All the sadistic interjects, all the constructs, the dysfunctional constructs, they're out in the wild. They take over, in effect. They take over because they are charged with enormous pent-up energy. And they take over and they drive the narcissist to the point of no return. This kind of narcissist avoids all social contact, except the most necessary. They become, in other words, full-fledged schizoid narcissists. They refrain from this kind of narcissist, refrain from meeting people, falling in love, having sex, talking to others, or even corresponding with others. They become schizoids, not out of social shyness. They're not avoidant, but out of what they feel to be their choice. They say to themselves, this evil, hopeless world does not deserve me. It's an inner refrain. It's like a mantra, affirmation, if you wish. And I shall waste none of my time and resources on these ingrates. And that's the risk of affirmations. The even positive affirmations are, to my mind, a very dangerous tool. Because positive affirmations tend to resonate with introjects and constructs within the personality that very often are hidden, repressed for very good reason. Because they are sick, problematic, dysfunctional, disordered. And a positive affirmation can bring such an introject or a construct into the surface.  And I see these affirmations all over the place, like so much cancer, so much malignancy. And I see the impact of these affirmations in how people become more and more grandiose, more and more entitled, more and more narcissistic, and more and more paranoid. The next solution is the paranoid-aggressive or explosive solution. Some narcissists, who develop persecutory delusions and paranoid ideation, they resort to an aggressive stance. So in the first case, they withdraw. In this case, they approach. And the approach is violent, a violent resolution of an internal conflict, of a dissonance. These kind of narcissists become verbally, psychologically, situationally, and sometimes physically abusive. They insult, castigate, chastise, berate, demean, criticize, and deride. Even their nearest and dearest, well-wishers, loved ones, friends, family, they explode in unprovoked displays of indignation, righteousness, sanctimoniousness, condemnation, and blame. It's an exegetic bedlam. They interpret everything, even the most innocuous, inadvertent, and innocent comment, as designed to provoke them, to humiliate them, to put them down, to render them submissive, to subjugate them. And these kind of narcissists saw fear, revulsion, hatred, and malignant envy. They flail against the windmills of reality. They are pathetic, forlorn, but they're dangerous. Often they cause real and lasting damage, fortunately, mainly to themselves. The next solution is the masochistic avoidant solution. Remember, all these are solutions when the narcissist reaches a conclusion that actually he cannot extract supply anymore in a traditional way. He cannot find willing collaborators, willing partners who would provide him with supply within a shared fantasy. Or he cannot establish a pathological narcissistic space because of external circumstances or internal reasons, shyness, fragility, vulnerability. In all these cases, the narcissist reaches the terrifying, harrowing conclusion that he has seen the lust of narcissistic supply and now he needs to find other ways, either to supply himself, to become self-supplier, or to force the environment to provide him supply by becoming a psychopath or a dangerous, explosive paranoid, etc. So these are the solutions. Now the next solution is the masochistic avoidant solution. The narcissist is angered by the lack of narcissistic supply, makes him angry. And he directs some of this narcissistic rage, some of this fury, inwards, punishing himself for his failure to secure and obtain supply. And this masochistic behavior has the added benefit of forcing the narcissist's closest, nearest, dearest, loved ones, friends, even colleagues to assume the roles of dismayed spectators or of persecutors, either way to pay him the attention that he craves. Some of them take on the role of a savior, they have a Messiah complex, they want to save him. Some of them take on the role of making his life better, ameliorating, so they try to make him happy, and joyful and cheerful. Some of them are simply dismayed and they express their anger and disappointment. Some of them seek to persecute him, actually. Whatever the case may be, he succeeds to elicit attention. By damaging self-trushing, self-destructive behaviors, by self-defeat, he actually attracts people. Because people have a tendency to save other people. You see someone drowning, you want to help him. Self-administered punishment often manifests in this kind of narcissist as self-handicapping masochism, a narcissistic copout. By undermining his work, his relationships, his efforts, the increasingly fragile narcissist avoids additional criticism and censure negative supply. Because self-inflicted failure is the narcissist doing. He did it to himself, so he is in control. It's a choice. If the narcissist destroys himself, it's his choice, and it's his control. So ironically, paradoxically, self-destruction is a form of grandiosity.  Masochistic narcissists keep finding themselves and self-defeating circumstances, which render success impossible. Milan wrote in 2000 that masochistic narcissists are hell-bent on preventing an objective assessment of their performance. They make it improbable. They act carelessly. They withdraw in mid-effort. They are constantly fatigued or bored or disaffected. And so they passive-aggressively sabotage their own lives. Their suffering is defined in your face, conspicuous and ostentatious. They decide to abort, and by deciding to abort, they are the decision-makers. It's a manifestation of omnipotence. Only I have the power to destroy myself. Suicide is actually a grandiose narcissistic act. It's very selfish. The narcissist pronounced in public misery and his self-pity are compensatory, because as Milan says, they reinforce his self-esteem against overwhelming convictions of worthlessness.  