Everybody drone tech here.  I've never done one, but Got into editing it here and realized I didn't talk at all about the super panel tonight Just like we are now doing every Monday American Joe has organized a super panel of great YouTubers we all get together and we just talk politics Every week a different person hosts it. We got a great lineup tonight as always We got Douglas Dakota who is hosting. We got American Joe. We got me We got the Patriot hour with Mike SJG and normal American with Robert Noor like I said I'll put all the links in the description and pinned comments So head on over there tonight at 10 p.m. Eastern and check us out I'll just seamlessly fade on over into my car video That's just got some updates on the channel and information about my patreon and subscribe star subscribers. Thanks. Hey everybody drone tech here I've never done one of these videos one of these driving videos But I've wanted to kind of branch out and start doing some different kind of videos throwing in into the mix there Just to change it up make a little bit more fun And I want to start focusing a lot more on my patrons and my subscribe star subscribers You guys are great and frankly. I don't do enough for you if I want to do more It's really just a time issue But like I said, I'm trying to find ways of doing videos a little bit quicker Then I usually do them it usually takes me four or five hours to put together a five-minute video and that's just because I do a lot of jump cuts and I do a lot of You know research to find older videos to tie it into whatever topic I'm talking about and that takes time And I usually do that stuff while I'm editing. I'll usually put together a rough script and Just sort of go off that and just put it together all as one thing lastly Many of you know I kind of took a little week-long break last week. I was getting kind of burnt out I don't know if it was the weather or the just the new cycle. I was just I just need to step away for a week And I kind of disconnected not completely. It's hard for anybody that is into this is Obsessed with the media and then politics to completely disconnect feeling a lot better feeling refreshed already got videos lined up I worked all weekend getting videos Lined up, so I will hopefully not miss a day this week so make sure to check out today's video at around 5 p.m. Eastern and Hopefully from there on out they will be every day the video that I'm working on for Tuesday for tomorrow Will be about the media's meltdown now over their latest loss that you know they've been trying to take out Trump since beginning since before the election and they lose every time and this latest Victory with where he's gonna be acquitted. It's looking like he's gonna be acquitted. They're they voted down, you know any new witnesses And I just want to say that the narrative coming out now that you hear from the media is you're gonna hear a lot of oh Democracy has been is done Our institutions are destroyed Trump and Republicans only care about destroying our institutions so that they can keep power This is all Absolute crap all these people that are saying this in the media. I mean you got Bill Maher Joy Reid Nicole Wallace all these types and these never Trump for fanatics in the media They're all saying the same thing that somehow this is the end of democracy Well, let me tell you something they were saying that before the election and I've talked about this quite a bit But just a reminder Back in 2016. They were already saying these things when when Trump was asked if he would Accept election results. He said I don't know maybe maybe not and they said oh, this is an attack on the institution people can't trust The president is telling people they can't trust the election system. Well, a little reminder here Who has been questioning election results since day one? Who questioned election results for the last Republican president George W. Bush? Same people same people said he wasn't legitimate. It seems every time Democrats don't win It's an attack on democracy. It's an illegitimate president. So Just a little foreshadowing about tomorrow's video It is gonna be on that topic and I just want to head this off I know all of you probably know but I just want to remind people of the past Words and actions of the media and the Democrats and the people who are saying now that Trump Republicans are attacking democracy these people are hypocrites they're liars and they they never Apply their own standards to themselves and we're seeing that


You are listening to the podcast of the Alexander von Humboldt Institute for Internet and Society. We report on the leading role that new technologies play in the context of the Global Information Society, interviewing academics and industry leaders. Today I'm here with Viktor Meier-Schoenberger, who is one of the leading researchers in Internet and Society issues worldwide, I would say, and the most inspiring guy I know, discussing issues on Internet governance and a broader perspective. Working with the Oxford Internet Institute right now has been working in Harvard on network regulation issues and where we met first, I think, and what I would like to know and to inquire is what is your approach right now on Internet and Society issues? What are the main issues you are working on? What we are working on in Oxford with my team and with others at the Oxford Internet Institute is really to understand the social dynamics that the Internet as a space and as a technological artifact and phenomenon creates or helps shape and facilitates. And I personally am particularly interested in governing and governance, the issue of who has control or who has the ability to shape and reshape the information flows on the Internet. Is there a specific approach you follow there? I perceive and that's a track we want to follow as well, that it's a combination from normative analysis and empirical research. Is that true? That is very much true. I think Internet governance or information flow governance in the past maybe 15 years or so has suffered from a dichotomy between theorists and empiricists. I think the theorists would need more empirics and the empirics would need some theoretical guidance. We hope at the OII to bring this together and we hope to work with others to advance that agenda. We've just talked in a workshop about the notion of intermediaries and the role in governance structures. What is your observation there right now? Are the differences to traditional intermediaries we know like the media or ASAP? Or are there similar tracks that the development and the Internet follows? What we see is that a lot of the conventional existing information intermediaries are under pressure to either reinvent themselves or reconfigure themselves. They also are under pressure through new intermediaries to crop up. So the landscape of intermediaries is going to be reshaped and reconfigured. That in our view does not necessarily mean that the intermediaries go away, but they might be different intermediaries coming up or different relationships among these intermediaries with the citizens and the providers on both ends. That is very interesting to study. I don't believe that we are running out of intermediaries, but I do believe that we see very interesting dynamics in how the landscape of intermediaries gets reshaped. Do you think that this importance and dangers of intermediaries are in the focus of the Internet research worldwide, or are they neglected? I strongly believe that we could do much more to look at the intermediaries. I believe that this is very much understudied on the sort of governance and the more formalistic governance research that we hear that often bases itself in law and doesn't understand that a lot of the intermediaries out there on the Internet now have the ability to set rules and to enforce them quite apart from what the legal system in certain nation-states would command or would put forward. In that sense, it is quite important to understand the role of governance in a much larger framework, not just within the existing players, the nation-state international organizations, but as the ecosystem of many more players. It also requires that some of the established players, like the governments, should engage with these unorthodox new players. You are very familiar with the German research scene as well. Sometimes one might wonder whether thinking in boxes like legal issues or legal issues and social science issues that is very much the approach in Germany. What do you think that's right? I don't want to criticize my German colleagues and friends too openly, but I do want to commend work, for example, that you did at the Hans-Bredo Institute to look beyond existing categories or buckets and to try and understand the changing shape of governance and governing with new actors, new mechanisms of enforcement and so forth coming into play. I hope that the institute here in Berlin will be able to take some of the work that you have done at the Hans-Bredo Institute and expand that and do more stuff on that. We try to do that, definitely. Are there any research questions you came across recently or have learned here, rephrased here at the symposium which might shape our agenda for the institute for the next couple of years? I think if we could go beyond the question of internet governance or beyond the question of who owns, who controls the internet, that technical infrastructure or anything like that, if we could beyond that and look at the information, the bits that flow and the governance and governing of the bits and bits flows, then I think we would have made a conceptual step forward. Excellent. Thanks very much. Thank you.


