and thank you for joining us. My name is Margo Koen, Mr. Rucci, and I'm the coordinator of public programs here at the Brooklyn Museum. I think we have enough seats. Feel free to take some of the seats in the front. Welcome to First Saturday, our monthly free celebration of art and community. Founded in 1998, First Saturday turns 20 this year. And before we begin our program, I would like to take a moment to thank you, longtime visitors at the museum, folks who are new to First Saturday, and everyone in between, for making this evening of art, scholarly conversation, live music, and film, into the joyous event that it's become. It is my pleasure to introduce tonight's conversation between the brilliant artists Cecilia Bagunia and scholar Gary Urdam, presented in conjunction with our special exhibition, Cecilia Bagunia, Disappeared Kipu, on view downstairs in our first floor galleries. Cecilia Bagunia is a New York-based, Chilean artist and poet who has devoted a significant part of her artistic practice to studying, interpreting, and reactivating Kipus, complex record-keeping devices made of knotted cords that have served as an essential medium for reading and writing, registering, and remembering. Drawing on her Indigenous heritage, Bagunia channels this sensorial mode of communication into immersive installations and participatory performances. It was my great pleasure to work with her quite recently on a performance which was enchanting for all of the visitors who were able to participate in it. Gary Urdam is the Dunbart and Oaks professor of pre-Columbian studies in the Department of Anthropology at Harvard. His research focuses on a variety of topics in pre-Columbian and early colonial and anti-culture and intellectual history. Drawing on materials and methods and archaeology, ethno-history, and ethnology, he's the author of many articles and of numerous books, far too many to count, and edited volumes on anti-anarchic cultures and inque civilization. His books include At the Crossroads of the Earth and the Sky, The History of a Myth, The Social Life of Numbers, Inca Myths, Signs of the Inca Kippu, and Inca History and Nantes, reading Kippus as primary sources. A former MacArthur Fellow and recipient of the Guggenheim Fellowship in 2014 and 15, Urdam is the founder and director of the Harvard Kippu Database Project. Without further ado, I'd like to pass the microphone to Liz Munsell, the Lorraine and Alan Bresler Curator of Contemporary Art and the Museum of Fine Arts Boston. We'll share a little bit more about the exhibition. Hi everyone, welcome. It's such a pleasure to see you all here tonight to celebrate Cecilia Vicunia, Disappeared Kippu, the exhibition that's downstairs in the Great Hall. Following the talk with Cecilia and Gary, I will be leading a gallery walkthrough at 7.30, so please do not miss that. I want to welcome you and introduce Cecilia and Gary this evening on behalf of myself and Catherine Morris, the Sackler Senior Curator for Peminist Art, who could not be with us this evening, sadly, but she is with us in spirit. The exhibition downstairs, Disappeared Kippu, is one small part of Cecilia Vicunia's decade-long exploration of these amazing ancient Inkin objects, the Kippu. It's a small but significant part, I hope, as you will see downstairs, and it's really been made possible through the partnership with Brooklyn Museum and the MFA Boston, where I work as well as through consultation with Gary Urton who approaches the Kippu from the perspective of an art historian and an archeologist, really a scientist, sometimes approaching them through computational means certainly scientific means and Cecilia approaches them through a ritualistic very spiritual and corporeal sense that is quite different than Gary's approach, but both have dedicated much of their careers to the uncovering of many of the mysteries that are embodied by these objects. So tonight is a great pleasure that I think we will hear them come to these incredible objects from two very different perspectives. So thank you all for joining us and thank you Cecilia and Gary. So first I wanted to begin by what is happening to us here in the US not only in New York and it has to do with the disappearance of things that we love and so I decided to call this exhibition the Disappeared Kippu not only in remembrance of the culture of solidarity, the communal culture that was destroyed in Chile with the military coup of September 11, 1973 but also with the destruction of an ancient tradition that is so unique in the planet as the Kippu. And so as I was thinking of what I wanted to say today of course we were all watching what is happening with the choice of the new member of the Supreme Court and I thought my god if we go the way it appears we are going this will be the disappearance of the US as we know it the disappearance perhaps of the rule of law the disappearance of the rights of women and peoples and all forms of difference and so I wanted to dedicate this conversation because I have the most profound admiration for Gary Orton I have been reading him since I think he published his book and to read is not really justice to what I do I read and read and read backwards and forward a thousand times if necessary and I always tell him I read certain paragraphs and this is because he has dedicated 25 years to the most dedicated and most in Spanish we say in English most meticulous dedication to understanding the twists and turns of which these majestic creatures the Kippus are composed so first I wanted to thank you very much Cecilia so you didn't hear anything wait wait wait it could be a little longer so I can say some of the things later thank you very much Cecilia very kind of you very generous of you I just want to say to begin with that I am extremely pleased in honor to have the opportunity to sit here this evening and have a conversation with Cecilia we have known each other for a very long time we in general known each other from a distance Cecilia from the distance of Chile myself from here in the US where we crossed in the night here or there at this conference or that conference of this museum or that museum but I have long been an admirer of her work as Cecilia mentioned I have been working studying the Kippus for something like 25 years or so and I became aware of the work that Cecilia was doing the art she was producing inspired by Kippus some probably 20 years ago or so I am not sure when those started but quite some time ago and have always admired them and I have always also wondered how to frame my own thinking about what I understand and what I think is significant about the relationship between all those old Kippus that I have been studying for so many years and all those museums in Europe and the US and primarily in Peru and Chile these magnificent new extraordinarily creative works of art that Cecilia is creating I just would say that I today is the first time I have actually had an opportunity to see one of her works in vivo like live and I went downstairs into the great hall and saw this magnificent object that she produced I mean she built a she built a cathedral out of a Kippus and it is just a magnificent object and just leaves me in complete awe with the creativity the conception and just I think also the love of those objects and to create something completely new that's grounded in them but that then goes off to almost another world so maybe I'll say like just maybe three minutes about the Kippus so these are these record keeping devices that the Inc. is used for primarily for recording administrative information they recorded censuses tribute resources in state store houses etc they are the only one of the ancient civilizations of the ancient world so we're talking about Mesopotamia Egypt, India, China, the Maya the Aztecs the Incas are the only high civilization that did not invent a system of writing but they had an empire that stretched for 5000 kilometers along the west coast of South America it was the largest