In this video we will go through the derivation of the backpropagation algorithm. We will start with a review on the forward propagation. Then we will introduce the training data and training labels for a supervised training framework. The training will have as objective the minimization of a loss function. We will introduce, therefore, a local error through the network. We will start by defining an output error. And then we generalize the error to a nonspecific L layer. We will also review briefly how to compute the Jacobian of the composite of functions. Finally, we will see how to compute the parameters gradient. And therefore we will review the equations for the backpropagation algorithm, which can be used for stochastic and mini-batch gradient descent for minimizing the loss function that we have introduced. We start with an overview of the equations we have already seen so far. x is going to be the vector of components x1, x2, up to xn, which belongs to r, size of layer 1. Then we have that A of layer L plus 1 is equal to our nonlinear function, in this case the sigmoid of a quantity that we call weighted input. And we write Z of layer L plus 1, which is simply a sigmoid of our mappings for the layer L, which is mapping the activations of layer L to the L plus 1, where L here is equal to 1, 2, up to L minus 1. A hat is equal to the vector A with bias on top. A L plus 1 will be of size S L plus 1. Finally, we have the H, the hypothesis based on the parameter theta, capital theta, applied to our input x. It's equal to the activation of the last layer, capital L, which therefore belongs to R as capital L, or we can also say R of K, capital K. Our theta, J, is the mapping that is mapping the layer J to the J plus 1, and therefore has dimensionality size of the layer J plus 1, and gets as many input as the current layer, so S J plus 1, which is the bias. And our capital theta is the set of all the mappings for all the layers, which is mapping the layer 1 to 2, the 2 to 3, up to the last one, which is mapping the layer capital L minus 1 to the final layer, capital L. To train our system, we provide some examples. Here we have a capital X, which is providing the actual data, which is organizing this way. So X is the matrix of row vectors, X1, which is the first example. Then we are going to have X2, which is the second example. We have again X3, up to the last one. This is going to be X, M, and Y is the matrix of labels, which has M rows, like X. And then we have the first label, Y1, second label, Y2, third label, Y3, up to the last one, YM. The number of columns of M, as we saw, it's K, because we saw that H of theta of X, it's belong to RK. And we have that, of course, we have M rows. In a similar way, of course, we have M rows for the X matrix. And the number of columns is going to be equal N. Let's write this in a more extended way. So X can be written as a table, basically. So here we have T vector 1, X1. Here we have D vector X2, up to the last one, vector XN. And therefore we have here X1 of first sample. Then we have X2 of first sample, up to XN of first sample. And same below. So we have first feature, sample number 2, second feature, sample number 2, up to the last feature, still for the sample number 2. And then we can go down to the last one, which is going to be the M example, feature number 1, M example, feature number 2, and up to the last one, feature number N of the M example. We are going to have something similar for Y as well. So Y can be written as Y1, Y2, up to YK. We are going to have first sample, label number 1, first sample, label number 2, number K, and so on to the last one. So we have Y, first label, YM, second label, YM, K label. If K is equal 1, then the matrix Y is going to be exactly just the vector Y. We can now define a loss function, which is evaluating how far is our prediction from the actual label. Our loss function L, which is a function of the parameters only, can be expressed as an average over all the errors of the given example. So I equal 1 to M. We provide to our neural network all the M examples, and we can compute the average, and this is going to be our loss function. Here we are going to drop the index I because otherwise it becomes a little bit messy, but this one basically expressed the output error of the network. The error, which is a function of the output of the network, will tell us how far we are from the true labels. And an example, a standard example of error function, could be the mean square error, which is equal to one-half. The one-half term is going to be helpful in later steps of the difference between Y, which is for the I example, but we said we are going to exclude this for the moment, minus the output of our network of which we have fed the example I. And this one, it's simply one-half summation over K, YK minus. So we have that this one can be also written as our A of layer L. So YK minus A component K of layer L squared. This is still considered for the example I, but we are going to take away this notation otherwise it becomes really unbearable. We want to keep in mind that E is a function on the output of our network, where X and Y are fixed and theta can be wired. Our goal would be to find the rate of variation of our error when changing a given parameter, theta ij of layer L. In this way we can move from the evaluation of the error done in theta towards a point which is going down the slope of the error based on the parameter space. In this way, if we have our cost function and we are here, we can try to go towards the minima of our cost function. Let's introduce now the local error. If we have our weighted input Zi of layer L and we replace it with Zi, so itself, plus a small variation, so delta Zi layer L. Then we expect the error E to change from E to E plus the variation rate of the error with respect to this particular weighted input. Multiply, of course, the variation of the perturbation. Here we can see two different cases. The first case, we consider the absolute value of the variation of the error to the specific weighted input to be greater than zero. Therefore, we know that some variations in the weighted input Zi can bring some improvement. Instead, when the absolute value of the variation of the error with respect to the specific weighted input is nearly zero, we have that this neuron is near optimal. Therefore, variations in the specific weighted input won't bring any relevant influence on the final error E. We see that the partial derivative of the error with respect to the specific weighted input can be considered as a term of error. If this error is greater than zero, then we can still improve our cost function. If the error is zero, then we can no longer change much. We define delta i of layer L as the partial derivative of the error with respect to the specific weighted input of layer L component i. And this is the error i's neuron. Let's compute, therefore, the output error delta i of layer capital L. So we can simply write the partial derivative of the E with respect to the A of last layer component i. And then we have the A component i of last layer with respect to the Zi component i of last layer, which is equal to what? So the first one is the partial derivative of our error function with respect to the output of the network, multiplied by simply the derivative of our sigmoid or the component i of the weighted input of the layer capital L last layer. And let's see what these two elements are, because we already know basically everything. So let's say we consider our error E equal one-half decimation over k of yk minus ak of last layer squared. Well, therefore, we have one-half multiplied by two, then decimation disappears because all the components are going to be zero, but the i-th component, which is going to be, therefore, A i L minus y i. So this one here, if we use the sum of square errors, it's simply A i L minus y i. And here we're going to have the derivative of the sigmoid. Let's make a zone. If we have sigmoid of z, which is equal to one plus xp of minus z minus one, then we simply have the derivative of the sigmoid is going to be, so the minus one comes down here.   We can easily recognize this one as to be the sigmoid of z, and this other one, sigmoid squared of z. So we can write a sigmoid of z, which is multiplying one minus sigmoid of z, and also we have that sigmoid of z is simply A. So this is A, which multiplies one minus A. So in this case, we can simply write that this one is simply A i of layer L, which multiplies one minus A i layer L. For sake of generality, we can keep our more compact form where we still have the partial derivative of the error and the derivative of the non-linear function. Just in case you would like later on to change the error function or the non-linearity. Finally, we can write the vectorial form of the delta, the error at the last layer, which is going to be equal to the gradient with respect of the input of the error function, which is component twice multiplied by the derivative of the non-linear function utilized. Again, in our specific case, this component would simply be the last activation minus the label, and this component would be last element, component twice multiplied one minus A of L. We would like now to compute the error at any L layer of the network. To do so, we need to express our error at layer L as function of the error at the following layer. We have written the error at layer L as the composition of the error at layer L and the error at layer L plus 1. Therefore, we have to compute the partial derivative. Let's refresh how to compute the Jacobian of a composite function. Let's say we have a function G, which goes from R to Rn, which is differentiable in U0, and then we have a function F, which goes from Rn, which is scalar field, so it goes to R, which is also differentiable in X0, which is equal to G of U0. We have that H, which is a composition of F and G, which goes from R to R, is derivable in U0. The derivative of H in U0 is equal to the Jacobian of the F in X0 multiplied by the Jacobian of G in U0. And what is this? This is the classical matrix multiplication. But more specifically, since F is a scalar field, we have the Jacobian, it's simply the row vector. The F, the X1 in X0, the F, the Xn in X0 multiplied by the derivative component-wise of G. So we have G1 prime in U0 down to the last one, Gn prime in U0, which is equal to the scalar product of the gradient of the first function computed in X0, the derivative of the second one. So we have here that the current error at layer L has been expressed as a function of the error at the following layer. We have that the delta I of layer L is simply the E to respect to the Z component I of layer L and delta J of layer L plus 1. It's going to be equal to the E. And here we have the ZJ of layer L plus 1. We can also write this one as the scalar product of the two Jacobians. So it's the summation of all the components, some on J, of the E, the ZJ of following layer multiplied by the ZJ of the following layer with the current layer. We actually know what is this first part which is actually delta J of layer L plus 1. We just have to find out what the second part is, which is not that complicated. So this one is the partial derivative of the weighted input at layer L plus 1, component J with respect to the weighted input, component I of the layer L. So as we said, partial derivative of the weighted input, component J of layer plus 1 with respect to the weighted input, component I of layer L. To perform this partial derivative, we can simply write ZJ. So the J component of the weighted