Hi, I would like to introduce you to Gary Corbett, who's a good reviewer of our first artist, and he is also his first NPM conference. He is an NPM creation fund work playwright for Legend of Koalao, which just kicked on his tour online to an audience that was like two of all, so I'd like to introduce Gary, who's going to share a poem with you. What's called Pacific Orchids? A screaming song is blowing out of the Pacific Ocean. You can hear its reckoning call when the wind cracks the massive ships like breaking Eucharist coast. You can smell it when waved ease is dead, like foul communion wine rising from the bowels of the sea. A hurricane is coming! Run, run, run! Lash yourself in coconut trees, hide your babies, make love one last time. Pray to your Almighty, ruler over the natural elements. Your God, Allah, Christ, Buddha, Shiva, Mohammed, Mercedes, Rolls-Royce, Hummer. Make your peace. A hurricane is coming. Young music, young myths of invincibility, your collective fables of Buffalo Bill, Uber al-Supra-Man, Haruna Rashid, Mu-Wantaro Krishna, Rough Riders, General Custer, Pao Banyan, Johnny Appleseed, hide them in a cave vault, but not too deep to disturb the shameful dust of the charity trailing tears. Irish potato famine, holocaust, rape of Nan King, Philippine ballad giga massacre, Turkish Muslim killing of Armenians, Serbian atrocities against Muslims, the Milai massacre in Abu Ghraib. A hurricane is coming! Quick, stack your architectural digest, soldiers of fortune, GQ, Business Week, bodybuilder, Bible, Quran, Rig Veda, J, Jet, Vogue, Golf, clear the Amazon rainforest or paper. Build a better bomb. Build a pyramid-shaped bomb. We need more. We need more because the hurricane is coming. Don't think you can take a cafe and latte break or hit pause or the TV remote. This screaming wind won't wait for you. It's fake pounding at your door. It's nature's way of saying, you may do the eternal Pharaoh King, Pope-President, Prime Minister, Premier, Sultan Mullah, Brahmin, Judge Judy, Dr. Fell, lowing illusions of human boundaries, religions, laws, nations, race, sex, wealth, into humanity's foxhole, tossing out notions, superiority, when any helping hand is needed for survival, discarding hate and fear of someone different, replacing them with the humility that we all die. We all are mortal. And sometimes we need moments of kindness to overcome the terror we manifest against each other when a hurricane, hurricane, hurricane is coming. Artist, activist, radical and radical rouser, Nicole Garno. Speakers, panelists, up to the stage. Make your way out up here, my 11 siblings. Find yourselves a chair, settle in. Y'all looking good. Everyone's got their hair together. Yeah, kisses and hugs, okay. Yep, kisses and hugs, let's get this. That's important. We've got plenty of chairs. So, hey, National Performance Network, Visual Arts Network. Made it to 4.30 to the landing app session. Way to go, okay. I'd like to just take a second before we get into this, like, a lot of ideas. And just get, like, a little bit present, because I don't know, if you're like me, you're like, you've gotten a lot of stimulation this weekend, a lot of input.  I got these boots on. If you can, slip your shoes off, go ahead and do it. If you can, it's fine, because you can do it with your shoes on.  So, what we're going to do with our feet is, shoes on or off. Just take, like, a second to, like, feel your feet. I would like to invite you to feel your feet. In fact, I dare you not to feel your feet, now that I've said it three times. And just, like, really feel your toes. Feel the surface, like, the bottom of your feet on whatever that surface is. And let's just remember that, like, 12 stories below us is the actual Earth. And, in fact, our feet are basically in the edge of the Mississippi River right now. Right now. So, that's just where we're located in our bodies. So, it's nice to remember that. So, here's what's going to happen today.  I've been, like, kind of going back and forth. I've been coming to New Orleans a lot, like, back and forth between New Orleans and various other places for about eight years for a lot of different reasons. And one of the things that I noticed about coming and going from New Orleans is that, you know, New Orleans is really big in the imaginations of people everywhere in the world. Everywhere in the world, people have questions and want to know stories about New Orleans. And New Orleans is really big. It's big. And so, what we're going to hear, and a lot of us have heard a lot of those stories, and there's also a gazillion different stories about New Orleans. And so, I think that one of the purposes of this session today is just to start to deepen and complicate some of the stories that we have about New Orleans by hearing from people that are doing really interesting projects right now in New Orleans. We call these people leaders and innovators, and I think that we can agree that they are. But really what we want to hear is their stories of their work and their challenges. And I guess what I would like to say to the panelists, one thing that happened is Stephanie McKee and I had like a drive-by in the bathroom this afternoon, like a little weave past each other. And she said, I started to get excited about today's session, she said, well, I don't know how I'm going to say it all in seven minutes. So what I'd like to say to all of you is you don't have to say everything in seven minutes. You don't have to say everything. We're your colleagues. We're your friends. We're your comrades. Tell us the stories that you need to tell. And also, I'm going to invite you to understand that as colleagues and comrades and friends, you can put some questions out there too. You can put some challenging stuff out there. You don't have to have all the answers. You can also ask some questions and we will be there to witness you in that challenging place as well. So that's my invitation to you as panelists. With that said, it is my extreme pleasure to introduce our first speaker. Stephanie McKee is a performer, an educator and choreographer and a cultural organizer who's based here in New Orleans, Louisiana. She's a member of Ultimate Roots and she's the founder of Moving Stories Dance Project, which is an organization committed to dance education that provides opportunities for dancers and choreographers to showcase their talents. She is an artist and a cultural organizer who's deeply committed to creating work that is in concert with community concerns. Currently, Stephanie is the Artistic Director of Junebug Productions and Junebug Creates produces tours and presents performing arts which support and encourage African-Americans in the Black South and beyond. Junebug Productions is the organizational successor of the Free Southern Theater which was co-founded by John O'Neill in 1963 to be the cultural arm of the Civil Rights Movement. He called it a theater for those who have no theater. The Free Southern Theater was a major influence in the Black Theater Movement and recently celebrated its 50th anniversary. Stephanie is one of my teachers, so I'm really pleased to introduce her. Please welcome Stephanie McKee. The 60s is inevitable. That movement will need its own expressions of art and culture. Those who've set out to do work in that movement will need to know what we try to do and how we fare. They will need to know about our failures as well as our successes. That knowledge will help them to be more effective in the work they set for themselves is our job to make sure that the information is there for them to find and that enough people know how to tell them where to look in order to find it. It's like my mother used to tell me the cook isn't finished until the dishes are cleaned. This says the tone. That is a quote from the invitation to the Free Southern Theater funeral. And that was written by John O'Neill. And that vision says the tone for where we're going right now What you're looking at right now are images from the 50 year anniversary of Free Southern Theater. What was important for that convening is that the very thing that we talk about here the importance of gathering and of learning creating the container for learning to happen that both is multi-generational and diverse. The founders of Free Southern Theater were there and they kind of left us a little bit of a framework for the direction we're going in. And so one of the things that I like to think about is my dear friend and colleague, Rhea Baumann talks about the three piece of performance. Preparation, practice, and patience. So preparation is actually these convenings like the National Performance Network convenings. It's also convenings like the 50 year anniversary of Free Southern Theater. A container that is stable enough for us to be able to learn from each other. But also recognizes that it's not about top down learning but that we're all both teachers and learners, life long learners. The practice is that we actually set forth to do convenings like this and to create our work and to think of newer innovative ways to get our work and our message out there. The patience is sometimes messing up and being patient enough to step away from that work and giving the seeds that you plan enough time to grow. And maybe that means growing without you but giving it the room to grow. So when we talk about the direction that you focus is moving in there are a couple of areas that we're talking about. Story telling, which is always the basis for the work that we do. But we're now looking at what does a digital extension of storytelling look like for us and can it keep the same values and integrity of our story circle process. Also who's telling our story? Are we telling our story? Is somebody else telling our story? We want to be the ones to tell our story much in the same way as the work Free Southern Theater by Free Southern Theater. And I talked about that creating a stable container for learning to happen with the recognition that we're all learners and teachers. And whenever we deliberately set that kind of container together we are setting the tone for new discoveries for innovative ways to move forward with our work and also creating and building community along the way. Art making, producing and presenting art and thinking about that in different ways in a hierarchy kind of way, not in that way. But looking at all the art that's around us we're here in New Orleans, Louisiana. Art surrounds us all the time. Theater surrounds us all the time. So recognizing that that work is happening every year. Art is supported. It is because of Junebug Productions taking a chance on me as a really young, naive dancer saying that, you know, I'll just write a brand and do my work. It's because of them taking a chance on me that I'm standing here before you right now. I'm very clear about where my feet are planted and the shoulders on which I stand. And so as we're sort of looking into the future of this we have to build our capacity as an organization. It's a two woman organization right now and that's kind of a hard thing to do. We're hoping to expand that but with that expansion we know comes a lot of challenges in expanding especially in kind of quick growth, right? And so the stable container that I spoke of in terms of learning it's also creating the stable container within the organization so that we're ready and our feet are planted and we're grounded so that that growth can happen. I reminded that as a dancer one of the things that we say is moving slow to go fast. Such a beautiful way. Our next speaker is Julia Stewart. And Julia is working on the front lines of social innovation helping New Orleans entrepreneurs to transform their great ideas into reality. She also serves as a trustee for the New Orleans chapter of the Awesome Foundation which is a worldwide network distributing a series of monthly $1,000 grants to projects and their creators. She has been fortunate to travel to 28 different countries and she spent the last two years living abroad in Hong Kong and Switzerland. Her current role is that