empire in the new world they had standing armies they had kings, they had courts they had laws, they had all of this but there were certain things they didn't have number one the wheel and if you've ever been to the Andes you know why you don't necessarily need wheels because they don't get you very far but the second thing they didn't have was they didn't have writing and as an empire that tried to hold together some 9 million people stretched over some 9,000 kilometers or so 5000 kilometers it's that was an extraordinary challenge it was a highly multi-ethnic, multi-lingual population so that's probably one reason they didn't invent a system of writing linked to a specific language as was true of all those other writing systems they're all linked to a language whether Sumerian or Chinese or Mayan or whatever but rather they the system of record keeping they invented with these Kippus and not at courts was one that allowed them very efficiently to produce documents displaying quantitative data on all of those matters of state as well as recording in some way the identities of those and so that's half were up to what they were doing the other half of what they were doing were told by the Spaniards is that they recorded their myths their histories, their songs, their poems and that's an area of Kippu work that still is just a complete cipher for, certainly for me and I think it's fair to say for most people who are interested in the Kippus and studying the Kippus so perhaps we can a little bit later talk about ideas that I and various other people have about how they might have been using these devices of thread and knot and color and number in some way to record information that might be interpreted by knowledgeable people to generate or to produce myths and various other kinds of narratives so but I think that my fascination with Cecilia's work is that Cecilia's work seems to me to be a work that's firmly grounded in the realities of the Kippu the old Kippus but brings to it sensibilities that I think actually the only person in the world maybe who knows how to translate and decipher the Kippus is Cecilia Pecunia and so I would leave it to you perhaps to say more about what your hopes and intentions were producing this art Yes, I could start by writing a work that Gary used, he used the word love that the only thing that keeps you doing something that is utterly ridiculous and impossible like deciphering something that may never be deciphered is what has kept him going and also is what has kept me going and so it seems to me when I think for example in the newest book by Gary which is Inka History in other words he has written about this knot as history and that is a huge step because most people have forgotten that word that we use for history which is based on the Greek histos histos also means web so the notion that historical narrative is a weaving is deeply associated with the web of life with the idea that keeping records, keeping memory is something that benefits life and the continuity of life and for those who didn't hear me what I said in the beginning is that we are in front of the disappeared Kippu theoretically here even though it's downstairs just as we are in front of the disappearance not only of the species but probably of democracy as we've known it of people's rights we are facing the disappearance of everything that we love and the only way that we're going to turn around this is through that love and I would say that the work that I have done started when I was a little girl I was a baby girl not baby but that's how I don't know how to translate I was let's see in the year 54 I was 6 years old when an Inga Mami Kapakosha child that had been sacrificed in front of the mountain at which foot I lived was discovered this was the first sacrificed Inga child and shortly after that the miners who found him sold him as an object to the National History Museum so the school children such as myself were taken to visit the object you can imagine the shock of the little girl by the time they took me to the museum I figured I was 8 maybe and this boy was exactly my age he was exactly my size his hair looked like a girl's hair because he had lots of little braids and I immediately felt that could be me and so this field of love that seems to involve both the scholars and the artists that relate to the Kippu is an engagement with a form of knowledge that is beyond the rational because it includes the rational but it also refers to other spheres and getting back to the image of the first page of the new book by Gary he tells the story of how he discovered the Kippu and if you don't want to tell me I would like to tell it do you mean the embarrassing story? the one where you encountered the Kippu object for the first time in Dumbarton Oaks the first time I really was aware of being in the presence of one of these things was in a at a meeting at Dumbarton Oaks in Washington DC someone had brought a Kippu to this meeting and the meeting was in this dark oak panel a library at Dumbarton Oaks and I remember they had propped it up in front of a window so that the one sunlight the wintery sunlight came in and struck the Kippu and I remember just being attracted to it this was just the most remarkable object that I had ever seen it was such an intricate and delicate thing I think that's one sense that I've always had about them and I do invite you although the presence and the magnificence Cecilia's artwork downstairs fills the room located around it on two sides there are three, four beautiful Kippus in the Brooklyn Museum collection and these are really magnificent examples they're ones that we think are probably used for we're probably used for recording different types of information but there will be more to be said about that when we go down I guess I would just maybe in this intimate setting here also tell the second story that I tell in the prologue to my book so I spend my life now basically except for administration teaching studying knots and I when I was growing up in New Mexico I was in the Boy Scouts and this was when I was eight or nine years old and I was in the Boy Scouts, I was very excited about like being an equal scout one day and suddenly at a certain point we were doing an activity that just completely defeated me and frustrated me so immensely and I dropped out of Boy Scouts and that was tying knots and in truth I didn't remember that until I'd been studying Kippus for about ten years and I was in the basement in the storage room in Berlin and I've been working there for weeks studying the knots to measure every one of them and the distance from this knot to that knot and record this color and that color and material differences etc and it just suddenly struck me my god man you're doing the thing that profoundly defeated you when you were like eight years old so I mean I'm not sure what that story means but I sort of came around to it in an entirely unanticipated way I mean I think there's something for me personally in that that there was something just in terms of my own psychology and makeup I'm very attracted to these things and I've had a wonderful time studying them and I look forward actually now to learning more about them coming at them through Cecilia's eyes because I really do think she gives us a new way to look at the keepers and to think about them and so well I would venture an interpretation of your story now hearing you is quite different from reading it in the sense that suddenly your defeat as a child became a knot the defeat itself became a knot look at this when we are defeated we cannot translate to the disappearance of our rights when we are defeated that entices you somehow in a mysterious way that we do not understand and I think the presence and the admission the acknowledgement of what we don't understand is what makes art really powerful is what makes us be human and because if we don't live in that space knowing that we don't know something profound is missing and we