input, layer L plus 1, is function of the current layer. So this one is going to be equal to the summation over K of the parameter theta JK of layer L, multiplied by A hat layer LK. This one can be simply written as summation over K on theta JK layer L of the sigmoid of ZK layer L. And then if we perform the partial derivative for respect with Zi, we simply have that the summation goes away and the output is going to be the argument of the summation where K is set to I. So simply this one is going to be theta JI of layer L, the derivative of the linearity of Zi layer L. Finally, as you saw from the previous slide, we had the error delta component I at layer L. It can be expressed as the summation over J of the component J's of the error at the layer plus L plus 1, multiplied with the partial derivative of the weighted input, component J. With respect to the component I of the weighted input at layer L, and we can simply substitute and we have that this is equal to summation over J of theta JI layer L, which is multiplying the delta J of L plus 1 and the final derivative of the sigmoid Zi layer L. Finally, we can write the vectorial form. So given that the component I of the error at layer L is equal to the summation of the parameter JI, not IJ, L multiplied by the error component J at layer L plus 1, multiplied by the derivative of the nonlinear function of the same component, can be written in a vectorial form as the metric theta at layer L transposed, which multiplies the error by the following layer and then we have component multiplied by the derivative of the nonlinear function at layer L for the weighted input at layer L. Our last effort will be done to compute the partial derivative of the error with respect to the specific parameter. Now that we have all tools and amenities over these slides, we can see that the final equations are pretty easy to write. So we have the partial derivative. It's going to be equal to the partial derivative with respect to the following layer weighted summation delta Zi of the following layer multiplied by the derivative of Zi of the following layer with respect to the parameter IJ of layer L for every I and J. And we know that this one is simply our error component I of layer L plus 1 this guy over here. It's simply the J component of the activation at layer L. We computed this one from the forward pass and we have computed this one on the left hand side from the backward pass. Finally, we can write the last formula, which is writing the total partial derivative of the error with respect to the parameter at layer L. This can be written as at layer L, which multiplies the error at layer L plus 1 transposed. So we have the first one, it's a column vector, and the second one is going to be a row vector. So we can easily tell that the product is going to be the matrix, which has the same dimensionality of capital theta of layer L. And finally, we have the list of five equations we are required to compute in order to perform back propagation. So at the beginning, as first step, we have that the first activation is equal to the input to which we additionally add the extra plus 1 as a bias term. Then as second point, we compute every other weighted input at layer L plus 1, which is equal to the mapping of layer L applied to the activation of layer L. Then we have the activation, it's simply the non-linearity applied to the weighted input. And then again, we have the A hat is going to be simply the A with the plus 1 bias additional term. As a third point, we compute the error at the last layer. So we have the gradient with respect to the input to the error, or basically with respect to the output of our network, which is then multiplying component-wise with the derivative of the non-linear function utilized. Then we can backpropagate the error through the network by utilizing this formula where we see the transposition of the weight matrix multiplying the error at the following layer and then component-wise multiplied by the derivative of the activation function. We can see here that we haven't specified any particular error function or any activation function. So based on your choice of error or activation function, you can simply modify this formula to adapt to your specific training. Finally, we can compute the variation of the error with respect with any of the parameters used in the network as simply the product of the activation of a specific layer L multiplying the transposed of the error at the following layer. Finally, if you would like to perform gradient descent, we can choose between the stochastic gradient descent, so stochastic gradient descent, which is simply saying that the current parameter should be updated with the following rule, so equal to the current parameters minus learning rate eta which is multiplying the activation at layer L and the error at layer L plus 1 as we just saw or if we instead would like to perform a batch gradient descent or mini batch. We simply have that the update rule is going to be that theta L is equal to theta L minus the learning rate and the average of our errors. So our updates as well for the example I.


Assignment. Submitted work. As a teacher you can have your learners submit work through your Moodle course. This saves on paper and it's better than email because when they submit you'll see a list of your class, only on your Moodle course, not cluttered up with emails from colleagues and organisations. What they submit can be uploaded files or text written directly on Moodle. If we look at this example of an assignment, because you can type your instructions into Moodle's text editor, it doesn't only have to be text, you can add links, images or videos relevant to your assignment. And an assignment may be for one individual or it may be for a group, and as a teacher you can choose whether or not to see the identities of your learners as you are grading it. To add an assignment we enable edit mode, top right and then in the section where we want to add the assignment we click add an activity or resource. This brings up Moodle's activity chooser. Assignment is an activity because learners interact with it. Click once to go straight to the setup page or click the i for more information and then the add button bottom right. Because assignment is so powerful it has many different options, we're only going to look at a few in this video. The name is important because this is what the learners will see on the course page and then you can add a short description which you can optionally display on the course page by ticking the box. In activity instructions you add what you want them to do for the assignment. You can if you like give your instructions in audio or video form by clicking the audio or video icons and your learners can also submit like that too. If you want to include images or links you click the appropriate icons. You can also upload additional support documents for them if needed. You can choose when you want them to send in their work with due dates or a cutoff date and you can also set yourself a reminder when to grade by. In this Moodle site the administrator has enabled timed assignments. This means the teacher can set a time limit on the assignment but note that learners can still submit after the time limit but this is mentioned in their submission. Now we decide the submission type. In other words if you want them to upload one or several files you make sure that file submission is ticked and you can choose the number of files you want and can specify a type of file you want them to upload. Alternatively select online text and they can type directly into Moodle with a word limit if desired. This is enough to set up the assignment but let's explore some other settings. Click the question mark help icon against any if you need more information. In feedback types setting comment in line will allow you to type directly on the learners work just as you would when grading on paper. In submission settings you can decide if you want them to accept an agreement that their work is their own. In group submission settings you can get them to work and submit as a group and in notifications we can choose whether or not to be messaged when students submit and also whether or not by default students will be messaged when we've graded their work. If we click grade we can see that it's possible to choose a number out of which the assignment can be graded and it's also possible to create our own scales which we look at briefly in another video about the grade book. Anonymous submissions can initially hide the identity of your learners when you're grading them and marking workflow and allocation are useful when sharing the course with other teachers to divide up moderate and monitor the progress of grading. In activity completion if we want to track that students have accessed the assignment do we want them to manually click to confirm they've seen it or do we want it automatically marked complete when they've simply viewed it or submitted or received a grade or a passing grade. To alert course participants that an assignment has been added or updated click send content change notification and now we can save and return to course and our assignment is ready for our students to submit.


The Italian version of the brief Autism Mealtime Behavior Inventorique, Bambi, has been validated and shown to have high internal consistency and test-retest reliability. This makes it suitable for use in clinical and research settings. No significant differences were observed between males and females or between those with higher and lower body mass indexes. This article was authored by Antonella Lamboglia, Roberta Romano, Donatella Valente, and others.


My name is E.K. Williams. I am the Library Operations Manager at Stellan Charles Gutman Community College here in New York City. The library serves as a safe haven for the students, a space where not only they can do their academic work, but it's a place for conversations, it's a place for studying, it's a place for group work. And my role as a manager is to be available as a guide to help students access resources, whether they're textbooks or e-books or troubleshooting on the computers. I've worked in libraries for a long time, 15 years to be exact. When I was in high school I was looking for a job and everywhere I went they said they were not hiring. So the library in my community was the last place that I went and the librarian came over with a stack of book and she said, I want to see if you can put this in order. And I've never seen the Dewey Decimal System, but I knew that it had to be organized numerically and then alphabetically. And I just took the books and I started putting them together and she checks it and she says, wow, not one mistake. And she says, you're hired and I'm like, oh my gosh, this is amazing. And I did that while attending college at night. The San Jose State High School appealed to me because as a working professional, it was very important for me to attend a 100% online program. The tuition was very affordable and I had some of the best professors. They were very supportive, very encouraging. I absolutely do believe that librarians can change lives. As a librarian I feel that is my responsibility to give back to the community, give back to my students, give back to the universe. And I really enjoy the ability to converse with students, get to know them, get to see what kind of issues they're faced with each day and provide resources to help them get through it. It makes me feel good as a human being, as a professional, as a librarian and it's extremely rewarding.