she is the program director for Propeller a source for social innovation and Propeller is a New Orleans based non-profit organization that incubates ventures with innovative solutions to our city's most pressing social and environmental challenges. Propeller connects change makers with the resources that they need to make change happen faster. Please welcome Julia Stewart. You all are into Peter so I was trying to think about how I could connect with you but all you think about was my eighth grade year when I forgot my lines and 10 little Indians and then you really closed the curtain so I thought that maybe I would just give you a go it up. Taddle up, huh? Taddle up, huh? Yeah! So we're almost eight and a half years out from Hurricane Katrina and there are still major challenges that our city still faces. There are over 35,000 lighted or vacant properties in New Orleans. We also, as Louisiana has been called the world prison capital, we incarcerate more people per capita than anywhere in the world. Also, we are tied with Mississippi for the most unhealthy state. So those statistics seem grim, right? But there are creative, smart people out there with solutions. Social art is a non-profit that is committed to supporting social entrepreneurship in New Orleans. We work with entrepreneurs that have creative and viable solutions to our city's biggest environmental and social challenges. So what's an example of a social entrepreneur? Let's take Tiffy Tiffins, founder of Matter Inc. She was in our program two years ago and her company's tagline is we work to make the world a better place by creating products and collaborations that matter. Tiffy designed these bird soaps and it's a black glycerin bird soap and as you use the soap, the soap washes away and inside is a white ceramic bird keepsake. And 50% of sales from these birds goes towards BT oil spill cleanup. And the idea is that the black represents the oil and so you're washing off the oil to reveal a clean white bird. She's given 18,000 donations so far. Another related problem to the BT oil spill is our vastly disappearing wetlands. Every 38 minutes, you can say goodbye to one football field worth of wetlands. And at this rate, Louisiana will be Atlantis in two centuries. It's really easy to ignore a problem that you don't see every day. So that's where Lost Lands Environmental Kayak Tours comes in. They were in our program last year and they are committed to taking people on educational kayak tours to show them firsthand what's happening to the wetlands. In addition to locals and tourists and student groups, they also focus on people with wider influence so they take out policymakers and academics and reporters. Propeller believes that to make real change happen and to happen quickly, people need to work together. So the way that we do this is we facilitate dialogue between high level policymakers and grassroots innovators. We also create mutually valuable relationships across sectors. Taking a step back, this is really why I love working with Propeller. I graduated from Louis St. Clarke College and knew that I wanted to be on the solution side of a lot of the institutional challenges that we're facing but which issue to choose. They're also important. Environment, human rights, criminal justice. And I found also that I was wary of putting blinders on to the other issues if I were to just choose one. So at Propeller, we're able to maintain this bird's eye perspective of the challenges so that we can get multiple sectors working together to build stronger solutions. And problems are never isolated in a city, right? So you need land to grow food when kids are eating healthy food they're going to do better in school. When they do better in school they're going to commit less crimes. And when they graduate, they need jobs. So Propeller works with entrepreneurs at all lengths of this chain. In the end, we're left with a more robust network of change makers attacking problems from multiple angles and contributing to a healthy, more vibrant New Orleans. Take for example, our biggest success story from last year the Healthy School Food Collaborative. So you all remember High School Lunch, right? What did you eat?  What were you doing right after lunch? Maybe falling asleep in a Singleton's class, right? I don't remember Charlotte's web. Was the spider or the pig the bad guy? I don't know. Why unhealthy school lunch? So that's why Propeller has facilitated a healthy school lunch to over 38% of public schools in New Orleans. This means no more fried food, no high fruit juice corn syrup, but fresh food that Scratch prepared daily. To make this happen, we needed a lot of people working together including landowners, growers, distributors, educators, and policymakers. Similarly, our theory applies to the day-to-day working environment. In January, Propeller will celebrate our one-year anniversary of our shared workspace called the Propeller Incubator. So the image on the right is what the building looked like when we bought it. It was a rim city world. It sold car rims, vacant fawn parts, and on your left is what the building looks like now. It's located in the Broadmore neighborhood and on the corner of Washington Abroad we have some rain gardens in the front. This is our studio. It's 10,000 square feet and filled with collaborators from a lot of different areas, from arts, education, humanities, science, technology. It's like the most compact college you can imagine. On day one, we had 24 members and now we've grown to over 80 businesses that rent office space from us. And the result is an office that doesn't feel like an office at all. It's vibrant and energetic and people are exchanging business cards all the time. People get things done faster than if they were to work isolated alone in a coffee shop. So I know that many of you have creative ideas and you use tools to take those ideas and make them concrete, whether it be a sculpture or a painting or a dance piece. We do the same. We take the community's ideas and we apply the tools of propeller. So our policy and business support and we help to transform those ideas into reality. Art is social change. So I encourage you all to visit us. Our website is gopropeller.org You can follow us on Twitter and Facebook at Go Propeller and you can email us. Your speaker is really modeling and keeping within the time frame. Really doing excellent on that. Our next speaker is an artist. Her name is Dawn Ditto. She's a New Orleans based artist and she throughout her career has merged art and new technologies to broaden our audiences and dialogues. So some of her early works such as CV radio booths aimed to break socio-economic racial barriers and later works address pressing issues. She's exhibited throughout the country including at the Whitney Museum of American Art and recent installations include Steps Home for Ballroom Marfa and The Goddess Fortuna for Prospect to International Biennial. In 1997 she received the Rome Prize as a Knight Foundation Visiting Artist. Her current project is that she's developing part two for an ongoing touring exhibition aboard the mothership postulations of myth and math. While on location she's on location in Cactiva, Florida as the artist in residence at the Robert Rauschenberg Foundation and she's making this work because she and all of us have been impacted by an onslaught of ecological disasters. So in this current work she's considering the blocking's prediction that we have no more than 100 years to either save the earth or leave it. I'd also like to mention that in 1976 she won the demolition derby in the Louisiana Dome as the only female contestant of 35. She would end the end on several of my projects and it was June Bob Productions back in the late 80s who I worked with on a major project. The images behind you is just a medley of work from early work to latter work so I'm just going to let it roll and I've got a time to end when I'm supposed to end and we'll see how good I do. Just a little background of my practice I studied art of course but I was also very influenced by mass communications and kind of a child of the global village somewhat conceptually based I choose a wide sweeping array of media to best serve the idea of the project and there's no consistent style to my work but I do often turn to working in human scale that is somewhat of a constant. I do like to use new technologies because I find it's a way to broaden a new audience build a larger audience and be more a part of my time and particularly with younger audiences hold it I'm going to scroll down I'm kind of athletic but I do want to follow my notes here so I'll use new technologies but I also like to draw and incorporate pop culture and heroes of the underground I like to mix all of that in as well I think of myself as an engineer of experiential spaces or environments and somewhat of a trickster of a common monkey girl Community engagement is very important to me it's a go-to tool I think that to create intimacy is to enlarge empathy and understanding so it's very important for me to find venues of community engagement I don't like to dump things down for the community I like to up the ante of what's transcendental and experiential I think that's the best way to convey the power of art I want the audience in the piece part of the piece and that experience I think serves art and the public well Katrina, Hurricane Katrina comes along and I think that is something that every New Orleansian will share with you it's a line of demarcation there is a pre-K dawn and a post-K dawn and I think what I learned from that is just kind of a greater physicality of my work is I think I was aiming to reconstruct what had been deconstructed and also embrace a larger embrace of the lessons of paradox how there is actually silver linings there is beauty and destruction if we look hard enough and there is great empowerment to be found in change what happened though there's another ship the Ant Hill as an example I think pre Katrina I was focused inside the Ant Hill looking at the tunnels the systems by which people work equitably, hopefully moving equitably to work together and post Katrina I'm looking at the Ant Hill from the outside and very concerned about the external aspects of life that can impact us and lead to full destruction of course it turned to a growing interest kind of was a singular interest in the environment I've worked in the past in socioeconomic race issues as some people would point out maybe it wasn't my place to do so all the time but I feel very confident it is my place to work on the ecology so I have an exhibition a few years back called on the scene dealing with what was invisible in the threat I have projects placing a family inside test tubes of water what's in the water what's in the ground that we walk on also a project Mutants which is a floating illuminated sculpture for reading water content it's not fully developed yet I'm trying to work with the scientific arm in a collaborative way thinking about the big picture again it's kind of like I got thrown from the street into space with Katrina let's use that metaphor and while in space had the luxury of time travel and visited the goddess Fortuna who was self-introduced to me prior by John Kennedy too Boethius and others so a few years back did a big project for prospect two called the goddess Fortuna and her dunces in an effort to make sense of it all and of course it's dealing with the arbitrary haphazardness of fate and disasters so there I turn to casting as goddess Fortuna Katie Redd and Big Freedia two of our great bounce dancers here two years prior to the debacle with twerking and what's her name Cyrus then anyway used our local heroes to play the goddess and then now I'm working on a project called aboard the mothership part of it is up right now in Mobile Alabama at the Center for Living Arts the other part too I'm working on just finished the work at the Rothschildberg Foundation residency where I worked with first responders who posed for me in their hazmat suits kind of nostalgic