cease to be complex humans we are dehumanized by the idea that we know something we become for example arrogant we become violent and very dangerous to life itself now how I understand the knot the knot for me is one of the great metaphors of the world mathematicians say that the knot is the most complex mathematical object that exists because it involves perhaps thousands of dimensions and this is such an amazing idea from the perspective of what it means to me I suddenly realized that but I will come back to how I see to tell you how I think not to how I see it in the early days when I had just arrived in New York I encountered a book by a team of brother and sister Robert and Celia Asher mathematicians who wrote this extraordinary book called The Code of the Kipu and it was reading this book that I encountered this little paragraph that I believe changed my understanding of the word Kipu but the word itself and she says something like in passing like the person, the Kipu Kamayok that means this in Quechua the maker of the Kipu really means the one that breathes life into the knot Kamayok is from Kamai the world to Greece so Kipu so the person that speaks with the knot is breathing life into the knot so she says that the imagination of this Kipu Kamayok comes from a tactile sensitivity and she goes further to say a tactile sensitivity that allows them to think in a space I have been doing poetry in a space according to my own definition for a lifetime many many decades before reading that so I read that and I say yes that's exactly it we perceive especially and she says the Kipu Kamayok is configuring a space completely real and she says this sensitivity comes from the unborn child so I picture wow this idea that you meaning each one of us is inside the womb of our mother playing with this cord what else do we have to do there you see we have this umbilical cord we touch it around we are tactile beings nothing is more human and more beautiful than that activity so that came in the perspective maybe this is an invention of women who are the masters of tactile inventions it is women so the role as in all cultures the Indian culture is not very different from that the creative role of the mother the creative role of the woman is always so soon forgotten erased so I thought what a wonderful thing that the mathematician could perceive that way constructing my kippus as a cosmic umbilical cord I just like to pick up on that idea of the mother and the womb and the relationship to mathematics I spent a year studying in a village in Bolivia in a village of weavers in Bolivia and the reason I had gone there was just at the beginning of the time I determined that I was going to start directly studying kippus and spend a good deal of time on it so I felt that kippus are made out of thread and they are about colors and numbers so who knows about that and of course weavers know about that so I got a grant and went to central Bolivia and were primarily in a village in Calilaria the interesting thing is is that the master weavers are all women and those women are all called mamas so mama is the title of a master weaver and it's used in the vernacular and informally to refer to mothers well but formally mama is a weaver and mama is also the origin of mathematics because women are the weavers every day when they're working with cords when they're warping when they're doing the complementary warp weaving where they push threads up and push threads down in this very complicated process of producing the weavings they are like implicitly intuitively working with mathematical phenomena with sets and with various magnitudes and translating those into the kipus so I mean I think there is an extraordinary body of knowledge that we've not really sort of plumb the depth of it really come to understand entirely clearly not just say to add to that I think getting to that point where we might be able to understand it better could be extraordinarily important the thing that is that I have found most difficult to communicate about the kipus and the aspect of them that I find most profound that part that I dealing with which I'm normally dealing with with a more routine boring administrative kipus is that we can like read them today the the knots on the majority of kipus so about three fourths to four fifths of the kipu are organized in tiers and those are tiers that are linked to a decimal place value system of a recording quantitative value so knots at the bottom are ones and then above that are the tens the hundreds and thousands etc and so once you know that trick once you know what I just told you you can now read like you say them every kipu that's out there but the interesting thing is that you would do it as I would you would probably like read the numerical values on a kipu then you would write it down in Hindu Arabic numerals the numerals that we use but the extraordinary thing is these people were working with these very complex arithmetic data mathematical calculations and they were never translating them into abstract graphic forms like numbers everything was in knots so the total I mean it's incomprehensible to me it's incomprehensible that all of the mathematics was never in the same terms that we might think of like a flash on the screen the reading of a strand of these kipu in chords and you and I would be able to read the numbers but they never read numbers they read knots they read configurations so there was a sensibility there was a mentality here that I think potentially is unexplored in human in the history of psychology how does one conceive of these things of these twists in space these topological bending of chords in space and that is number that's not like number that is number so numbers is extraordinarily important here in that and then that takes us back to the mama because the mama is the one that she's the origin of them yes it is the most beautiful thing what you just said the notion that we're facing a different mind a mind that may take us back to a future possibility now open for example by quantum physics and the way in astrophysics now they're finding a way where the minute the subatomic particle dimension the quanta dimension and the dimension of the cosmos can talk to each other I think we are at the moment in human culture and in the advance of science where a possibility of understanding at least the metaphor involved in the awareness and I would say two separate things to complement what you said one is that here with my partner the poet James O'Hern we're working on a book that is a a book after documenta our experience in documenta and what that takes us is to the origin of knowledge as it may have been in the ancient Americas and in the ancient Mediterranean world and it all has to do with the world that existed before patriarchy when astronomy and numbers were first appeared in relation to female culture so there may be a future history to be written out of this pursuit of finding the origin of numbers the origin of mathematics in astronomy and in relationship to menstruation and rights so even the idea of month that we say the word mens it comes from menses from menstruation the concepts of rhythm and so forth all these concepts come from an ancient understanding of the infinite dimension of space and the infimal dimension of our bodies our blood our fluids and so this integration this sort of dialogue of dimensions is what for me is the quipo and I know that in your work you for example relating back to the history of what was your first encounter with that quipo in a dark room illuminated by winter light coming from the window I thought was so beautiful because you said something so wonderful that really not that you would not like what I say that it makes you that moment you become like a poet quipo you say that you believe that it's for the first time that your entire body is engaged your body, your mind, your spirit all your dimensions are engaged in front of this mysterious object that mesmerizes you