Hello, everybody. Today we're going to be learning about variables in Python. A variable is basically just a container for storing data values. So you'll take a value like a number or a string and you can assign it to a variable and then the variable will carry and contain whatever you put into it. So for example, let's go right over here. We're going to say X and this is going to be our variable. I'm going to say is equal to now we can assign the value to it. So let's say I want to put 22. X is now equal to 22. So we won't have to write out the number 22 in later scripts that we write. We can just say X because X is equal to 22. It now contains that number. So now we can hit enter and say print. We'll do an open parentheses and we'll say X. Now I'm going to hit shift enter and now it prints out that 22 because we are printing X and X is equal to 22. This is our value and this is our variable. One really great thing about variables is that it assigns its own data type. It's going to automatically do this. So we didn't have to go and tell X that it's an integer. It just automatically knew that 22 is a number. So we can check that by saying type and then open parentheses and writing X and we'll do shift enter again. And this says that X is an integer type. Now we only assigned an integer to X. Let's try assigning a string value or some text to a variable. So we'll say Y is equal to let's say mint chocolate chip. I'm feeling some ice cream today. So we'll say mint chocolate chip. Now if we print that again, we'll do print open parentheses Y and do shift enter. It'll print mint chocolate chip. And if we look at the type, we can see that the type is a string this time and not an integer. Now again, we did not tell it that X was an integer and Y was a string. It just automatically knew this. Let's go up here really quickly. We're going to add several rows in here because we're about to write a lot of different variables and really learn in depth how to use variables. The next thing to know about variables is that you can overwrite previous variables. Right now we have mint chocolate chip and that is assigned to the variable Y. So if I go down here, I say print Y and I hit shift enter. It's going to print out mint chocolate chip. But if I go right above it, I say Y is equal to and let's say chocolate. If I print that out, it's now going to say chocolate. Whereas up here, I'm reassigning it to Y. It's still going to say mint chocolate chip. So if I come right down here and I copy this and I'm going to paste this right here, initially it is going to assign Y to chocolate. But then right here, it will automatically overwrite Y as mint chocolate chip. And when we hit shift enter, it's going to show mint chocolate chip. Variables are also case sensitive. So if I come up here and I say a capital Y, this is a lowercase Y and this is a capital Y, it is going to print out the correct one instead of mint chocolate chip. And then if I go down here to the print and I type the capital Y, it will give us the mint chocolate chip. Up till now, we've only assigned one value to one variable, but we can actually assign multiple values to multiple variables. So let's do X comma Y comma Z is equal to. And now we can assign multiple values to all of those. So we can say chocolate and then we'll do a comma. Oops. A comma. Then we can say vanilla and then we'll do another comma and we'll say rocky road. Now this is going to assign chocolate to X, vanilla to Y and rocky road to Z. So what we can do is we'll say print and we'll go print, print, print. We'll say X, Y and Z. So it prints out chocolate, vanilla and rocky road. And these are our three different values. We can also assign multiple variables to one value. And we can do this by saying X is equal to Y is equal to Z is equal to. And we can put whatever we would like. Let's do root beer bloat. Then we'll come back up here. We'll copy this and let's print off our X, our Y and Z. And they are all the exact same. Now, so far we've really only looked at integers and strings, but you can assign things like lists, dictionaries, tuples and sets, all to variables as well. So let's go right down here. So let's create our very first list. I'm going to say ice underscore cream is equal to and that is our variable right there. The ice underscore cream is our variable. So now we're going to do an open bracket like this and we're going to come up here and copy all of these values and we're going to stick it within our list. So now within ice cream, we have three string values. Chocolate, vanilla and Rocky Road, all within this list. So what we can do is we can say X comma Y comma Z is equal to ice underscore cream. So now these three values, chocolate, vanilla and Rocky Road will be assigned to these three variables X, Y and Z. And we can copy this print up here and we'll hit shift, enter. And now the X, Y and Z all were assigned these values of chocolate, vanilla and Rocky Road. Now, something that we just do, which is really important or something that you really need to consider is how you name your variables. So right here, we have ice cream. Now, this to me is exactly how I usually write my variables, but there are many different ways that you can write your variable. So let's take a look at that really quickly and let's add just a few more because I have a feeling we're going to go a little bit longer than what we have. So there are a few best practices for naming variables. First, I'm going to show you kind of what a lot of people will do. I'll show you some good practices and I'm going to show you some bad practices as well that you should avoid doing. The first thing that we're going to look at is something called camel case. And let's say we want to name it test variable case. Oops, case. Now, if we have a test variable case, the camel case is going to look like this. We'll have a lower case test and then we'll have uppercase variable and uppercase case is equal to this is what this variable is going to look like. And we can assign it a nil a swirl. And this is what your camel case will look like. It's going to be lowercase and then all the rest of those compound words or however you want to say that, these letters are going to be capitalized to kind of separate where the words end and begin. Let's go right down here. We're going to copy this. The next one is called Pascal case. So Pascal case is going to look just a little bit different. Instead of the lowercase at test, it's going to be a capital T in test. So test variable case. Again, this is a very similar way of writing it, very similar to camel case, but just a capital at the beginning. Now let's look at the last one. And this one is my personal favorite. This one is going to be the snake case. Now, this one is quite a bit different in the fact that you don't use any capital letters and you separate everything using underscore. So we're going to write test underscore variable underscore case. Now, typically, let me have them all in there. Typically, these are the best practices. These are what you typically want to do, but probably the best one to use is this snake case right here. What a lot of people say is that it improves readability. If you take a look at either the camel case or the Pascal case, which you will see people do is not as easy to distinguish exactly what it says. And the name of a variable is important because you can gain information from it if people name them appropriately. So when I'm naming variables, I usually write it in snake case because I just find it a lot easier to read because each word is broken up by this underscore. So now let's look at some good variable names. These are all ones that you can use or could use. Let's do something like test var. So test var is completely appropriate. We can also do something like test underscore var. Oops, underscore. We could do underscore test underscore var. You'll see that often as well. Well, people will start it with an underscore. You can do test var capital T, capital T, capital V in test var. Or you could even do something like test var two. Now, adding a number to your variable is not inherently a bad thing. Usually it's semi frowned upon, but there are definitely some use cases where you can use it. But one thing that you cannot do is do something like. Putting the two at the front. If you put the two at the front, it no longer works. It won't run properly at all. So we're going to take that out so we can't do that. So I'm going to use this as an example of what you should not do. You also can't use a dash. So something like test dash var two, that doesn't work either. And you also can't use something like a space. Or a comma or really any kind of symbol like a period or a backslash or equal sign. None of those things will work within your variable. Now, another thing that you can do within your variable is use the plus sign. So let's assign this will say X is equal to and we'll do a string. We'll say ice cream is my favorite. And then we'll do a plus sign and we'll say period. Now, what this will do is it will literally add these two strings together. So let's do print and we'll do X. So now it says ice cream is my favorite. One thing that we cannot do in a variable is we cannot add a string and a number or an integer so we can't do ice cream as my favorite to if we try to do that. It will give us this error right here. So in this error, it's saying you can only concatenate a string, not an integer to a string. So only a string plus a string for this example, you can also do and we'll say X is equal to or we'll say why we'll say why is equal to. Three plus two and it should output five because you can also do an integer and an integer. Now, so far we've only been outputting one variable in the print statement, but you can actually add multiple variables within a print statement. So let's go right down here. We're going to say, let's get some more right there. So we'll say X is equal to ice cream and we'll say why is equal to. Is and then the last one Z is equal to my favorite and we'll do a period at the end. Now we can go to the bottom and we say print X plus Y plus C and when we enter that and when we run and when we run that, we get ice cream is my favorite. Now we can actually add a space before is a space before my and when we hit shift enter, it says ice cream is my favorite. You can also do this exact same thing with numbers as well. So we'll say X is equal to one, two, and Y is equal to three. So this should equal six. Now one thing that we tried to do was assign to one variable a string plus an integer and that did not work, but what you can do is you can take something like this and you can say ice cream and we'll get rid of this one and we'll get rid of the Z now saying plus is actually not going to work. Let's try running this. So again, we can't concatenate these, but what we can do in the print statement is we can separate it by a comma. So when we add this comma, it should work properly. Let's hit enter and it says ice cream to again, this makes no sense, but you are able to combine a string and an integer separating by a comma. Now this is the meat and potatoes of variables. There are some other things as well, but some of those things are a little bit more advanced and not something I wanted to cover in this tutorial, although we may be looking at some of those things in future tutorials, but this is definitely the basics. What you really, really need to know about variables. I hope that this video was helpful. If it was, be sure to like and subscribe below and I will see you in the next video.