for maybe a nature lost and also with some of the scientists there and with the sculptures that are falling from the sky and it could be the smallest thing that is most threatening to us what's inside a small bottle what's inside a briefcase so taking on that but lastly when that comes out I want to have community engagement component hopefully focusing on utopians utopia quest and we'd love to honor some raw spaces the place and to work with I hope to have some kind of collaborative context with George Clinton and the original mothership thank you and I'll talk more about all of this later if you're interested bye so our next speaker is friend of mine Trapania Bonobotter Trapania is a filmmaker he's worked for the past 10 years at the intersection of film civic engagement and social change throughout the south from 2008-2012 he served as executive director of Moving Forward Gulf Coast Bonobotter has diffused several documentaries social justice films and PSAs dealing with the recovery of New Orleans and fair redistricting in communities protected by the 1965 Voting Rights Act he's the founder of the Oscar Michaud Media Institute and he trains the next generation of filmmakers his current role is that he is the founder of the Black Men and Boys Initiative the Black Men and Boys Initiative grew out of Moving Forward Gulf Coast which was a community-based initiative committed to restorative justice to bring information, strategy solutions and new media to blatant attacks on humanity the Black Men and Boys Initiative seeks to shape a new future for Black Men and Boys beginning in the great city of New Orleans this multi-year initiative is composed of strategic community and national campaigns focused on issues of critical impact on the lives of Black Men and Boys please welcome Trapani Abana Good evening everyone It's early evening right? Trap, would you rather have a thought on this one? It's up to you One, two Well, again Trapani Abana Most folks call me Trap Native of New Orleans Central City and I'd like to thank Mark Valdas for this again I could actually call myself an artist now I thank Mark for that fellowship He utilized film quite a bit as an organizer too and as an artist I believe that 2014 for me may be a year to let it all right? In terms of whatever art may be in my hand as an intersex with movement work on the ground this idea of the Black Men and Boys Initiative grew out of my work over the past four years working directly with Black Men and Boys as a way to begin to make significant part of my lifestyle right? Me myself I can acknowledge that I'm a citizen of slaves so I feel that there's an obligation, a personal obligation to make this work a part of my lifestyle to never forget where we've come from so we never go back to that So using art, film, music and print as an innocent specifically gave the work as relates to activism but sort of using the force plowing squares on the slide of how we move towards making civic engagement part of our lifestyle right? So looking at citizenship, voting rights census and redistricting as a way to cultivate political power right? Now in these conversations with my agribusiness buddies and advocates and communists and everyone all of the isms I think we all agree that we can't continue to run in this government at some point we're going to have to engage so after 7 years of organizing under that banner come to the conclusion that we need to do a little bit more than participate we actually have to engage I think through that sort of organizing perspective we get to where we need to go and you know this is I like what Nicole said earlier about sort of making this thing what we wanted to be because I'm so tired of reflecting on this redistricting process right? and telling that story over and over again just feel like it's time to do something else right? And so I'll touch on this you know just briefly in my short time because it was important post Katrina that we get involved in the political process right? so that we can be counted in our communities so that the funds to rebuild our community is to fall within the bounds of our districts right? That didn't happen because you know you had over 180,000 people that were kicked out of the war and 150,000 of those folks were African-American right? and so being counted and then being able to elect a candidate of our choice post Katrina was very important this is a film of the first film I produced documentary I produced on the recovery it's called Press and City Access and you can see this on the real site you need contact information at the end of this session we'll sort of use this to sort of make folks aware of what was happening on the ground although this was not our first attempt at using film as an organising tool this was this was a piece we produced on the redistricting process to help bring folks up to speed on where we were as activists sometimes we have to realize that we're very privileged with information and knowledge and access and the people that we serve don't have the information and terminology that we use so we have to come up with innovative ways through media do art to sort of short man learning period so I'll tell that story about Pac-Man does everyone heard of Pac-Man? what happened to Pac-Man?  Pac-Man eats pellets and goes chasing him over the board, right? but what happens when Pac-Man eats a power pill? what's the first thing that happens when he eats a power pill? he can eat the ghost and everything else and so what we experimented was sort of these six to seven minutes short video advocacy films, right? we said that beyond six minutes of content about political process people lose interest kind of like some of you may be losing interest now but this film was a way to bring folks up to speed yes, census and redistricting is connected to your voting rights it's what you have the voting rights act for so you can participate in these processes and so this is Dr. Grove from U.S. Census and he did a great job trying to get folks in the museum to count it, let me speed up to the good stuff here's a question are GIS matters visual artists? I think they are there's some beautiful and bad art to the left good art to the right compact, contiguous redistricting ones the one to the left is the bad one the one to the right is the good one we came up with the good one but here's why the word continues because before 1910 we had a voting rights act well, in 1910 we lost it and what happened from 1910 to 1960 was the fact that no African American African Americans are people of color working in Congress throughout this time because in 1910 Jim Crow came up and so the voting rights act is under attack again and so there's more work to do and so doing not part as a dissent in the slave I want to share something with you real quick this is a project we're working on and we're moving from conversation to action we have a lot of meetings but we've got to get busy and here's our first effort at getting busy this this is a project that came out of the hospital from the Institute which is a multi-media anti-violence project so using music and film as a way to go in and work with young folks who are dealing with these issues we can't continue to tell young folks how we want to help them and they're not educated so this is a process of a multi-media training and what came out of it was this particular song and these are the participants in this last institute these are the ceasefire brothers from the Noble Life ceasefire program this is concentrated in Central City and so these guys went through the process and now we're working on this piece we have five artists on this song this is a throwback to the self-destruction song from the late nineties a bunch of new york rounds can we get it away well this is some new artist guys but we're working on this process together and of course this next piece this is the Noble Life pilot program of this reentry program and we're producing a film called bounce back and this is an audio visual walk of this reentry process so you'll have formerly incarcerated persons interviewed for this piece but also having someone as they transition out to prison going through this process and then getting access to some liberties and this is the final piece the bridge project which is a coffee table book used to fundraise for the initiative right trying to send a photographer good job so far and we'll be selling this as a way to sort of raise money for the work they're doing that's my time if you have any questions about any of the projects and programs that are happening with the initiative please contact Travis speaker today is Kyler Hughes and Kyler is a member of Kids Rethink New Orleans schools so Kyler has been a member of Kids Rethink New Orleans schools for three years she's an outspoken advocate for restorative justice and she's spoken in numerous conferences with Rethink sometimes the organization Kids Rethink New Orleans schools gets shortened to Rethink so that's what you're going to hear a YouTube video with her thoughts about education was featured on MSNBC's Education Nation hosted by Melissa Harris Perry Hughes is also a talented vocalist and spoken word artist she's a ninth grader at Benjamin Franklin High School a little bit about Kids Rethink New Orleans schools Rethink embodies an idea that is as dynamic as it is simple give young people a voice in the reform of public education through Rethink citywide and school based programs use identified areas for improvement within individual schools as well as within the school system as a whole they develop innovative solutions and they act to make their solutions a reality please welcome Kyler Hughes you mentioned I'm a freshman at Benjamin Franklin High School and I've been a Rethinker since seventh grade sure as you ever know Rethink is a non-profit organization that believes students are the experts in what they want in schools and Rethink gives basically the leeway for students to let their voice be heard Rethink has really opened many doors and opportunities for me it has allowed a voice to be heard that originally and I love how first Rethink is I don't have to worry about being judged really friendly, loving and accepting and being a young teenage girl in high school and starting off middle school you know will it even give you a problem and we have an organization that accepts you so much it really makes you feel comfortable enough to kind of speak your mind and I really developed a voice by me in Rethink I have a little poem that I wrote this year at Rethink's 2013 summer program that I performed at the press conference that they had each year to close the summer program out and to make their recommendations to the school board and the title of the poem is Justice for the Target a little bit about where the poem came from when I wrote the poem I didn't really think about what I was writing until I had finished and the poem was kind of inspired by the situation that I was going to portray wrongly and I was really inspired by the idea of how as a young person by just being young I'm jellied by just being young I'm already on this radar and so that's where the poem comes from we live in a day and time where it's not safe to be young in America where being youthfully profiled is the new trend but what about my future or does that even matter or is it smart that I want to go up in a society that condemns people for who they are that kept people out of what they believe that target people simply because of their skin it's a man-eat-man world when everyone is a target of institutions that criminalize young people with suspensions called school that is synthesized as a community so much children probably say they come from the streets where guns and violence are everyday sites it's a plea for justice a call to rise up for the target I am the target you are the target and we all are the target if you see my brother in a hoodie please don't shoot him give him a book and tell him to stay in school if you see my sister about to strike another girl for something said on