and mystifies you and you don't know what the fact is it has this power that you can feel like something happening to you that is of different order and I think that is the direction that we want to imagine that there may be a human future that there may be a different culture ahead of us and not just behind us if I think it would be through pursuing this kind of suggestions that the quipo implies and I think that is what keeps me nothing and that is the reason why I do them colossally why is it? it is a gene observed when I extend these huge strings of wool the people who work with me here from the Brooklyn Museum or any volunteer that happens to be participating either in my performances rights or in the construction of the quipo knows that what happens is that the wool becomes sort of alive in connection with the body and the wool itself has a sort of rhythm and it's sort of grabbing us suddenly the relationship is exchanged and we are dancing with it at each rhythm and so we become so happy in this process for example from the quipo observed at the end of the performance that we had last Sunday here that babies in a little courage, I mean these are babies that are not a year old they were grabbing the wool and sort of holding on to the wool as if the wool was their mama as if the wool was their little pet animal but larger than them you know and what is it there's something in this ancient metaphor created by our four mothers who knows 20,000, 30,000 years ago and the core metaphor is that water and thread and life are one and for example the weavers the shepherd women that are still in their world view in places like Bolivia they say that the unspun wool is cosmic gas that it comes from the cosmic gas where galaxies are born and where water is born and lo and behold now with astrophysics we do know that it's exactly materially true that water originates in that cosmic gas where galaxies are born so what kind of knowledge is at play that can be so precise it's amazing I was just thinking of a way to from what you had been saying earlier to talk just a little bit about Quechua and the astronomy and you went directly to the point that I was that I was thinking about and anticipating the extraordinary I think part of this part of the interest in doing this is to be sure also that we keep a focus on the Incas the Incas are the people who made these things and they made them like to about 500 years ago or so most of us know nothing about the Incas I was educated just a normal school and you almost learned almost nothing about the Incas maybe one learns a little bit about the Aztecs and the Mayas and the Incas but most of us confused them and had no idea really where one and where the other is but I mean it was the Incas this was this ancient civilization that began just about 150 years or so before they were conquered by the Spaniards in 1532 they built an empire they built a world inside one of the most complex environments in the world going from the Pacific Coast on the western coast of South America up over the second highest mountains in the world and the down into the largest rainforest in the world which is the rainforest and they and they did that and one of the challenges they had was with such variability with such ecological environment variability how do you keep track of everything and one of the things that they were very good at was astronomy and they did make very precise observations of celestial phenomena and one of the extraordinary things about their astronomy they're not unique but they're almost unique in this regard is that they have constellations not only like the constellations in the west made up of conceptually linking neighboring stars like the constellations we have but rather they're these very dark clouds that are fixed inside the Milky Way which is their which is the celestial phenomenon of most interest to them the bright stars of the Milky Way but inside that are these very deep dark streaks these are not meteorological clouds they're cosmic clouds they're clouds of cosmic dust that Cecilia was just describing and they say that these are the result of the Milky Way going around the earth going into what is the cosmic sea so this is the traditional understanding going around earth going underground and they are taking up water and then this sort of cosmic moth that lies at the bottom of the cosmos and carrying it up into the sky and that constitutes these dark spots in the Milky Way but they're all animals and those are the prototypes of all the animals so all the animals on the earth are born from their prototype their sort of place of creativity of origin in these dark clouds in the Milky Way and then as Cecilia just said in fact astrophysics tells us now that that's where new galaxies are actually being born inside our galaxy are these inside these clouds of cosmic dust so I'm not claiming the ink is new all that I didn't know was what they knew and they knew the part of it that had to do with the world that they were attempting to produce a reasonable sensible comprehensive understanding of how the world were and that was their explanation for how water got in the sky it went up there with the Milky Way that was also how animals are born is this fertile earth gets up in there and influences the birth and that's peace then I mean that's knowledge that's there integrated with this mathematical knowledge integrated with these sensibilities linked to the Kipu chords that all has the great mass of sort of knowledge and awareness of the world that we will have to be aware of in order to get to the bottom of what they are and that's why I think again Cecilia's work is so extraordinarily not just interesting which it is but important is that it brings the sensibility to issues of what are threads what is wool and what are knots in particular like what kind of thing are they what what if you work with knots your whole life what kind of sensibilities, conceptions get sort of planted in your brain as normal like I just think that there was probably the stimulus of ways of thinking that are probably not reproduced in other cultures primarily because of this intimate contact they had with threads and chords and greetings and knots I think this is absolutely true it is about the Inca's I would say hearing you and two stories came to mind there is a scholar Jorge Flores Ochoa that I'm sure you know him personally and Flores Ochoa went to the etymology the possible etymology of the word Inca and he found it to be traceable to the concept of Inca and Inca means life force so it would be perhaps what you can conclude is that perhaps the Incas call themselves Inca because they were representatives of the life force and think of what a concept that means then I have another anthropologist friend his name is Claudio Mercado and one day Claudio Mercado and Victoria Castro two archaeologists anthropologists from Chile are high in the Andes speaking to some shepherds who of course don't know how to read and write that are very old and who live in the most far away remote places and yet they still have a living memory that doesn't come from books about what the Inca were so somehow in this phrase this conversation with the anthropologist the concept of the Incas come in and the shepherds starts lecturing the anthropologist about what the Incas had achieved a sort of super human kind of energy that was released by being shared collectively and communally by thousands of people so how come that the oral memory didn't die in 500 years of the power unleashed by the Inca universe that's what attracted me to it when I encountered that Inca mommy child I felt that I had been somehow imagination into a form of sensibility and I was lucky enough to be part of a family that was one of the few families I'm sure that had books of European art because the despise of everything pre-colonial indigenous and in particular of the Incas in South America is brutal and continues to be brutal despise despite the effort of