Very grateful to be here tonight and some of you might know there's five to ten million people in the world today who are fighting Parkinson's disease. In fact it's becoming so common that I'm pretty sure some of you here tonight you know will know someone who is living with this disease. A few years ago my grandmother started complaining about pain you know left arm stiffness. She went to the doctor and at 59 years old she was diagnosed with Parkinson's. We know that the movement symptoms in Parkinson's are due to the loss of dopamine cells in the midbrain in a place called substantial nigra and the best drug against Parkinson's today is basically compensating for the low level of dopamine in the brain. Now it helps a lot, it helps my grandmother and many people but the problem is it doesn't stop the progression of the disease. What it means is that my grandmother cannot win a fight against Parkinson's. For her every day every day is harder than the previous one. She now describes herself as a hyperactive mind locked in a sluggish body. She has trouble focusing. She loses her balance. She sleeps like four or five hours a night and she is relentless all day to compensate for her slowness and keep her life seemingly normal to others. So the goal of my group is to find a better weapon for my grandmother and millions of others to win the fight against this disease. We really desperately need a better you know like at least something that can slow down the progression of the disease. So how do we get there? Well first we must understand why those dopamine cells are degenerating so fast in Parkinson's patients and you know like most brain disorders Parkinson's is a complex disease. Each patient is unique in a sense that they the difference you know like the causes might be a combination of different genetic predisposition, lifestyle, maybe it's a chemico, it's very exposed to, and aging. And the initial cause of the disease might be different from my grandmother and someone else but I believe we might be a point of convergence at the cellular level where something happened before the loss of dopamine and a girl in this project is to find that molecular signature that is common to most Parkinson's patients. So again how do we find that molecular target? Well so most previous work until recently have been focusing on animal model, mouse model, and post-modern brain tissue, human brain tissue. Now these models are extremely valuable and they're great but they have significant shortcomings and so for example mice just naturally don't get Parkinson's at least as far as I know. And the post-modern human brain tissue by the time we get there you get them they so damaged that it's not really clear what you can get out of them. So in this project we're trying to take a new scientific strategy in which we will study live human urine derived from the patients themselves. We're building upon a new technology that we had in previous talk that consists in reprogramming skin cells into stem cells and stem cells into brain cells. So basically we start with a small skin biopsy and it leaves no trace, no scar, so you can obtain it from a patient or from a healthy subject. And then we generate live human neurons that we can study extensively in the laboratory setting and the idea is pretty simple. You compare brain tissue from a patient from a healthy subject, you find differences and then you try to screen compounds to correct those differences. So finally the hope is that the new drug we might discover with these methods that will work on the patient cells in the lab have a much higher chance to succeed later on in clinical trials. So with that I would like to thank the brain foundation, thank the donors for their generous support. It really makes a difference and I'm excited to go back to the lab and hopefully come back with some exciting results. Thank you.


Welcome to Lorna Campbell, who leads the team, which proposed this session on the Skating of Open repurposing open resources for music education. And a warm welcome to Anna Reina Garcia, Kari Ding, and Ifan Shukwu Esimadu, who are students at the Reed College School of Music in Edinburgh and are currently working as interns on a project that deals with open textbooks for access to music education. The presentation is 15 minutes and there will be five minutes for questions at the end of the session. Over to you now, Lorna. Brilliant. Thank you very much. It's a real pleasure to be here today. My name is Lorna Campbell and I'm the manager of the Open Education Resources Projects Service at the University of Edinburgh. And today we're going to be talking about how the university's strategic commitment to open knowledge has enabled us to reuse and repurpose open education resources in order to create new and innovative learning materials in a wide range of formats. And this presentation is actually brought to you by a cast of thousands. There's been lots of people involved in this project. And I'm very pleased to be joined today by three students who are working on this project. Although I think at the moment we probably only have two here. Oh, here, I'm here to join us as well. So, Anna, would you like to introduce yourself? Yeah, I'm Manu. I'm a student of your music here in the University of Edinburgh and I'm from Spain. Thank you, Anna. Kari, would you like to say hello? Yeah, can you all hear me, I think? Yes, we can. So, my name, yes, thank you. So, my name is Kari. I'm from Hong Kong and I'm a master of music and musicology student in the University of Edinburgh. Thanks, Kari. And, Athene, would you like to introduce yourself? Yeah, my name is Eufran and I'm a second year music student at the University of Edinburgh and I'm also from Nigeria. Brilliant, thank you for joining us today. So, at the University of Edinburgh, we believe that supporting the creation and use of all kinds of open education resources is strongly in keeping with our institutional vision and values to discover knowledge and make the world a better place and to ensure our teaching and research is accessible, inclusive and relevant to society. The University's vision for OER has three strands, building on our excellent education and research collections, traditions of the Scottish Enlightenment and the University's civic mission. This vision is backed up by an OER policy approved by our Learning and Teaching Committee which encourages staff and students to use, create and publish open education resources to enhance the quality of the student experience, expand provision of learning opportunities and enrich our shared knowledge commons. And to support this policy, we have an OER service that provides staff and students with advice and guidance on creating and using OER, engaging with open education and developing information and copyright literacy skills. Over the last ten years, the University has shared a huge wealth of open contents with the global knowledge commons, including hundreds of open educational resources, Wikipedia entries, open licensed media resources, research data sets, open journals, historic images from the University's collections, MOOC and three short online courses. MOOC have been a cornerstone of the University's commitment to open access to high quality online learning opportunities, widening access to knowledge and community outreach since 2012 when the University signed its first partnership agreement with Corsera. Since then, the University has launched over 8G MOOCs, running across three platforms and aged 3.7 million learners. One of the University's earliest MOOCs was the Fundamentals of Music Theory. This course was developed by senior lecturer Dr. Niki Morang, a colleague from the Reed School of Music and launched on Corsera in 2014. The course introduces key concepts behind conventional Western music theory, providing students with the skills to read and write musical styles and mutations and to apply this knowledge in analytical listening. The Fundamentals of Music Theory MOOC has run continually since its launch in 2014 and over 200,000 learners have participated in course over the last seven years. In order to ensure that course materials from our MOOC are easily accessible for all users, high quality videos from these courses are released under open license through the University's Open Media Bank, where they can be viewed and downloaded or used and repurposed under open license. There are now over 500 videos from 20 available, or three download and reuse from the Open Media Bank, with more content available every day. In 2019, with support from the University's Learning Design Service, content from the Fundamentals of Music Theory MOOC was repurposed to create a new 20 graduate level 7 on campus blended learning course for undergraduate students. The University's Elder Learning Design Approach is adapted from the University of Northampton's Tisle Purve Center. Elder is a creative, supportive and collaborative process where participants tackle problems together, resulting in better solutions and strengthening the thief. Key improvements to the music course include the addition of learning outcomes that address students' critical and contextual awareness of the course content, new content addressing global decolonization issues around music theory and music education, an extended resource list, and a course textbook, accompanying the video lectures repurposed to the MOOC. This course has now run for two years and is an integral component for the Bachelor of Music degree programme. Although staff and students at the University of Edinburgh have created and shared a wide range of open education resources, until recently there has been relatively little engagement with open textbooks. Although open textbooks are the predominant form of OER in many parts of the world and are used extensively across all levels of education in both the US and Canada, they have not been widely adopted in the UK, despite the 2018 UK Open Textbook Project reporting significant and growing interest in the format. Among its findings, this Hewlett-founded project called for