Instagram don't videotape it grab her hand and say fight for education your future, not for a boy if you see me proving a stereotype to be true by arriving in person because of the financial buying my family is in take the weapon of mental and physical destruction and tell them education is free and the key to success and success is a drug to love this goal is squatting down my future but what about the kids of this future would they need justice for the target or would they be a target for justice moment of silence for the target you people are in luck because we have time for dialogue that means questions or panelists while you're getting your questions and comments together I'm going to pose a question of my own to the panelists so here's my question when you think as you're thinking forward to the next two or three years what's the biggest challenge that lies ahead just talk a little bit about that and what kind of support or what kind of solutions you're looking for you want to start? well the big effort funding so I feel lots of I feel committed to what I hope to accomplish I have to pull it off somehow I don't want to figure out how to do that I am personally of course dealing with larger environmental issues very cognizant of the fact that we are not yet post race post gender and so how do we simultaneously move that forward kind of with a focus on environmental justice so that we can prevent collectively becoming post human you know the big FBA is an issue in terms of funding also with there are a lot of innovative ideas that are being proposed that I would think traditional funders can connect to so I think there may be some some innovations that need to happen on the funder side I think folks are working on that but you know in terms of this work we have a lot of folks who are not aware of what's training in America in terms of this great new role in this which is that window to actually access the mic so I think the challenge is to work to make more folks aware of what's happening and hope that they'll be moved to action so yeah I am going to say capacity we're a small organization and we're a black organization and I think everybody in this room knows that organizations like ours are disappearing every day we said it last year I'm going to say it again this year we are literally shutting our doors every year and so an organization like Juma hangs on by thread we've had many near death experiences but the information and how we were started and this type of work is so important why is it important it's important because we get this work to an audience of people who don't typically go to theater they don't typically go out and that's what we're trying to do in the last few years we've really been looking at how to deepen that relationship to our constituency base going back to sort of a value of a 3-7 theater what does that look like so one of the things that it may look like is having come to a late night filled with extreme like extraordinary spoken word audience for those who are not on a spoken word network they typically don't get to this particular audience they have this they have these places that they go to and it's important for the aesthetic of the work we're talking about an African aesthetic we're talking about a call and a response which means that inside of the civic theater that is not conducive for that type of work this work has to happen in other places it has to happen on the streets people will come to the thing that they value the most if they value it more than second line then they will come no matter what that second line and how it looks they will turn around they will come to that if they feel it is for them and if they feel that the content is what they need so I speak to the disparity inside the field I think another very obvious thing is that Juma now encourages and supports leadership of women of color that is something else inside the field it is not lost on me as a woman with this short haircut and walking into a room that I have not treated the same and I'm not giving the same respect so that is another real real issue that I'm finding more and more now that I've moved into a leadership position now I see it a lot more I guess I would echo sort of the theme of my presentation which was collaboration and alignment and I think in this room there are people who are tackling issues in their own way with their own ideas coming out of the artistic out of the box mentality and then the practitioners and the academics we have kids who are working on things and high level policy makers and in between there is that great area of funding I think to go back to that beautiful poem that was that started off our presentation tonight a hurricane is coming in many ways and you can take a look at that directly and understand the environmental apocalypse that is very much a reality you can take a look at it from the political standpoint of really what what direction are we going and and so I feel like I like to take these big questions and go back to the self and think about what I'm doing and how I need to expand my consciousness out from my own thoughts and think about I am this one person in this room, in this state in this country, in this world and think about really others and how we can all you have needs and I have needs and how can we come together to find a collaborative link that will progress us all forward in a much more unified way in the next two, three years I'll be graduating high school so I'll go on and get ready to go to college but I'm pretty sure in the next two, three years I'll do a long school and I'll have just brightening the knowledge of everything that I already have and I want to take the type of issues that we think is focusing on now and I'd like to see them both pass through all of these paths and then which leads us to enhancing so so now is the time when we invite you, beautiful beloved said lengths in the room to speak things that you're curious about or you want to comment on and the one thing we've got Will who has a microphone Stanlin has a microphone and Will has a microphone though so the microphone mirrors will run over to you swiftly and the other thing that I would ask for the benefit of all of us in the room and also our panelists is before you ask a question or speak just say like hey I'm Nicole and I'm from Chicago so that we just have who in the room is speaking in from what position and all that kind of stuff so who has a burning comment or question for any of our panelists or all of them okay great right up here and I'll say your name and where you're from my name is DeGonag and I'm an artist in Miami I work with incarcerated teen girls and the question is what kind of um I my girls are 17 to 17 years old they're in detention centers um one thing you think kind of and I can bring to these girls to get their minds to be open to these issues because sometimes very hard to penetrate them because their pain is so deep um what do you as they're here believe that we as artists could break into these spaces to um give more reaction and engagement from all of us right next I don't know that it's hard to talk to teenage girls in general because it's a scientific thing that happens like I know for me I don't know like talking like how people speak really shy most of the time so I know for girls in that age right getting especially when they have those types of circumstances they all like when it comes down to issues that we're talking about today they all know about the issues and they're probably all very effective about the issues it's just getting them comfortable to talk about it and I know a lot of teenagers like spoken word a lot of teenagers use music and art as a means of escape so you have things where they can paint pictures you know to express their feelings or you know you have a theme one day where you write about um write it more and more you can have like a seminar type thing about building your things like them that are kind of getting them comfortable and then eventually they'll come around and they'll start to say well if one thing they like to see when people are open other people are open a lot of teenagers feel adults kind of just write them off as being they just don't want to talk but if an adult is accepting tourism and opening to do the things they like to do and they'll open back up towards that thank you thank you comments from people have said things in your room from around the country okay Suzanne hi I'm Suzanne in California I'm from Washington DC and I'm sorry this isn't an exact question to you the group but it was an issue that's troubling to me that I kept thinking of throughout all the talks um when I was on my way here and going through national airport um I went to get in a security line and the attendant looked at my ticket and said oh you're a TS something something go stand in that line and so I went through another line and there actually was no line and I didn't have to take off my shoes and I didn't have to pull my laptop out and I didn't have to do anything and I walked through and um I got to the other side and I asked three of the TSA people why I was in that line rather than the other line which had a long line and nobody seemed to know one of them asked me if I had applied for it and I said no and it was just something I brought with me into New Orleans about this um type of segregation and why that this maybe happening I wondered if it's happening at other airports did anybody else experience it's it's random as an Arab-American who's been screened way too many times last um many years I was shocked when this happened to me and it was right when we were coming from the Junebug residency to speak to my cousin and I asked Stevie and she was like I wish Junebug had that kind of pull but actually no so I did investigating and and then this is what a security person actually shared with me this is called being pre-screened and this is what's happening folks you get a freebie at random your name might you might get a freebie to experience the loveliness of being pre-screened so that you can then be inspired to go buy it online yes yes you can get one to buy pre-screened status for something like 100 bucks for a certain period of time and then you won't actually get checked and people who can for the buy it will this service is already available for international travel you can purchase pre-screening for your passport for your US passport which allows you to when you're entering US airports go through the express line but of course that means that you've registered all your data with this magic government database and then you know consider the possible implications of that any panelists have anything to say about screening yeah I experienced this you know a few weeks ago and I didn't mention this the netfellows went to Hawaii Junebug and I had a chance to go back to connect with some folks out there and when I was leaving I was randomly selected for this one if not take your shoes off if not take your laptop out of the bag and I thought it's a new day I had no idea this was some sort of testing scheme right again to get folks to re-register for this is there not so much concern to be investigated or whether you appreciate me or not you can still do whatever what concerns me is the idea that some people will be able to pay for this and others won't be able to afford it and we're dealing with public transportation so that's the issue that down the road concerns me other questions or comments for the panelists panelists yes, Samuel, hold on Will is coming with Mike actually I live at the border Mexico USA and you can buy so you can pass the window line but with their pass they put you under the computer and then once you pass to the US they follow you wherever you go by computer so they are looking at you why you are in the US which I think and they tell you oh why do you get a pass I say fuck that this is still scratching your heads Julia I have a question for you about propeller I was wondering if you can talk about some of maybe there's a couple