institutions like the big museums, the universities, the scholars still children do not learn about these things in school to me it's a cultural crime the colonization of the mind is definitely a cultural crime but that perhaps is one of the things that you know art is like a virus is like an infection and it seems that it's a kind of infection that people are more and more attracted to and I don't know if you have heard of the new discoveries about genetics which is that what affects our genetic makeup is not ascendancy meaning a vertical line but our genetic makeup is also made vertically I thought what a beautiful sorry, horizontally yes so vertical one from ascendancy and horizontally means that someone may pass by and we get that genetic information of course someone passing by may be a virus may be a bacteria in other words I love this idea of getting infection from something happening horizontally that this infection from horizontal ideas and behaviors can really affect the future the future outcome of humanity that decides not forget what we can be well maybe if we take a few minutes and see it there are any questions for anyone? I have a question about Kiku in the sunlight in the window which is when I first heard that I went oh no because sunlight can sometimes degrade materials especially wool so I wanted to ask about that very specifically what is the material and also what are the processes of preservation that are useful not so useful has there been attention to that and this history of exploitation to museums around the world is 500 years history of exporting perfume right well the preservation history is a checkered picture there are some museums that I think do a wonderful job not that I'm one to judge that but it seemed to me to put enormous effort into trying to ensure the preservation of these things that particular instance of letting the light shine in on the Kiku I think that was a fairly brief exposure to the light but you're right in this situation the majority of the Kikus that we have today of which I've inventoryed about 1,045 samples in museums in Europe, North America and South America and something like 90-95% so the vast majority are of cotton a lot of the color some of the color in the cotton Kikus comes from the cotton itself so in Peru in pre-Columbian times they grew cotton in some four or five different colors or shades so some of the color that you've been seeing in the images of the Kikus that have come up is from different naturally colored cotton they also used wool and so but not of course sheep's wool because there were no sheep so this was camel fiber the wool of or the hair of yamas and alpacas that holds dye better than cotton does so most of the highly dyed samples that we have or individual cords in Kikus of which the other majority of the strings are cotton the heavily dyed ones are primarily camel fiber right so we get like natural dyes that are applied to those the great majority of the Kikus were found when we know anything about what their archeological context was were found in graves on the coast of Peru of northern Chile and those coast those coastal strips are the driest desert in the world the north coast of Chile and southern Peru is drier there than the Sahara desert so extremely good conditions for the preservation of textiles so the majority of these were found in graves now that's a problem I'm sure going through your mind why were they burying these records and for the administrative ones it seems that we are told explicitly by a couple of the Spanish chroniclers that they never made just one record or one copy of a record but rather one of our most knowledgeable chroniclers said in every village no matter how small they had at least four Kipu keepers who all kept the same records so we have multiple copies of these things and today we have copies there's some cases where there's a Kipu in Berlin that's an exact copy of a Kipu in Lima or in Santiago there's a Kipu diaspora called the Antiquities Market I'm sorry, the illegal Antiquities Market the Kipu is a hard drive it's a huge database so where's the calculation so the calculation of the numerical values doesn't take place on the Kipus they did the calculations elsewhere and they just recorded the data on the Kipus so they did the recording in a device called a UPANA and UPANA comes from the catcher where UPANA which means to count so UPANA is a counter and these were these devices that were like about a foot or a foot and a half square internally divided into different squares and they would value those in different decimal values units, tins, hundreds, thousands etc. and then move stones or kernels of corn around inside that like something like an advocate so they were doing the calculations there in this device, in this UPANA and then when they had the sum that's what they would record on the Kipus so there's this collective calculation of these experimental things we have this which I can't but here this is the one would expect some evidence to be proportional to the size of the data that's what we're talking about the devices they seem to be sort of permanent from third to third I think that probably the principle this goes on is the principle of you know the the building of the big monuments on the coast of Peru in very early times that those are massive monuments but they were built just one sack of rocks at a time and one adobe brick at a time and so it's with massive manpower over a long period of time and a lot of organization that got those built and with the Kipus there were thousands of them perhaps tens of thousands of them we don't know how many there were originally but many many because all of the records had to be kept you know all of these administrative matters plus all of the stories et cetera and I mean it probably there was no like supercomputer somewhere where they did all that there was just a series of lots of small computations here and there I mean at some point they are synthesizing these data so there are administrative centers and they're taking in like a lot of information and they're synthesizing so you know you might somebody here might give me a record of 10 or something and somebody else 20 or something and somebody else 50 or something and I make a Kipu that's in the hundreds because I'm synthesizing what you've done so but the interesting thing here I'll just say that I'll be quiet is that we have no Kipus that are preserved from what was the capital city of the Inca Empire of Cusco they destroyed them or they burned them or they hid them or they did something but that's where the server bank would have been like the massive like the large Kipus either there was a huge Kipu that they did that they kept all these data on or in fact they had aggregated data and organized it so concisely that you know they narrowed it down to a small set of Kipus we just don't know how they were operating at that level Hi, this is really interesting the Kipu keeping tradition was that handed down generationally the Kipu keeping tradition was handed down generationally like how did people become Kipus well in Inca times there was a school in the capital of the Inca Empire Cusco where they taught as far as we're told by the Spaniards the sons of nobility we aren't told they taught daughters but the Spaniards were always more than happy to disregard what women were doing so they seldom record any information about it what they do say though is that there was this school the children of nobility went to a four year school the first year was for learning language which was the language of administration the second year was learning the institutions in years three and four was for learning the Kipus so those were the people who went out to the centers and there they taught like the local Kipu keepers so there there would be I mean it was both a formal training and then also there would have been an apprentice training probably a father teaching a son so they probably goes down a line so that in a local community there's probably known to be a lineage of people who were the record keepers but much of that sort of local knowledge about this went unrecorded so all we find are just the sort of scattered remnants of an occasional Kipu here and there in these more remote villages I don't know if that answers your question exactly that does but it also makes me think of something else it was generational it was yes or no generation to generation was there like a certain representative that signature of that family that kept it or that's a great question I don't know that yet I mean there are there are times when like sitting working with the Kipu and looking at knots you know hour after hour day after day week after week I sort of think okay I've got this it's like handwriting this is somebody this is different from that other person this is a different kind of knot so these are two different ways of making knots but of course I can't personalize that I don't know who the individual is but there's a point at which one begins to see different handwriting of knotting and organizing the Kipu so that probably is what was passed on like this is the way we in our family