You hear me, empaths? Right. These forms of self-aggrandizement, you know, I'm a saint. I'm an angel. I'm blameless. I'm faultless. I didn't do anything to deserve this, and so on and so forth. These are forms of self-generated narcissistic supply. It's self-supply. And so paradoxically, the worse the anguish, the worse the suffering, the more the unhappiness, the more relieved and elated such a narcissist feels. He feels good only when he feels bad. And these are the solutions in two big groups. When the narcissist no longer has supply and cannot secure supply in any way, shape or form, he either begins to self-supply, which is sexually autoerotic and psychologically auto-libidinal. He self-supplies and he becomes his own source of supply. And that's a total collapse. It's a singularity. It's a black hole. He cuts himself off reality or on the contrary, instead of avoiding reality and becoming a self-supplier, the narcissist seeks to force the environment to give him supply by self-destructing or by becoming a psychopath. So the absence of supply, the vanishing of supply radicalizes the narcissist, pushes him into solutions which are recognizable personality disorders, such as schizoid or antisocial. Mortification and collapse, as I have said in previous videos, are the bridges between personality disorders. They are the engines that drive the transformations. All personality disorders bleed into each other, merge with each other seamlessly. We see in the same person symptoms, behaviors, traits, signs, manifestations of all personality disorders. Either someone has a personality disorder and then he has elements of all personality disorders. Or he doesn't have a personality disorder and then he has no elements of any personality disorder. These are the two groups. If you are a narcissist, you are also likely to be obsessive-compulsive and paranoid, for example, or schizoid. If you are a schizoid, you are likely to be a narcissist at some stage, paranoid definitely, etc. These distinctions are artificial. They are wrong. They are known as the polythetic fallacy and they are cause for great criticism of the DSM.  We are not discrete entities. We are parts of networks and the network. We are a network effect. The concept of individual is very wrong because individual, like non-divisible and aton, it's wrong. It's not true and there's no such thing as personality. It's a confluence. It's the overlap. It's the Venn diagram that makes you what you are. And narcissists, even though they like to think of themselves as exceptions, of course, are not.


What's up everybody, Bennett Grazer here. So you've been filming with your iPhone standard camera for a while, but you're not sure if you should upgrade and use a professional camera app like Filmic Pro. Well, in today's video, I'll be comparing the iPhone standard camera app with the professional filming app, Filmic Pro, so that you can decide if it's worth upgrading. Roll that intro. All right, so the standard camera on most iPhones produce good quality footage, but you may get better results using a third-party app like Filmic Pro. For those of you that are not familiar with Filmic Pro, it's basically a professional camera app that allows you to have more control over your camera that you normally wouldn't get in a high-end video camera like that over there. Now, I personally really like and use Filmic Pro since it offers a lot of features that I find important for creating high-quality videos. It's a well-known app and is also a very popular choice for a lot of mobile filmmakers. Believe it or not, Sean Baker, who's a film director, shot a whole movie using Filmic Pro on an iPhone 5s, I think, which is called Tangerine. The film got premiered at the Sundance Film Festival and went on screen around the world. I haven't seen the film myself yet, but I've seen cutouts of it and it does look pretty awesome. Anyways, to give you an idea, we are first going to look at the similarities that the standard camera and Filmic Pro has. Then we're going to move on to the main differences. There are a lot of differences between these two camera apps, but I'm just going to cover the most important ones. In the end, I will give you a quick summary, give you my thoughts on it and answer the question if Filmic Pro is worth upgrading for you. So let's not waste any time and get into the video. All right, let's talk about these similarities. There are actually four similarities that I could find. The first one would be locking focus and exposure. With the standard camera, you can lock your focus and exposure by tapping on the screen and holding down your finger for a couple of seconds. A small yellow box will start to flash with IE AF lock appearing. AE stands for auto exposure and AF for auto focus. Your focus and exposure is now locked. If you reframe to something else, you will see that the focus and exposure won't change. With Filmic Pro, you have two reticles, the square controlling the focus and the circle controlling the exposure. You can tap on each reticle to turn it red and that means that it's locked. The second one is adjusting your exposure. So with the standard camera, you can manually set your exposure by tapping on the iPhone screen on the point of focus. A yellow box will appear with the sun icon. You can move your fingers up or down the screen to brighten or darken your exposure. With Filmic Pro, you can tap and hold on the circle reticle to open the manual controls. A slider to the left will appear that controls the ISO and shutter. Moving the slider up or down will adjust the exposure. So the third one would be switching resolution and frame rates. On the standard camera app, you have your current resolution and frame rate displayed at the very top left. You can change that by tapping on one of them. With Filmic Pro, you have