of examples of specific projects in which our theater culture are involved in this sort of like innovations or community development projects you may have shown pictures of them but I think that it was hard it was hard for me to decipher but maybe you can just talk about some of those you are based on the work that we are working with this year one of them is Pelican Bomb NPN is actually a physical sponsor of the Pelican Bomb sort of a news blog and they also have something called the drop where they make local art affordable to people so you can purchase one piece of art for $8 two pieces for $150 and three pieces for $200 and it sort of came out of this model that they tried in New York and worked there but not quite sure New Orleans is the same type of has the same relationship to art here but see the same meaning you pay a certain amount over the year and then you're just given art throughout the year for different artists so that's one we also have a venture called the where you are and they are an online marketplace for art specifically local art so the local Etsy they've noticed that with Etsy you have people who are saying that they're locally made but they're really not and so it's sort of gotten too big for its original intention so they are showcasing local art on their website rr.com and they also they also provide like business support to artists to help them you know get the photographs that they need or understanding trademarks and copyright and all that I talked about Tiffy Tiffin so she's actually one of the few entrepreneurs that we have that had an active product a lot of the people that we support a service that they're offering or Katrina Breeze she's working on trying to degree Mardi Gras so she's getting local artists to actually make local pros that will support the local economy and also eliminate the waste that comes from Chinese imported beads and she's done some scientific testing on the beads and they actually are very toxic they have lead in them and say waste and all these things and the reason why they're allowed to be imported is because they are classified as jewelry instead of toys and so they are toys basically and kids interact with them like they were toys and so California has banned Chinese imported beads to give you an example of the severity of the issue so tons and tons of trash comes out of Mardi Gras so she's trying to tackle that issue from a bunch of angles that's good, thank you nice work we have time for one more question, go ahead Jose so you're saying your name and where are you from Jose Torres Tomas also dearly why can't we do something to help Junva as honest here Junva was miscalculated for my early projects and recently we talked to Jamal Neal when he was over at the college university teaching up north so what can we do is the artistic community to support Junva to make sure that it continues the sharing of information is really helpful at the end of the day part of the work there is a lot of heavy lifting that Junva internally has to do I think the sharing of information and opportunities small things this past year that I looked at things like the website macabre all trades for slightly used mac products in terms of increasing our technology that we have that kind of thing also databases we have to back into a database now there is no database it's a constant contact which does not a database maybe and so we're having to back all of that information so we're looking at sales force I did the research for that how do we manage our social media do you think that make our life easier the other side looking at that and how to track I think that's the big thing is learning how to track that so we can talk about our work more and I think we always need cheerleaders for our work just with this group of people that are right here that we are all in various conversations and rubbing elbows with various people and sometimes it's helpful for you to talk about the organization a piece of work so on and so forth so I asked a question about how a relationship may have been reciprocal at an earlier session today and I said it wasn't directly beneficial to Junebug it's indirectly beneficial to Junebug in that it was through the circle food store work that we did that we met the Tulane University city center and now we are able to do work with them and that is our earned income because now we do work with Tulane University city center the school of architecture so we do a lot of training for them things like that are being connected to those sort of things or what's helpful also writing about the work donating to the work coming to the performances and I think that also with the people that are local being able to connect and be more strategic about some of the work that we do and how we do it the sharing of resources on a local level will help a lot Kyle, Julia, Stephanie, Trab, Dawn thank you so much for sharing your stories today please well that person alright so first please let's give them a round of applause I'm sure that if you have other questions or comments you could grab one of the panelists on their way out Stan, what happens next?


I appreciate you all coming. Thank you so much. If you're here to talk about JavaScript, you are in the right place. So one thing I've heard many times today so far is, like, just a refrain, open source is eating the world. And if that is true, if open source has truly eaten the world, then in my humble opinion, JavaScript is responsible for multiple helpings of said world. I think a lot about that. Kids' poem, Hungry Mungry by Shel Silverstein. Hungry Mungry ate the whole world. And I think that actually may be about JavaScript. Come to think of it. So I don't know if anybody else showed my opinion about that. But so click. There we go. So this talk is about how the next, I was just going to say, if it's really eaten the whole world, then space is its next meal. Because we've sent JavaScript to space now. If you want to find out more about that and how it's being leveraged off-planet, or whether node modules really are the most heavy thing in the entire universe, you can check out this great talk that we had from Christina Koch at our 2020 conference. And yeah, something I wanted to share. So I want to thank everybody for taking time to come. My name is Joy Berson. I'm really lucky to be, and I'm proud to be, the community director for the OpenJS Foundation, where I get to work with an amazing team of people, including Robin Yin, our executive director. And Brian Warner, our program manager. Also Liz, a community leader who's joined us here today. But a lot of community leaders from some of the largest and most highly consumed open source JavaScript projects in the world, including Node and Webpack, NativeScript, jQuery, which is still used by 70 plus percent of the web AMP. So it's a pretty big gamut of projects that we have. And in December of last year, we wanted to create a program that would help drive community and participation and general support and other benefits and things for the foundation. And it's very many and very different projects. JavaScriptlandia is that program, and that's we're going to talk about today. We'll discuss some of the benefits that we found and as well how we got it off the ground and that kind of thing. And maybe it's something that will be applicable to you and your communities. But first, I'd love to tell you a little bit more about some of our projects for context and also a little bit more about the foundation. There we go. So we have over 35 open source JavaScript projects. And they touch just about every layer in the software development stack. So we have core utilities like NVM and AJVJS and Lodash, which, again, another project that's still quite highly consumed. We have packages that handle streaming and parsing. HTTP requests, native code integration. We have development tools like ESLint and Appium and QUnit and WebDriver that do testing and code linting and code quality. We have build tools like Webpack and Grunt. We have tools for accessibility and internationalization like WebHint, Moment, Globalize, Message Format. We have some of the most highly deployed front end and back end frameworks in the ecosystem, Express, Fastify, jQuery. And we have tools that are functionally platforms of their own. So Node.js, Electron, AMP, Node.Red. These are projects that have spawned their own ecosystems of plugins and open source libraries around them. So they work across solution domains. So we do deployment, IoT, serverless, low and no code. We serve hobbyists. We serve Fortune 100 companies alike. And we even have one of our projects is an award-winning project, Hospital Run. It serves medical facilities in low or no latency environments in Africa. So quite the gamut of projects here. And in my view, maybe I'm biased, but in my view, they're all pretty critical to the web platform. They're also all independently managed, which is quite unique, I think. And the truth is, your organizations are probably using one or more of these, whether you realize it or not. So hopefully, I'm not being too hyperbolic to say, I think they're quite important. They are also very different. As you can see from the previous slide, not just are they different technically, but they're different in terms of size.  Some of them are run by sole maintainers. So just one or two people driving the book of the project. Others have really large multi-organizational governance structures, thousands of contributors. So we've got the difference in governance models. We've got difference in the geography. So some of them are more popular in different parts of the world, or they're maintained for multiple parts of the world. Differences in their community and the culture around those projects. I think that's actually one of the things that is a big strength. It's a reflection of, I think, the broader JavaScript ecosystem. There is no one JavaScript community that rules it all. It's decentralized, but it's also highly codependent. And I think this is one of the things that makes us a robust and resilient ecosystem. So very different, very, very different groups. This begs the question, though, if we're wanting to create community, how do we define community? So this is a tough question, and it's one as a community director I want to ask in myself a lot. It's about kind of understanding the scope of the, and trying to understand the scope of the communities that we're trying to connect with. So that resonates with me. The question of how we're fostering a community across all of these projects, when, in fact, the projects themselves are very different. And on the surface, they maybe just look like the only thing they have in common is JavaScript. That's like saying, let's create a community of English speakers. It's quite hard to do. So it's so challenging that a lot of people don't really think about this question, or they don't really consider some of the distinct differences between audiences and communities that they, until it may become an issue for them. So there was a book published in 2019 called Working in Public, and the author there kind of broke down a couple of different communities that she saw that kind of require a different touch. And so they have maintainers and core contributors on the way down to people who are end-users. The folks just consuming or using the project in some way. Or do you consider your definition of community to be all of the above? At the foundation, I think we take a really big approach. We want to be as inclusive as we possibly can, and to take care to ensure that we have programs and offerings and stories and support for each level, because we've got the core maintainers of these important tools. But we also have the end-users, and the casual contributors, and the commenters, and the people who are supporting the project in some way through tutorials that we want to support. So that is kind of, like I said, our big 10 approach is to try and tackle stuff that will help all of the above. So come on, I think here we go. There