national level research into student experiences and what impacts, if any, textbook costs were having on their studies, plus additional research on how textbooks are used by educators in different regions with different funding and tuition costs. Open textbooks are once again in the spotlight as institutions are facing rapidly increasing e-textbook costs as they move away from print materials in response to the COVID pandemic and longer-term trends in academic publishing. Campaigns such as e-book SOS have been launched by academic librarians and concerned colleagues to raise awareness of publishing practices that are making e-books unaffordable, unsustainable, and inaccessible to university libraries and they are calling on the UK government to investigate the practices of the academic e-book publishing industry. Increasing adoption of open textbooks and open e-books is one way to address these concerns and a number of institutions including the University of Edinburgh, NUI Galway, University College London and University of Manchester are in the process of launching their own open presses. At the University of Edinburgh, a number of academics have independently started creating their own open textbooks using github pages. These textbooks primarily cover programming and technical topics and are available to access and download from open.ed. At the same time, the university's open journal service which already supports and publishes a wide range of academic and student-led open access journals is expanding their service to provide an open textbook publishing platform based on open monograph press from the Public Knowledge Project. In late 2020, Dr. Melissa Hayton, assistant principal of Olay Learning and champion of the university's mission and vision of OVR in Open Knowledge, suggested a repurposing content from the fundamental music theory MOOC to create an open textbook who would be a useful way to explore the practicalities and affordances of e-books. Staff and students from the Ritz School of Music came together with colleagues from the OVR service and were successful in securing a student-experienced grant to undertake a small exploratory research project, open textbooks for access to music education. University student-experienced grants are one of contributions to support innovative projects and initiatives that will enhance students' social, academic, entrepreneurial, supporting or cultural development. This funding has enabled us to employ three-part-time students' interns for a period of four months to work on this project. The aim of Open Textbook for Access to Music Education project is to explore the potential of providing access to free, accessible, adaptable open textbooks in a convenient and reusable open format, ideally suited for hybrid and online learning. In addition to evaluating a range of different open textbook platforms, the project will create a prototype textbook comprised of existing content of the Fundamentals Music Theory courses, which can be used for undergraduate teaching within the university and made available more widely under open license. The development process will enable us to explore and evaluate different open textbook platforms, learn about the logistics and practical process of creating open textbooks from existing content and whether it will be feasible to extend to this to further open textbook projects. We began by exploring a range of e-books and open textbooks and evaluating for open textbook platforms, open monograph press, manifold, press books and GitHub pages. A project blog was set up on the university's academic blogging service so we can capture and reflect on our findings and disseminate the outputs of the project. GitHub pages is a subsidiary of GitHub which presents its content in the form of a website, even though it is designed to be managed by users with some experience of coding, this will be simplified using Jekyll, an extension that transforms plain text into a study website. All the GitHub pages have a big community to support new users due to the short-term skills of a project we do not have the time to develop the coding skills to use this platform. Manifold is a non-profit open source platform created by the University of Minnesota Press to read and publish e-books in multiple formats. This platform is designed not only to publish but also to engage with readers and host discussions about the content published with varied tools such as annotation, sharing, highlighting, bookmarking, and commenting. Manifold was considered one of the top choices of platform due to the simplicity of the user interface across different devices, ability to include supplementary resources in the main material, and limited ability to edit, update, and export books. Pressbooks is an open source content management system designed for creating books and exporting them in multiple formats including PDF, E-Pub, Mobi, Webhook, and HTML. A great thing about this platform is that it is based on WordPress, a platform we are already familiar with which will make the production process much easier. However, we were concerned that the University's IT services, may not have the capacity to set up and maintain a new Pressbook service at such short notice. The University's own open press service is a new service based on open monograph press which is due to launch in May DCM. We agree that this seems like a great way to publish a group as we already have access to the platform. The team of open press service will be able to provide us with support and help with all the licensing, policies, and indexing processes. The service is still in its final stage of development. So this will be also a good opportunity to assist the platform with the open press service to see if there are any practical issues. In order to ensure that our open press book will be accessible and reusable as possible to the wider public, we are planning to make the contents available in a wide range of formats such as HTML, EPUB, PDF, MP3, video, and video transcripts. Our book will be suitable for all levels of layers and structured in topics rather than chapters so that users can follow the content in any way that is useful to them. Each topic will be accompanied by an introduction that identifies other relevant topics. For example, in order to get the most from this topic, you may find it useful to be familiar with the following topics. And we also plan to create a visual overview that will illustrate how all the different topics overlap with each other. This will not be necessary to work through the content in linear sequence. Video from the original Coursera MOOC and content from a supporting note and book developed for on-campus course delivery will form the basis of the open textbook. New materials covering music theory in contextual critical global context will be added from the most recent run of the course and new video materials will be added as it becomes available, replacing the old Coursera video. Content relating to the regiment of musical notation will be drawn from existing sections of the course material and collected into a new regiment's topic. To conclude, although our research project is still in its earliest stage, if it is successful, we hope this will be a valuable first step in enabling the university to shift towards the use of open textbook across a number of undergraduate courses. This would benefit the university by reducing textbook costs, benefit staff by providing them with access to easily customizable open textbook and benefit students by providing them with free high quality digital learning materials while also providing free open education resources for music learners worldwide. To find out more about our project and to follow our progress, please visit our project blog. Thank you very much. So, thank you very much. That was wonderful. That was really, really wonderful. I'm particularly happy that there are three students from diverse parts of the world presenting with Lorna. And on a topic that I think and I could see from the chat, participants felt is so important, but also sometimes underrepresented. So, I was looking at the chat and I could see that participants were really, really into this project. So, my question, because I can't see questions here at the moment, just very, very positive and overwhelming good comments from the participants, my question is really, you said that people can actually contact you via the blog. Are there any other means of contacting you? I think there will be a lot of discussion after this presentation going on. You can certainly, any questions on the conference hashtag, I'll see, and I'll also be on Discord all day. I know I'm very grateful that the students are here today because I know that they're extremely busy with their own coursework as well. Also, you can always get in touch with us through open.ed.ac.uk, which is the university's OER service, which is managing this project. I should also say a huge thank you as well to Dr. Niki Maran, who has really been instrumental in developing the original MOOC and she is our project partner on this project. So, Niki's not with us today, so I just want to acknowledge her contribution to this project. Thank you very much. I think it's so important that you did that, Lorna, because there are so many hands involved in this project, not all visible, obviously, for the obvious reasons, not visible in the presentation because the presentation is rather short. But I think the important part is that there are so many different ways of contacting you and we know them now, and I think most of the discussions will actually take place later on beyond this presentation. And I would like to announce that I, for once, am particularly interested in this topic, and I will be in touch with you because I'm involved in the project that also deals with music education and I will definitely be in touch. So, thank you very much for your presentation and I'm very much looking forward to everything that's coming out of your wonderful presentation here. Thank you. Thank you very much. Thank you.