your resolution and frame rate displayed at the bottom where the time code is. To change it, you will find the settings under the gear icon. So the last one would be changing cameras. On both application with my iPhone 11 Pro, I'm able to select all three lenses and switch between them. All right, so now that we gone through the similarities, let's look at the differences. Where should I start? Cost. If you own an iPhone, obviously the standard camera comes free. If you're considered getting Filmic Pro, you will have to make a one-time payment of 1499 bucks. Though keep in mind that there is an optional in-app purchase for 999, which allows you to film in log, which gives you more dynamic range and allows you to have more flexibility when color grading. So if you already bought Filmic Pro for just 999, I think it's worth getting the cinematographer's kit. Focus and exposure. Biggest difference is that the built-in standard camera app doesn't give you separate control over focus and exposure. The standard camera just uses one box for both. With Filmic Pro, you have two reticles, one controlling exposure and the other focus. You even have the option to control these two manually by tap holding on both to bring up the arc slides. The other issue is shutter speed. This matters if you want to get that natural motion blur like you see in most movies. The way to achieve that cinematic look is setting your shutter speed double your frame rate. So for example, if you shoot 4K 25 frames per second, you want your shutter speed to be one over 50 of a second. With the standard camera, you're not able to do that. In Filmic Pro, you can just use the manual controls to adjust your shutter speed. Frame rate. Now all iPhones shoot at 24 or 60 frames per second.  This could be important, for example, if you would shoot indoors with artificial lamps in a PAL region, then recording in PAL would be a smart choice. Otherwise, you may see a lot of flickering in your videos. Encoding rate. Filmic Pro allows you to choose different encoding rates. So with Filmic Extreme, for example, I can record video with much more information than Apple's standard encoding. The higher the encoding rate, the better the video quality. Image stabilization. When shooting video with the standard iPhone camera, you get a much more narrowed field of view because of the digital image stabilization. Filmic Pro gives you the ability to turn off image stabilization to get the full wide-angle field of view. Hardware. So what I really like about Filmic Pro is that it works well with other hardware. You can pair it with all the Osmo Mobile series, including the new OM4, that allows you to use buttons and joysticks to change your exposure and focus. You can also enable the 35 millimeter adapter to attach a lens to your iPhone to get that shallow depth of field in your video. Also with the recent update, you have the option to output a clean HDMI signal, which can be great for live streaming or using it as a webcam. Filmic Remote. This is an awesome feature that is really great for wireless control from another device and video monitoring. This can be really useful if you need to film yourself. So with my second iPhone, I can monitor and see what is happening on screen. Most of the time I use this feature to frame myself and also check the exposure. Picture profile. Another advantage Filmic Pro has over the standard camera is that you can shoot in log format, which is normally found on professional video cameras. Shooting in log will widen the dynamic range of your video, bringing out the shadow details that you wouldn't get without it. This also allows for more flexibility when color correcting and color grading your footage. This format works well for applying lots to your video to give it that cinematic look. I just love saying cinematic. Analytics. The standard camera ad doesn't give you any tools to analyze your image. Filmic Pro comes with different analytic overlays which can be very helpful for getting your shot right. So you have zebra stripes that will show when your image is overexposed. The clipping overlay that tells you when your highlights are blown out. With false color, you can see the overexposed area in red and the correctly exposed area in green. The blue area indicates that your image is underexposed.  Audio. With Filmic Pro, you're able to select your phone's microphone. On the iPhone 11 Pro, there are three built-in mics and you can also use it with external mics. You can also control the recording volume and monitor your audio using the audio meters. So I think the biggest downside to using Filmic Pro is that it uses a lot of battery. I always make sure that I bring a power bank with me, especially for shooting long videos. Now, is it worth upgrading to Filmic Pro? For someone who is serious about iPhone filmmaking and is willing to take the time to learn it, I suggest upgrading to Filmic Pro. The app is really impressive and turns your high-end smartphone into a cinema camera. It is a new way of filming and I think you will get a lot of value for its price that will allow you to have more creative control than with the standard camera app. Especially if you're planning on color grading your footage using the log picture profile, this can come in really handy. I know that Filmic Pro is more complex than the standard camera app but I'm confident that you can learn it too. So make sure to check out some of my videos on Filmic Pro that will help you get started. Now, on the other hand, it's definitely possible to create good videos using the standard camera app, if done correctly. If you want to learn more on how to use your standard camera on your iPhone, I also got you covered for that. Make sure to watch these two videos right here that will make your videos look even better. Hope you enjoyed this video. If so, leave a like, subscribe to my channel and follow me on Instagram at bennickgrazer. And I will see you hopefully in the next video. Bye.