we go. So why is it important is another question. Why is it important to define this community? Well, as we mentioned, the ubiquity and the scope of JavaScript makes defining the JavaScript community really, really difficult. It almost defies definition in and of itself. That is, I think, kind of problematic, because it can make it hard for people to learn the language. It can make it hard for people to getting into JavaScript to really understand, what's the right way to build a modern web application? How can I get involved with projects or make connections across projects? How do I start to understand the differing perspectives or the differing techniques and strategies and approaches that may exist across JavaScript text stacks? At the very least, how can I start to feel welcome in a community or at least successful in achieving my goals in JavaScript without that community? So I think beyond learning and mentorship and that understanding of different perspectives, you also get the benefit of opportunity and inspiration when you create an effective community space. That's some of the challenges in not doing a community. I loved this quote from Carl Sagan, which is originally, if you wish to make Apple Pie from scratch, you must first invent the universe. But I think it kind of applies to the JavaScript ecosystem as well. And that sense of overwhelming, sort of like, how do I in this space can be quite difficult to overcome if you don't have a community space to connect with. So that brings us to why the OpenJS Foundation. So our foundation exists to serve this JavaScript ecosystem and to help build that community, to help take care of sort of our JavaScript water cooler spaces, if you will, by building connections across the projects and sharing information to support. Oh, did that just skip all the way to the end? That's cool. Why did that do that? Well, this is fun. Boop, boop, boop. There we go. OK. So sorry about that. So we believe it's really important to provide this neutral home for our critical projects with the common principles of technical governance and accountability. And to do that in doing that, we're providing more long-term sustainability, both for the specific projects that we serve, but also for the ecosystem as a whole. So this idea that we can create a space, even despite our differences in projects, we can create a space where all those projects can come together and share this information and be a node is very core to us. Oh, there we go. Now we go. OK. So it takes a lot of resources to do that. And we're providing both the community space, but also infrastructure and core services for legal and financial support and that sort of thing. And it takes those resources to serve these communities in a long-term and sustainable and consistent way. So we're talking about probably tens of thousands of dollars each year and also cross-industry collaboration, which is a lot more than you can provide just through crowdfunding. You really need your organizational sponsors and supporters to be with you and be behind you. So many thanks to our member companies and our awesome board of directors for all that they're doing to help our project succeed and get them the support that the projects need when they need it. But that brings us back to community. We've got the system of support that comes through our members, which we're super grateful to. But we wanted to start looking for a way to elevate the hundreds and hundreds of people who were letting us know that they also wanted to meaningfully contribute and support programs for projects and community. So through some kind of membership system, individual memberships and foundations aren't super-duper common, and we didn't have one. So we started to examine what could we do that would be meaningful, that would be helpful. So we were also exploring ways to create more safe and productive spaces for JavaScripters to work on issues and get expert access to information from resources and from our community leaders to potentially align themselves with our experts in the foundation, even if these were people who couldn't or weren't ready to contribute publicly or contribute technically, because there's obviously a lot of people using our projects who aren't necessarily ready to go file an issue and raise their hand on GitHub to get involved there. So to achieve those goals, we started to work on JavaScriptlandia. And we launched it in December 2020. Again, it's an individual supporter program that we have a list of benefits and only charge about $25 a year. And this complements our organizational membership by, again, providing paths for those folks to deepen involvement. So the perks include digital badges for their favorite projects. They can put them on their social profiles or their personal websites and share those that's powered by a system called Credly. We also provide discounts and exclusive offers on training, certifications, conference, and that kind of thing for folks who want to attend and meet up or get involved more online that way. We also provide an insider newsletter, which helps drive awareness of things that are happening in the foundation. It helps to also keep those communities involved, not just in what might be happening technically with the project, but what might be happening socially behind the scenes. So those were some of these initial benefits that we brainstormed to provide something meaningful. We also, let's forget, we have some exclusive promo items that we're going to be experimenting with, one of which is this awesome badge that, if you are a JS Landia member, Robin and I have badges for you. So come see us at this event or at any event in the next couple of calendar years. We'll be handing out cool badges for that. We also have some stickers that I will hand out to anybody who wants one. You can see it on my laptop here. It's cute. Yeah, but just little things that are meaningful and allow people to wear their support in some way for open JS's projects and to help signal that they're here to help us drive alignment through these programs. So looking a little bit closer at the site, we set out with this initial list of benefits. And we've been really, really thrilled with the response so far, so if this is something that you're kind of considering for a program for your open source project, I'll share that the response has been overwhelming. We've had over 400 people who've signed up to date. And they're listed on our site. So we provide this website for them to kind of display their badges and display opting in, of course, display information about themselves if they want to share it. So you can see all of our parties there. And then each member has their own page. So this displays all the badges that they earned or an optionally other information that they may want to share with their developer community. So again, this is about helping encourage them to fly the flags of their favorite tools while also strengthening their connection to the bigger picture of JavaScript. So we'll be doing for our upcoming events, custom badges. We did for OpenJS World. We have badges for the training and certification program. And we'll be rolling out other badges very soon. So yeah, coming soon, actually, speaking of which. Our long-term goal is to use this program to turn the participants into ambassadors for the projects and for the foundation by giving them, hopefully, a lot more leadership opportunities and a lot more opportunities to wear the tech in a way socially and otherwise that they can be proud of. Because they don't have to just identify as only a JavaScript or only a TypeScript developer, only a Node developer. So you can be an intersectional JavaScriptist, I think. So we'll be adding more badges just for our project. So for leadership and mentorship roles that you may be helping with in a specific project like Node. Also for badges, optionally, for JavaScript projects that would like it, like TypeScript, for example, or React, these are not part of the foundation but are certainly projects that lots of people love and want to support in some way. They'll be able to do that as those projects opt in. We're also looking to develop more programs to, and this is so timely because of everything, more programs for the local community support. We have, obviously, JavaScript communities all over the world and there's more that I think we can do to support fostering the individual's leaders in those communities. So using the program to help foster that and also adding more features to the website like social sharing and embeddable pages and that kind of thing. So really helping to create stronger bonds and hopefully a richer picture of all of the many, many activities that are happening across the world of JavaScript. Right, so what are we doing with these funds? What are we gonna, what are the members helping to drive with this? We've got a lot of different community programs that we run at OpenJS Foundation, which are open to all but obviously, especially JavaScript landing participants. We do a community book club, which I think is really fun because I'm a book nerd and we've talked about, we're doing them quarterly. We've done, working in public by Nadia Eggball and we've done, we did two for one the last time, which was how to do nothing by Jenny O'Dell, which is not really about how to do nothing and braiding sweet grass and they were really great. So you can come join us and nerd out about open source books if you want. We have a collab space program, which is a great opportunity for again, fostering leadership. We have one collab space rolling right now. It's the package vulnerability collab space. So if you're interested in having conversations with peers about, you know, but in this case, we're specifically protecting packages and vulnerability disclosure and reporting and that kind of thing. That's a great little community to get involved with, but there are others on the way. We have our community fund, which is something that our members are able, our community members are able to participate in and this includes things like the travel fund, which is something we've done for quite some time, where we support people who otherwise would not be able to attend our events or maybe they want to go to a specific projects summit or something like that. We can support them through the travel fund or if you want to host a meetup about one of our projects supporting you that way. Scholarships, we just launched the Lift Scholarship Program, which is open through October 15th for people who are interested in, you know, getting, taking the node certification or training. And then a thank you program, which is one that is near and dear to me, where we will be helping project maintainers and community members thank those who are making meaningful contributions. Other programs that we drive at the foundation include the training and certification and a web standards working group where we have a big cross group of people coming together to talk about issues and web standardization and how to get involved and information share. And there's gonna be a project launching from that group, hopefully a little later this fall. So lots of cool, lots of cool things going on. So in closing, you know, we had an opportunity last fall to kind of figure out how we could get more of our community together and get people who weren't ready maybe at that time to, you know, get involved and learn more about the project and learn more about OpenJS. And we tried that through this program so far it's going really well. And we hope that you will consider adopting similar programs for your projects, but also we hope that you'll consider joining JavaScriptlandia and getting more involved with the OpenJS Foundation because we have a lot of cool stuff going on. Yeah, let me see if there are any questions about JavaScriptlandia or any of the foundation's programs because we've got a lot of stuff and stickers are one of the things that we have a lot of also, cool. Well, and thank you all for your time.