Whoo You don't want it man. My girl sweet with this moves man That they combo. Oh, no you go try to confuse me. That's not cool, bro. I got you. I got you. Watch this Confusion strike. That's right. I love my girl awkward. Look in the mark Yeah, this we play man. Oh, oh, I'm just playing Publishers Clearing House Really, okay now I gotta stop this now I just gotta quit what I'm doing here and just stop what I'm doing because yeah, okay. What's the problem now? Yo, why are you always playing that game? Like I just want to know do you really think you have a chance of winning like do you really think you have a chance of winning? Dude, of course, I believe in myself. All right I believe myself enough to know that I can achieve anything that I want anything I want to do when this money How about my family have my friend my friends everybody who's ever helped me and support me in my life I believe I can do it like I just believe in myself I don't have to have anybody else's approval of things I have my approval and my approval is just worth a lot like I have so much value within me And I see that other people so I really do believe myself just as much as I believe in everybody else, dude I really do me so full of yourself, dude. You really are You know what? You're right.  I believe myself so much that I believe I can make anything happen. That's a good thing now Go give me some orange juice your clone Good orange juice. Thank you. Go on man.  It's your boy. That's the pipkins a.k.a. Jimmy no fro a.k.a. Jimmy the legend a.k.a. The legend a hip-hop. I'm a new video contributor to site to go YouTube channel and before I start today's video I just want to thank the very people who brought me on this channel I just want to say thank you so much shout out to Menel Thank you so much for emailing me back and forth like you're a very fast emailer I have to say today's video topic that I'm going to discuss will be about why it is good to be full of yourself I will be talking about it from my perspective of how I see it And then the perspective of other people are how they see it and how to truly be full of yourself And the last thing I'll talk about in the video is the water bottle effect of being yourself So about further ado let's start today's video. Let's go So I decided that I would start by going to Google and typing in what does your so fully yourself mean because I wanted to see What society would say about this, you know, what does it mean from their standpoint and how they see it and it led me to yahoo answers and The question topic right there saying what does your so fully yourself mean and the best answer came from Luke Superior when he said arrogant like that Kanye West song And you can't tell me nothing, right Yeah, I love the comment the second best answer I believe this in my opinion is came from the user who doesn't have doesn't seem to have his name shown up on here But it says you think too much of yourself Actually, I don't think being full yourself is bad You should have pride in yourself and believe you can do anything I've decided to give you five more These to me stand out Ever again or big headed like the other do said or it also means you think too highly of yourself And thank you're the only person that anyone cares about etc Sweetie says IMO it means that you are confident But in a big headed ever again egotistical vain self-centered manner Some people are threatened or intimidated by your so fully yourself people Pat said Thinking you are somehow superior to others just because you may have accomplished more financially and have had a more affluent life John said it means you care about yourself and have no respect for anyone else because you don't know they exist Self-centered selfish conceded was the last thing that was said by Chi Chi Why do people say the words you're so fully yourself like just like you saw on the Yahoo answers People really do say that even though those answers were like seven years ago They do say stuff like oh you like you're so arrogant.  She's so full that he she can give Themselves to the world that they're able to give off their energy They'll love their strength their power on to the world and not only that But they give more and they get back more and it just keeps going on the process now There is a true definition the real real true definition of being yourself and here is the article right now So I found this article during my research It is titled go ahead be fully yourself via the feng shui fairy by Claire Bernstein the date June 29th 2009 Wow, it's been a long time So I grabbed this much information from the article and it says What does the term fully yourself mean in American culture? It's usually said to someone that seems cocky or has too much pride or confidence It's definitely a criticism and a way to knock people down a peg or two Now I'm not advocating that people go around Considering themselves better than others because I believe compassion is so essential for a healthy life and healthy energy However, when we are able to fully acknowledge and appreciate our own gifts Will be more likely to see the gifts and others and have a life full of appreciation When you feel your own cup and focus your energy in words You can experience more abundance because more energy will spill forth from that Your cup will be overflowing when you give of yourself You'll be giving from the overflow rather than from your core. This is so important for anybody It is particularly important for healers and parents who give and give without Reservation to others, but don't know how to give to themselves when you take time to care for yourself and set healthy boundaries You'll experience much better flow in all areas of your life You'll have more energy more ease in your relationships more confidence less resentment anger and burnout It's all in how it's done and what your intention is if you lead from a place of love respect and Compassion for yourself and others you'll get that in return The full article will be in the description below for all to read now that you know about the true meaning of what it Really means to just really be full of yourself I'm gonna tell you how to be full of yourself. Number one believe in you You have to believe in your power You have to believe in your strength and believe that you can do so much for this world Including yourself. You have to be able to take time for yourself take time for others You know do the things that's really going to benefit Everything in your life. Just making it healthy wealthy lovingly is doing all these wonderful things that just make it whole To make it full over and over again number two You have to believe in others When you start to believe in yourself you start to feel a lot of trust a lot of strength and a lot of these things That's found within you and so when you find it within you you find it within other people And when you find it within other people you find that connection and when that connection is there You are winning and when I say winning.  