In this presentation we will look at multiple choice questions related to inventory and inventory cost assumptions. First question. Consignment goods A. Are goods given by owner to the consignee who sells the goods for owner or B. Are consignees inventory C. Goods given to consigner who sells the goods for the owner D. Not consigner's inventory E. Paid by the consignee when they take possession. Once again we're going to go through these and then see if we can cross out or eliminate some of the options the question being consignment goods and we'll go through these and see if we can eliminate some of these. Now it's of course good if we can try to define what consignment is first and note that the consignment is something that will come up from time to time it's not where the major focus typically is but it's something we need to be aware of because it does affect how much we are going to be recording in the inventory and it means basically that the owner of the goods is giving the goods to some other person to sell them although the goods have not been sold to that second individual they're still owned by the owner for example if we had a painter that had paintings and they want to put those paintings in a restaurant to be sold then and hang them up and see if people would want to buy them in the restaurant as they eat then they could ask the restaurant to put the paintings up on consignment meaning the restaurant doesn't buy the paintings they just put them up for the painter and then once they're sold then the restaurant would take up percent and give the difference to the painter and so that's one form now note that those paintings are still the painters they're the inventory of the painter even though the restaurant has possession of them so here we go first one says our goods so consignment goods a are goods given by owner to the consignee who sells the goods for the owner and that sounds pretty good according to our definition but if we didn't quite know it we'll go through all these and see if we can eliminate some of them our consignee's inventory now there's going to be these terms all the time with it with different types of accounting terms like consignee consign or lisi lisor and so the consignee is the person who is who is receiving the inventory in our case the restaurant and they're getting the inventory and they and they have it physically but it's not really theirs it's the consignee or inventory and that's the tricky thing about consignment so it's not b and then c says goods given to consignee or who sells the goods for the owner now this one sounds a lot like a and so i'm going to keep it for now and then we'll go back through those and see see which of those is the most correct because they look very similar d says not consignee or inventory uh so the consignee or is the one who is giving the inventory in our case the paintings to the restaurant but the consignee or is the is the one the painter in our case and they are the owners of the inventory they just don't have physical possession of it at the time it's at the restaurant although it's owned by the consignee or the painter so it's not that one e says paid for by the consignee when they take possession and that's the difference between the consignee buying the inventory and it being on consignment they pay the restaurant in our case isn't paying for the paintings they're just holding on to the paintings and displaying them for the owner of the paintings so that's not correct and note if we didn't know any of these we might be suspicious just about a and c anyways so if i had no idea what a consignment was and i read these options i might be saying well hmm a and c sound exactly the same they sound the most descriptive of all of these uh descriptions and there's only a few words difference so if i had no idea what consignment was i might look through a and c and see what uh you know what the difference between those two are and can possibly narrow it down to them just by the format of the answers so once again the the question is consignment goods a are goods given by owner to the consignee who sells the goods for the owner or c goods given to the consignor who sells the goods for the owner now the the difference between this goods given by the owner or goods given by the consignor are the difference so who's giving the goods well the owner sounds correct giving the goods to the consignee who is the restaurant if we're talking about goods given to the consignor. The problem there is the consignor is the owner. So the consignee is the one who would be receiving the goods in this case and then selling them and obviously also who sells the goods to the owner. The consignee should be getting the goods and wouldn't be selling them to the owner. They'd be selling them for goods for the owner. That's not right. For the owner. So it would be the consignee selling the goods for the owner. So in any case it's going to be A here. It's going to be our best option. So once again consignment goods A are goods given by owner to the consignee who sells the goods for the owner. Next question. Cost of goods available for sale is allocated at the end of the period between A beginning inventory and ending inventory B ending inventory and shrinkage C net purchases and ending inventory D beginning inventory and cost of goods sold and E ending inventory and cost of goods sold. Once again we'll read this question often go through then see if we can eliminate some of the answers. Cost of goods available for sale is allocated at the end of the period between. So if we consider that cost of goods available for sale we should have an idea of what that is and we should once we see anything that that is within our cost of goods sold formula I would just write down that formula and see if it gives us any clue to what the answer would be. So the cost of goods sold is beginning inventory plus purchases and that's going to give us our goods available for sale. So cost goods available for sale that's our subtotal and then we say minus ending inventory. Now this is really terrible graph here and that gives us cost of goods sold. What happened there? So beginning inventory plus purchases gives us cost of goods available for sale that's this item minus the ending inventory gives us cost of goods sold. So the cost of goods available for sale is basically what we could have sold during the time period which is then going to be subtracted by the ending inventory the amount we count to be there to give us the cost of goods sold what we did sell the cost of things we sold the expense on the income statement. So if we read through this cost of goods available for sale is allocated at the end of the period between a beginning inventory and ending inventory. Well if I look at the formula here I don't I see ending inventory but not beginning inventory. I see ending inventory and cost of goods sold. So I don't think it's going to be that these says ending inventory and shrinkage that you know you might think that at first because we might be thinking we're trying to figure out what is an ending inventory and what you know we lost. So I'll leave that for now. C says net purchases and ending inventory. Net purchases that's going to be what this is our purchases here and ending inventory here. So that you know those are both in our equation but we're really breaking out the cost of goods available for sale between ending inventory and cost of goods sold. So I don't think that's going to D says beginning inventory and cost of goods sold. Beginning inventory is in our formula but it's way up here and we're really down here we're really working below the cost of goods sold because we're breaking out that cost of goods sold. So I don't think it's that E says ending inventory and cost of goods sold. And I think that's going to be it of course because in our formula we have cost of goods available for sale minus the ending inventory gives us cost of goods sold. In other words cost of goods sold is being broken out between ending inventory and cost of goods and cost of goods sold. So once again cost of goods available for sale is allocated at the end of the period between either B inventory and shrinkage and I don't think that's going to be it. There's no shrinkage in here or E which I believe is the answer ending inventory and cost of goods sold. So the answer is going to be E. One more time cost of goods available for sale is allocated at the end of the period between E ending inventory and cost of goods sold. Next question merchandise inventory does not include A. invoice price of inventory purchased minus any discount B inventory transportation in costs C inventory storage costs D inventory insurance costs E inventory that cannot be sold. Once again we're going to go through these and see if we can cross out anything that doesn't belong. Merchandise inventory does not include A inventory price of inventory purchased minus the discount and that that would be the most obvious thing that would be included in inventory the price of it and we would have to take out the discount for the inventory as well. So I don't think it's going to be a B inventory transportation in cost. Now if we paid for the transportation cost it is something that we would want to record in inventory it wouldn't be just a freight in expense we would be included in inventory because we used the transportation in order to buy the inventory we will expense it in the form of cost of goods sold when we sell it. So it's not going to be B. C says inventory storage and that's going to be the same scenario if we have to pay for the storage in order to get the inventory in place for sale then we're not just going to expense it at the time we pay the storage we are going to include that cost in the inventory so it will be an inventory cost. D says inventory insurance same concept here the insurance if we have to pay for it in order to get that inventory ready for sale will be included in the cost of inventory and E says inventory that cannot be sold and so that's got to be it because we crossed everything else out and E and it makes sense because if it cannot be sold it should no longer be an inventory we should write it off as a loss it shouldn't be in the inventory price because the definition of inventory is something we're holding on to with the expectation of selling so that answer is merchandise inventory does not include E inventory that cannot be sold


I'm here in now and now today with Julian, captain of the Yvrero Brigade. We've just launched the Heroes of Black Summer Children's Book, written by Kylie Miller and Craig Sheetha. A fantastic example of what the community can do when they band together to know and celebrate how a community has recovered from the 1920 bushfire season. All up and down the eastern seaboard of Australia, the 1920 bushfire season left its toll on the scar in the landscape. Here in the Gipps Lane was no different. From late November, lightning strikes saw fires start that took hold quickly and affected the communities, just as this one I'm in today. Julian and his members feature in this story, particularly around coming in here to the hour and hour general store and paying it forward the kindness of the community, whether that be to feeding firefighter crews or making sure that the people coming out and looking after the wildfire are well looked after. It's a children's book to make sure that we pass on the message to the younger generations of what it meant for the communities here in the 1920s season so that everyone can learn from the experiences held by the communities and prepare for future summers.


important because of fellowship between all the churches and we're having a great time meeting new people. It's just awesome to see that all these people love Jesus as much as we do and we're all coming together to just celebrate him and love him and all of that. It's kind of rare to see the Methodist community come together like this and so it's good to have this gathering of like our local churches. One church! Have a slatter for all United Methodists. We're here at Rockwall having an awesome time with the kids. They've got food trucks and worship and more My reason to be here is just to worship Jesus and to have fun with my friends.  The world needs the real you. From the experience I just had I realized that people are different and we have different opinions on things and that's okay. One thing that happened today that I wasn't expecting was meeting people who shared common stories asked me and who related to what I go through every day. A lot of good points brought up. Honestly I kind of like learned where like this train of thought comes from like it's almost like shared from our experiences and other people and we just got to like like the guy said reconstruct our view of like our perception of what the world is. What I learned is that people think of things in different ways and I guess maybe we should try understanding other people instead of just thinking about ourselves. The focus really bringing kids around the idea that we are one. One church, one God, we are one youth, one body and also that all of humanity is one and so I was very thankful that I was asked to be a part of it and I was could contribute just a little bit because they're not only the future of our church our young people are the church today.