Boom What's up money geeks mr. V here welcome to another video guys so in this video We are going to talk about take a symbol KB and T Kubian technology So this is a company that I talked about here on the channel in the past and today is going to be Swing trade and so this is not definitely guys. This is not a long-term position. This is a swing trade I've traded this stock several times So again is right now in my buy zone and I'm going to buy it for a swing trade So that's where I want us to talk Into this video But before we get started guys, we are new to the channel We took about hard to earn money how to save money how to invest and build wealth So that's something that interests you go ahead and smash that like button and the notification bell So you don't miss out on new content So kubian technology is a digital advertising company and the company has been really focusing on Doing or transforming the digital advertising Industry one of the key products that they are currently working on or that they are waiting for the patent to be approved right now is their kai in stream at fraud Prevention so this is an AI technology that it's going to dictate fraud Before it even happens or in real time So this one you're still waiting for the patent to be approved once that's approved And then they have that one full swim So again, I do like the company and the direction of the company is going But again guys, this is for a swing trade not for a long-term position If you Read the fundamentals of the company and you like the direction that they're going and you want to hold it foot For for a long term. That's absolutely okay But in this case we're doing pretty much a string trade So if we jump here looking at the charts here So just as of of february 16 this stock traded um for a high right about 16 dollars and some change Then no, you know what happened the last week or so everything just came crashing down and then the stock pulled back down all the way to About seven dollars right here six dollars or seven dollars Which was a buy zone for me because I've traded this stock several times the stock started I started trading it four dollars the first time I even mentioned the stock here was under five dollars We got in I wrote it all the way to eight dollars took profit pulled back to six dollars I bought again. It went to it. I took profit It just I just kept going back and forth with the stock until if you can see here on the chart here This was february 12th and then we go to february 16 It just went crazy It went from our regular price which is about eight dollars and squeezed all the way to a high of 16 This one actually caught me off guard because I didn't see that this particular one coming And so when he pulled back again to that six dollar or seven dollar price points like that's a good entry point for me So right now it's actually consolidating around this point So uh what I wanted to buy at this price point so that it would squeeze our price target for this particular trade again guys price target for this particular trade again is going to be 10 dollars Once we get in and this thing hits that 10 dollar price point I want you to secure that profit and when I say secure profit a lot of you guys get confused when I say secure profit I don't mean that you should completely liquidate your position That's where you can actually put a stop loss so that if the price keeps going up You can move that stop loss and follow it But if the price were to revert You know, you are locked in already it would sell and get you out of there Or if you don't want to use a stop loss once you cross that 10 dollar price point And you feel comfortable that you can put a trailing stop so that you can put a tight trailing stop maybe five percent Traditionally most people do 20 percent trailing stop But in this case since you're trying to secure the maximum profit you put your trailing stop at about five percent And just let it trail so that in case it turns around you get out So again price target for this one is 10 dollars and if we get lucky And if you can squeeze past that 10 dollars and go to 11 12 and even test these numbers up here 15 16 That is House money, but again that 10 dollar is where we say we secure our profit And then anything that comes on top of that that's just gravy that we're going to be enjoying again This is a digital advertising company and so far the company From just you know from a number standpoint, they have been doing excellent I mean revenue has actually grown 500 percent yet over here as of q3 of 2020 which is Me you don't see that with most companies that they could be having that kind of growth And so right now the digital advertising space as of 2020 spend about 384 billion Dollars that is crazy. That's just surprising traditional advertising Which was you know, which for the most part has always led that space but now digital advertising is coming And right now they are projecting to that number to go to about 517 billion dollars by 2023 so there's tremendous amount of growth in the space and Kubian technology is actually taking advantage of that again guys just from a fundamental standpoint The reason why I don't want to hold this stack Long term is because if you work in corporate america you work in any space You know that for the most part the first part of every company when they want to cut back when they want to cut spending Usually comes from marketing from advertising.  I'm laying out the game plan for you guys I'm in I'm actually in this thing at about seven dollars I'm gonna ride it all the way to 10 and I'll take my profit again Like I said when I say take profit doesn't necessarily mean that you should just liquidate your position Once he crosses that 10 dollar price point you can put a stop loss right there Anything that follows that that's gravy and you can move your stop loss and follow it So let's say you put your stop loss at 10 dollars and the price goes to 11 You can move that stop loss up to 10 50 So you're securing extra money and give a little room to bounce if it goes to 12 You move your stop loss to 11 dollars or 11 50 on just the way you're comfortable But make sure that you have that game plan. Don't just trade because oh, I bought this stuff and the price went up And I'm happy. What's your entry strategy? What's your exit strategy? I'm laying it down to you right now Entry is right now the price point that we see right here.  So let me know in the comment section what you think about this again This is a swing trade um price target here is 10 dollars. We can get some gravy on top of that Otherwise we take our profit and get out. So again, let me know in the comment section What you think about is if you're new to the channel We took about how to earn money how to save money how to invest and build wealth So there's something that interests you go ahead and hit that subscribe button in the notification bell too Don't miss out on new content. Also, if you're looking to get so that we're investing We both still has the promotion where if you sign up and deposit 100 dollars You get some free stocks links in the description below and as always guys Don't be greedy savage stay motivated You


Russia has lost over 161,500 military personnel in Ukraine. Russia has lost over 161,500 soldiers, almost 6,800 armoured combat vehicles, almost 4,500 tanks, and more than 2,100 drones in its war against Ukraine. General Staff of the Armed Forces of Ukraine announced it. Total combat losses of the Russian forces between 24 February 2022 and 15 March 2023 are estimated to be as follows. Approximately 161,520 military personnel, 3,492 tanks, 6,799 armoured combat vehicles, 2,528 artillery systems, 502 multiple launch rocket systems, 262 air defence systems, 304 fixed wing aircraft, 289 helicopters, 2,132 operational tactical UAVs, 907 cruise missiles, 18 ships or boats, 5,377 vehicles and tankers, 257 special vehicles and other equipment. Moreover, the Russian military has seen its arsenal severely depleted. It has lost nearly half its main battle tanks and is dipping into inventories of older era and sometimes Soviet weaponry. Russia's ammunition stockpile is rapidly dwindling. The war and popular mobilisation triggered an astonishing exodus of people. Perhaps as high as nearly a million emigres desperate to leave Russia. Western sanctions on Russia have contracted its economy, impacted the country's industrial capacity in some sectors and brought an era of Russian integration into Europe to a shuttering halt.


Here's an extra review I'm throwing in for this month since this isn't science fiction I'm never really going to come up with an excuse to present this So I'm just gonna throw it in while I'm thinking about it true grit is a 1968 novel by Charles Portis I read this book after seeing the 2010 film by the Coen brothers Westerns and historical fiction are generally not my kind of thing But this was so well written if you liked the 2010 film I believe you will enjoy the original novel the stilted dry dialogue and the Stoicism of the characters it comes directly from the novel from Charles Portis's style In case you don't know true grit is the story of a 14-year-old girl named Maddie Ross in The 1880s post civil war whenever She's looking to avenge the murder of her father And she goes in search of a lawman or a bounty hunter to hire and she eventually comes across a messed up old drunken Marshall named Rooster Cogburn who Nevertheless impresses her with having the quote true grit needed to embark on such a journey the 1969 movie starring John Wayne Is embarrassingly bad and I recommend you avoid it the 2010 Film by the Coen brothers corrects all the problems of the first film and really captures the spirit and the style of The original novel although I have to tell you there are a number of key memorable scenes from the film That didn't happen in the book a Coen brothers just invented them This also gives me the opportunity to bring up the other Charles Portis novel I read after that I enjoyed the style of true grit so much that I got a copy of his 1985 book Masters of Atlantis and While this had the same writing style the the same dry delivery and the non-emotional characters The story wasn't much to tell about it didn't really have anything to do with Atlantis I mean of course I bought it because of the title. It's about an American servicemen stationed in Eastern Europe during World War one Greece or Turkey I think he encounters a street beggar who gives him a handwritten book that contains a very detailed and believable account of a phony religion that supposedly handed down from the original rulers of Atlantis This guy takes it home with him to America He and a handful of his fellow servicemen Establish it as a real religion. They never really develop a following and The story just follows them throughout their lives When they retire having really not accomplished anything the the story never really goes anywhere and nothing much happens But I think really that's kind of the point of the story It was readable because of Charles Portis's style and the humor of his writing But it's not really something I recommend that you run out and buy but read true grit. You'll like it Please remember to press that like button it helps my videos get seen and then subscribe so you can come back next time I do science fiction book TV and movie reviews all the time and please consider becoming a patron There's a link in the description below