You're conquering the game You're making your name both of y'all are doing a lot of great things And it's because you believe in each other you believe in this person strength and talent enough to really put him on Put her on you believe in this person so much that they believe in you Number three remember that you are better than you Never look at yourself as better than the other person All right, especially the people that you work with never have one thought not one thought at all Or even say that you're better than the person that's next to you What's always important for you to be better than you because the same person who can love himself Love herself and bring it out to the world.  Love your passions. Love your talents Love what you do for fun. Love your family. Love your friends. Love everybody who's around you Just love you and you will know that everything is going to be all right Because love will always be here the last thing in this video that i'm going to show you is called the water bottle effect So here you have a bottle of water Now as water its purpose is to give us not only something to drink But deep down it gives us the strength the energy to carry on to keep going. It makes us healthy That's what our body is We are this bottle of water. We are healthy and we are lovingly where we are strength We are pure We are I guess you can say we're thirsty The moment that this bottle of water even goes halfway or goes completely empty You'll definitely be able to see it. You ever hear when people say i'm completely drained out? I feel empty today Well, that's what it feels like when you're an empty bottle of water when you're empty You do not feel like you have any more energy to give to anybody So with all of this being said i have some questions for you Have you ever been full of yourself? If so have you ever received anything positive or negative from it? Let me guys know what you think in the comment section because Your best answer is the one that i will use in my in my video for next week I make videos on this channel one video every two weeks And so i will see you on The day will be right here somewhere on the screen But yeah, i will see you next week on that video Make sure you guys check out the rest of the videos on this youtube channel site to go Make sure you subscribe to us make sure you like this video give it a thumbs up and also Yeah, our information is below go to psych2go.net to check out the website itself All the blogs or articles everything you get to see and just read it's all amazing Um, just check out we have more stuff to come Uh, we check out our twitter facebook instagram. We're everywhere. We're everywhere If you guys like what you saw today, you want to check out my youtube videos All my information is in the description below youtube.com slash k2s means K2s means that's how i say my name and that's my youtube channel You guys can go check that out. It's in the description below just click on the link Subscribe to me go watch all my videos. You'll love them. You'll like them. I promise you you will Thank you so much for your time. I had a great time today. I just love the energy I gave off and I just know in my heart and um at the same time hoping that I've received some very positive feedback For this video. But yes, thank you so much. Thank you to manel. Thank you everybody On psych2go for having me on and I will see you guys in two weeks Thank you. I'm out


Greetings and welcome to the Introduction to Astronomy. In this video we are going to discuss gravitational waves which are a relatively new discovery although they were predicted long ago by Einstein's theory of general relativity. So let's take a look at what we have here and what we know is that first of all the gravitational waves were a prediction of general relativity so this was back in 1916 that they were predicted. It took about a hundred years for them to actually be detected. What it is is that any accelerating object with mass will produce gravitational waves. That can mean you, that can mean me, that can mean the earth, the moon, the sun, anything that is accelerating will produce these gravitational waves so they're all over the place. The problem is that the gravitational force is so weak that gravitational waves are really hard to detect because they are so weak so the gravitational waves that I give off are so small that they could not possibly be detected or distinguished from other background gravitational waves. So there were some thoughts on them. They were believed to exist and they were a prediction of general relativity that had not yet been discovered. Now they are an analog to electromagnetic waves. Electromagnetic waves are caused by accelerating charged particles and they are related more to the electromagnetic force so they are much stronger. That's why we can see electromagnetic waves from accelerating charged particles. What we see as visible light x-rays or radio waves are much easier to see than these gravitational waves. Now, early on there was an indirect detection in terms of a binary pulsar to neutron stars orbiting each other and we can determine their orbits and their orbit is slowing because they are giving off gravitational waves. Remember that energy has to be conserved so if gravitational waves are being given off the energy has to be coming from some place in that system and in this case the orbit was found to slow by the exact amount that general relativity described. However, it was only recently that we've been able to directly detect these gravitational waves. So let's take a look at how we could do that and what we find is that in order to detect them first of all we need a very strong source of gravitational waves. The moon moving, the sun moving, the earth moving are not going to be near strong enough. So what we look for is coalescing black holes or neutron stars. So these are objects with very large mass that as they coalesce together would form would give off massive amounts of gravitational waves and in fact these two would actually implode and collapse in on each other forming a black hole.  Now the way to detect this the observatory that was built was called LIGO and that was the laser interferometer gravitational wave observatory. There were set up in multiple sites originally two in the United States one down in Louisiana and the other in Washington State and that was done for a very specific reason. Gravitational waves even from things like colliding black holes were still very weak and you could get measurements by local effects such as somebody slamming a door or a car or a truck driving nearby could cause some problems in the measurements. So by looking at them at two sites and now three I believe there are ways to eliminate any local effects. If you see if you see an event in one at one observatory but not at the other then you know that it was something local and you can throw that out. Now what LIGO does is to use these very long arms and to measure variations in the length of the very long arms. So essentially what happens is we send a laser signal down and back across here a number of times and then split that signal now it goes two different directions there is one that goes down this one that goes down here and then we combine those signals together and we look for minute changes in the path that the length of the path that the light had to travel and that would be caused by passing gravitational waves and the amount of course we're looking for is incredibly tiny we're talking about less than atomic size shifts in the amount of the paths that are traveled and these paths are kilometers long but however in 1915 sorry in 2015 they were able to make the first detection of these gravitational waves so what was found and what have we seen so far well something