In this demo, we are going to see how we leverage Turbanomic control platform to control the performance of microservices running from payment on top of OpenShift, as well as assured efficiency of underlying infrastructure by using this tool called Fubiturbo. Fubiturbo is an open-source project provided by Turbanamic. You can deploy Fubiturbo as a pod in OpenShift by telling Fubiturbo how to connect to your Turbanomic running plans, such as the IP and credentials. So here we already set up an OpenShift cluster on top of the ESX. And this is running OpenShift version 3.4. So if we see what is the current running parts, we can see that we already have a Kubernetes Fubiturbo part up and running. So before you run these parts, the only thing you need to do is to specify this config file to config Fubiturbo to tell it, what is the Turbanamic applied version it is? What is the IP and what is the account to talk to the Turbanamic server? So basically, after this Fubiturbo pod is up and running, it's simply established a web software connection between your Fubiturbo Kubernetes cluster, OpenShift cluster, together with the Turbanamic applies. And tell Turbanamic applies, how's your cluster doing? And the Turbanamic applies can use the analysis engine to try to assure the performance of pod and also efficiency of underlying infrastructure. So once this Fubiturbo is up and running, let's go to the Turbanamic applies. The entry point of Turbanamic applies is the setting view, public configuration. So basically, here you tell Turbanamic, what are the flavors including past hypervisor storage, what kind of public environment you're using? By just telling Turbanamic, what is the credential to talk to each of the flavor of the vendor you're using? So in this case, we have added OpenShift Kubernetes cluster as well as some underlying infrastructure target as vCenter or AWS to Turbanamic. After that, we're going to see the entire supply chain on the single pane of glass from the services that is running inside the OpenShift all the way down to your physical infrastructure. So by looking at the color coding, you can very easily tell what is the potential problems in your entire data center. For example, among 2.17 virtual machine, there are one critical actions that we will command you to address as soon as possible in order to assure the performance. So on each of the virtual machine, we can see what is the resource consumption across multiple dimensions from CPU memory, storage, or network. And at the same time, the Turbanamic Analysis Engine is supposed to tell you how do you address this problem. So for example, from this virtual machine, AS-QB04, which is one of the OpenShift nodes in the cluster, it is suffering from a very high CPU congestion.  At the same time, to avoid the CPU starvation on the container part side, it actually tells you to move this container part away from this VM and to another VM to prevent the VCP congestion, to avoid the CPU starvation from the part. So this is one of the value that we are trying to provide for OpenShift user. Continuously place your workload that is running in your container part to assure the performance of applications. The default scheduler can never guarantee they will not schedule two parts that may peak together. For example, the empty virus software that may peak or may start to scan the virus at midnight every day. So the default scheduler will possibly schedule these parts on the same node. And what happens next is when they peak together, we will actually suffer from huge performance issues. Also, the default scheduler cannot spontaneously reschedule the part if there's any congestion on the underlying infrastructure, like exactly in this case. So what telemetry can provide besides this first step is a belated, is try to address the performance risks by continuously migrating your container part in your cluster while taking consider all the resource conversions as well as all the constraints you set up. In your cluster, such as label selector, philidium, and n-tech unit. Besides continuous placement, Kubernetes can also identify whether you should vertical scale your problem. So for example, if we click on any part, besides, we can see all the resource consumption from email vCPU for this part, we can tell you what kind of vertical scale you should do for this part. We set up using a static number that is configured in a number. So we tell you how much capacity should be assigned, which corresponds to the limit of the part, which should be assigned to this part by considering monitoring continuously about this container part consumption as well as what is consumed on underlying infrastructure to make sure that when you resize up your limit of the part there won't be any problem of underlying infrastructure. So while scale up your limit, we can also tell you if you request too much of resource on the known side, which means you may be over-provisioning the resource on the plot level. So we will tell you to reduce the vCPU reservation, which corresponds to the request number of the part to make sure you are not wasting your resource, to avoid resource conversion. So this is just a simple memory for how KUBI Turbo can leverage Turbonomic Autonomic System to control everything. So all the actions that you see from this new line, you can actually apply selected to address this issue using Turbonomic UI directly, or even more, we can actually configure what kind of mode of action you want to take using Turbonomic. For example, you can choose to automate all these action modes to set your entire data center to a real auto pilot. Thank you.


Hey everybody, welcome back to the channel today. We're doing something completely different I don't think I've ever done this on this channel I thought hey, let's just give out recommendations because let's face it. There are hundreds of manga coming out every month Here are 12 manga titles that I am super excited about I could have included others But I wanted something fresh for you guys that I think you're gonna like and proudly display on your shelves Let's go first one on the list here is under ninja volume one published by Denpa this one has been pushed back multiple times in the past But it is finally out the manga tells the story of a modern teenager who happens to be a ninja He is part of a program that was established after World War two to help manage terrorism Now the 17 year old is the next line of defense against a possible new threat This sounds super cool under ninja is created by Kengo Hanasawa who is probably best known for his zombie drama I am a hero definitely worth checking out Vinland saga volume 13 from Makoto Yuki Mura published by Kodansha Thorfinn's travels continue in this at 13th hardcover for Vinland saga This one's a no-brainer if you enjoy good artwork and epic storytelling the hardcovers are always well put together But I wonder if people will hold off on buying this book as they wait for the recently revealed Deluxe three-in-one hardcovers, or will they double dip instead to be continued? I suppose but still if you're already 12 volumes in for Vinland saga you probably want volume 13, right? number six omnibus volume one by Atsuko Asano and Hinoki Kino it is published by Kodansha It's a story set in number six a future model city in the year 2013 raised as a top-ranking elite since the age of two young Shion lives in an exclusive area in number six And then on the night of his 12th birthday He rescues a kid who calls himself a nezumi. Nezumi is actually a fugitive living outside the Computerized city and from that moment on Shion's life is thrown into chaos and starts him down a path of discovering the secrets behind the superficial perfection of The city number six. This is a classic dystopian sci-fi drama And it's going to be collected in three-in-one omnibus editions across three volumes with extra large Pages that is what I like to read looking forward to it I love when we get omnibus editions of manga in oversized format the ghost in the shell fully compiled Edition or the complete hardcover version if you will from shiro masamune This is from dark horse comics ghost in the shell needs no introduction a sci-fi Cyberpunk classic it has been collected many times in the past this fully compiled edition contains the original ghost in the shell the sequels 1.5 and Ghost in the shell 2 in one big hardcover according to the solicit It's over 800 pages including an all-new cover created by masamune himself If you've only seen the anime movie or series and you're interested in getting the original source material now's the time to jump on board Malevolent spirits Mononogatari by Onigunso. This is published by Seven Seas now if you follow my channel You know that I'm a huge fan of yokai and Japanese folklore So I had to include the series it tells the story of an exorcist called Hima that must learn to control his rage over Sukumogami these yokai have robbed him of something precious and he is now living with a kind-hearted girl named Botan he discovers that she shares her house with the yokai and now Hima must try to overcome His rage highly recommended big fan of the series. There's an anime coming out as well super excited for malevolent spirits The night blooms behind castle walls volume one This is another series from Seven Seas and this is a relatively new one in it We follow the story of rosa as she dreams of becoming a brave knight But first she must be a squire doing daily duties around the castle may not be what she truly wants But it will ultimately lead to her becoming the heroic knight she's dreamt of this is a mix of fantasy and slice of life Elements and it is gorgeously created by Masanari Yuruka who happened to be an assistant to Hiromu Arakawa While they were working on full metal alchemist again published by Seven Seas who is no stranger to these types of manga Really looking forward to getting this and talking about it on this channel Tatsuki Fujimoto before chainsaw man 17 to 21 published by vis media If you're a fan of chainsaw man or fire punch, you'll want to have the story collections from Tatsuki Fujimoto 17 to 21 features Fujimoto's earliest works for short stories before his breakout creations I really hope this means we get more short story collections for other famous mangaka as well Definitely pick this up if you can I'm quitting heroing volume 1 by Quantum and art by Norikazato and Hana Amano In it we follow Leo the hero that saved the world from the evil demon lord Now he discovers that there is no longer a place for him out of a job and unwanted by the crowd for his terrifying powers The people have ultimately abandoned him shunned from society Leo decides to apply for a job with his former enemy as part of the demon lord's army This series is being put out by Yenpress and I do have to mention I'm quitting heroing had an anime adaptation last year that I quite enjoyed It's a nice twist on the genre with fun characters and an unconventional premise that I'm sure will attract readers Oshino Ko by Yenpress Here we have volume 1 finally coming out This manga was on fans wish list since it debuted back in 2020 and Yenpress Surprised everyone last year by announcing this acquisition Oshino Ko has quite the wild premise, but I promise it's worth it We follow Goto a gynecologist who is a big idol fanboy Shocked to learn that his favorite idol I has gone on an impromptu hiatus We find out that the young starlet is actually pregnant and she shows up at his countryside clinic and Well, let's just leave it at that for now It gets super wild and interesting But I don't want to ruin the fun the art on this manga is great in my opinion And it is written by Aka Akasaka the same creator of Kaguya-sama love his war So you know you're in for some quality entertainment Honey lemon soda volume one going to lose some street cred here I've heard about honey lemon soda for many years, but I haven't checked it out yet This is one of the many popular shoujo titles that finally got picked up for an English release thanks to Yenpress This is written by Mayu Murata the story's about the story of Uka Ishimori a battered protagonist with bad memories of middle school but a chance to Re-encounter with a lemon colored haired boy invigorates her to give life another shot I'll be picking this one up as soon as I'm able to I'm looking forward to talking about it on the channel It's one of those titles that I want to cross off as red. So I'm really looking forward to picking up Honey lemon soda polar bear cafe Collector's edition from seven seeds.  I should say written by aloha hegan Seven Seas is putting this out in a larger trim size, which will undoubtedly look superb on your shelf Seriously, go pick it up Sword of the demon hunter kijin gen tosho Finally, let's close out this video with an action fantasy epic This one is a manga that i'm super excited about published by seven seas entertainment written by yu satomi This is a story about a young warrior named jinta that has Dedicated himself to protect the priestess in a remote mountain village when demons show up and start causing trouble Our hero is tasked with entering the forest to wipe them all out But in his quest jinta learns a shocking truth that will send him on the quest of a lifetime I had to censor this description because there's a whole element that is super interesting about it But it's kind of a spoiler and I want you guys to be interested. This is really fun It's greatly drawn if you like epics and samurai and sword fighting series Be sure to pick up sword of the demon hunter. I think you'll really like it So that's it folks my 12 manga recommendations to start off the new year in the month of january 2023 highly recommend these 12 let me know in the comment section Which one intrigued you the most which ones you're picking out. Are you getting all 12? Let me know in the comment section again. Thank you everybody so much for supporting the channel It truly does mean a lot this year. We're going to try some new things This is one of them super excited to talk about manga that i'm happy to get throughout the year Hope you guys are as well. Thank you so much for liking commenting subscribing and all that wonderful stuff I've got to go. God bless. Stay safe out there. I will catch all of you on the next video


Hey guys, Thundie E here and welcome to my gaming review of this bad boy. I'm talking about the Razer Blade 17 Pro. Now I'm not going to waste any more time so let's start gaming. So the brand new Razer Blade 17 Pro was just announced recently. We spent some time with this bad boy and I've got to say though I am truly impressed with what Razer has brought to the table. Now first off when you pick this bad boy up it is a six pound laptop, feels like a slightly heavy five pounder but I like its compact size, nature and look. Now the one thing of course you know with Razer laptops is that they are fingerprint magnets as you can clearly see so I wish there was a matte finish or at least something that just stopped a little bit of that fingerprint on there. But besides that this thing is packed with a lot in terms of spec so you're looking at the brand new Tentgen Intel Core i7 processor. This is an eight core processor which is pretty nice. You've also got something pretty new this year. You've got RTX 2070 Max-Q variant and also an RTX 2080 Max-Q Super and the displays you have two options between Full HD 300Hz yes and 4K Touch 120Hz. So again something pretty high. Now this variant I have here has the Full HD 300Hz so that's actually pretty cool to check out and also it's got customizable internals. Pretty easy to open where you can of course go ahead and add more storage of NVMe or swap out the other one so they actually two NVMe slots and also change and upgrade your RAM which actually starts at 16GB. Now I like this because if you're like me and you're playing a little warzone right now you just got an update for warzone and if you also have Call of Duty as well it's 200GB.  You've got to go to a terabyte so having that extra slot in here it's great. It's fantastic. I love that Razer and I love that thinking because I don't have to actually spend crazy amount of money because this thing starts at 1199 if you're getting the RTX 2060. Now if you're getting this package size I have here which is the Full HD 300Hz in there then you're getting you're paying about 3199. If you do the 4K touch that goes up more to about 3799 so that's the one that also increases its storage to one terabyte but you can stay with Full HD 300 and you can upgrade manually so that part is pretty nice. Now speakers on these things are also pretty loud and clear when you're gaming so take a quick listen it looks better it looks like the iPhone has the best crop out of all of them it's the widest but they all seem to be looking pretty good right now let me know which microphone sounds so speakers are good that's great but what about games how do they play well I'll show you some gameplay of course some Call of Duty mobile some Apex a little Witcher 3 as well just to see how this actually function and plays in some Tomb Raider so you get a good idea of what kind of performance you're getting from the Razer Blade Pro 17. Can't figure out the dialect I must be missing something. Now I've got to say that I was really impressed with the Razer Blade Pro 17 something you will not clearly see is how good that Full HD 300Hz display was. Now I have not used a 240Hz display for a good length of time to do any review especially on the laptop I have used a 120Hz display and I can tell you there is a huge difference from moving from 120 to 300 I don't know about 240 but it is a huge difference and I really enjoyed it and the fact that my monitor right here my gaming monitor is 144Hz display when I went back to play Call of Duty on this monitor it felt a little old so I like the fact that 300Hz I want to get a 300Hz monitor I'll put it that way so I like that it's here on this system but because you're using the 300Hz display you're going to use a lot of power that's where you see a lot with this game like you're playing Call of Duty for a good amount of time this thing heats up really high 120 degrees 119 degrees there about that's hot so it becomes a little harder for you to use that's something I would say that you have to bear in mind now it does have some really nice cooling if you set it at auto it pretty much keeps it at 120 if you actually manually push it then those temperatures do drop down but I will warn you though it becomes really really loud so you have to use a headset to play a game and which of course is something a lot of people would do so those are the kind of negative caveats I do not like with this what I do like with it is the performance now we run you know ransom benchmarks and you know we did time spy with centerbench and for that you know that came up at about 40,356 was pretty high it's pretty much always slightly underneath of course an rx 3700x of course with rtx 2080 but you know when we also did our centerbench r20 it came out right below a xenon processor so the only things that were higher were threadripper processors so that makes a lot of sense with this laptop I'm just showing the benchmarks and something I really don't really put too much attention to I like to play the games for me the games played well I had no issues with them the keyboard was also really comfortable and easy to use I really like the keyboard especially for typing and gaming it felt easy to navigate back and forth that touchpad was really nice now of course you're not going to use the touchpad to game so you're going to use an external mouse and that's where all the plethora of ports come in so you've got on your right side a HDMI port a usb 3.0 port a thunderbolt and of course an sd car reader again this is a pro device on the right hand side that's where you have two more usb 3.0 ports a usb type c port and an ethernet 2.5 gigabyte and of course a proprietary power port that is cool so you've got enough ports for all the things you need now this uses a 70.5 watt battery and of course the charger is a little bit larger but it's kind of trimmed down its size over the year so I do like that with this I think overall a lot of people will like this laptop this is more of a device if you're going trying to go away from of course a desktop experience you want something that has performance you can take with you on the road I like it I like the performance I like where it brings to the table I also like the fact that you can go into you know the 2080 super max cube so that of course is pretty dope now a couple of things just to add quickly it does have a windows hello camera I did check out the camera in terms of video quality for of course zooms and streams because we're doing a lot of that lately it was decent at best not something too crazy that would like the microphone was also okay so I'll just bear that in mind it is passable but you definitely need a lot for light for your video conferencing if you need that so this is a quick example of what you get from the webcam of the razor blade start 17 it is a 720p webcam so if you're looking to do video calls you need ideal lighting that's actually I've got sunlight coming to my left but you probably need more lighting to actually essentially this well and also a good idea of what the microphone is like using just the built-in mic on the laptop and not a headset so put that in mind and let's continue but overall I think this is a fun laptop that you will definitely enjoy while gaming using on the go especially with that now if you're talking about gaming battery life and with just the battery power you can actually customize that to push the frame rate because usually dropped customer frame rate in half but the battery life is about an hour and a half or so something that's not too crazy you're gonna be plugging this in to game so those are my thoughts on the razor blade pro 17 I like the performance I like what brings to the table this is the high-end game and laptop and I think it definitely delivers again I will like to see the 4000 series AMD processor in something like this because we've seen how he's done in other laptops a razor check please let's see that for nobby next year that's just my thoughts uh let's see the kind of performance and all that kind of fun jazz but again this is pretty cool if you want to pick it up guys use the link down below otherwise don't forget to like share subscribe and always enjoy entertainment