quite like this and in fact gw150914 was the first detection the detection was actually made on September the 14th of 2015 and was not announced until it had been confirmed and verified a few months later in February of 2016 the visibility was seen here this was in Hanford Washington and this is in Livingston Louisiana and then when we look at them together we see really the same signals and when we subtract out the theoretical signal what we should have gotten from the observed signal we find we could get a match with two black holes merging together one of them being 20 solar masses the other about 36 solar masses so we get the signal here we get the observation here and when we subtract them we don't see any patterns left behind which gives us good confidence that our model fits the observations these would have merged 1.3 billion years ago so not just recently but this was in a galaxy over one point over a billion light years away so the earth was of course quite different at that time but those signals those gravitational waves which would travel at the speed of light have taken that long to get here there have now been a number of more detections that have been made over the last few years and more will continue to be made and we will start to learn more about these gravitational waves so most of what has been detected so far is from black hole mergers but we have also been able to now detect neutron star mergers as well so let's finish up here as we do with our summary and what we find is that gravitational waves are produced by the motion of any massive object any object with mass they were predicted by einstein in 1916 and finally detected by lego almost a century later in 2015 and there have been more detection since then of course we are just getting started with this type of astronomy so we can only detect very massive objects colliding now but likely future improvements will continue this and allow for detection of less massive objects over time so that concludes our lecture on gravitational waves we'll be back again next time for another topic in astronomy so until then have a great day everyone and i will see you in class


Thomas Hunt Morgan's life turned upside down when he discovered a die-hybrid cross between fruit flies that didn't follow Mendel's law of independent assortment. The cross should have given him an offspring population in which half of them look exactly like the parents and the remaining half look completely brand new, a.k.a. they were the hybrids. However, instead of this 50-50 population, Morgan got way more parental look-alikes compared to the hybrids. There were about 83% parental look-alikes which were carried out by these two gametes over here and the hybrids which were about a mere 17% they were taken care by these two gametes. Now these gametes are super important for our video over here. We're going to be referencing them a lot throughout this entire thing. And a very easy trick to remember which gamete is responsible for what is to look at the case of the letters of the gametes. So you can see that each gamete is represented by two letters over here, right? So if both of them are uppercase or lowercase letters, then that gamete is going to be responsible for the parental phenotypes. Meanwhile, if it's a combination of both, then it's definitely going to be a hybrid. So that's a very easy way to remember. Remember if it's all uppercase or all lowercase, it's going to give you parental phenotypes. If it's a combination of both, then it's going to give you a hybrid. So now we had to figure out why this happened, why didn't Morgan get this 50-50 population and got a much different one compared to that. So to answer this, we looked into the gamete production of these fruit flies and we discovered a couple of very important things. First, we found out that the genes which are responsible for the traits of this cross, they are present on the same chromosome. Why? Because if they were present on different chromosomes, then they would end up following the law of independent assortment. And if that happened, then it would give us the perfect 50-50 proportion that we've been looking for all this time. In that case, we would have 50% parental lookalikes and 50% hybrids. And we know for a fact that this did not go down in Morgan's case. So we can be sure that the genes are on the same chromosome. However, randomly arranging these chromosomes ended up giving us only parental lookalikes and no hybrids. All of them looked exactly like the parents. And we know for a fact that that also didn't happen in Morgan's case. Even if the numbers were pretty low, we did have some hybrids. So we know for a fact that even though the genes are on the same chromosome, randomly arranging them isn't going to cut it. So we need to find a way to keep these genes on the same chromosome and also come up with hybrids. So that is going to be the goal here of this video. We are going to find out a way to have hybrids while having these genes on the same chromosome. So what do you think we can do about this? How can we achieve a feat of this sort? However, before we move on, there's one thing that I would like to do which is going to make things super simple for us. Let's get rid of this extra pair of chromosomes right here. Now why did I do that? Because all the genes that we're going to work with, they are already here because they are present on the same chromosome. We don't need any extra chromosomes to work with. Whatever genes we need, they're already here. We needed those chromosomes earlier because we were considering a situation where the genes could have been on different chromosomes. But that's not the case anymore. We are pretty sure that the genes are present on the same chromosomes. So why do we need to keep these chromosomes and confuse us in the process, right? So let's get rid of all the extra chromosomes. Great. So we have all of the extra chromosomes removed from our entire diagram. Now we're going to dive deep into how this process actually works out. Let's go. Now all this time we have been playing around with the chromosomes only, right? We haven't really looked at the position of the genes or tried to do anything with them. So this time, why don't we try exchanging the genes instead of the chromosomes? So we are going to exchange these two genes, the capital B and the small b genes and let's see what happens if we try to do that. So if we exchange the positions of these two genes, then the chromosomes would look something like this. Now notice carefully earlier we had these two combinations to only work with. We had capital B, capital L, small b and small l which were the committees that were responsible for the parent to look-alikes, right? This time we have two new combinations to work with. We have small b, capital L and then we have capital B and small l. These two combinations are ones that we didn't have before. We have these for the first time now. So if we exchange the genes first and then we randomly arrange them into their respective gametes, then we just might have a chance at solving out this mystery. Now the best part about this assumption is that this is not really an assumption. This is reality. This exchange really does take place and this is the solution to our problem. This exchange affects the genes which are present on the same chromosome and it gives us newer combinations or hybrids to work with at the same time. But how exactly does this exchange happen? It's not like we just want them to exchange themselves and it just so happens to be like this. No, there is a method to this madness. Let's figure that out. During gamete production, there is this one step in which the chromosomes duplicate. An identical copy of this existing chromosome is produced with the same genes and everything. So now we have this new copy of the existing chromosome that has been produced and these two copies, they are attached together at this one point in the middle over here. So now we have two pairs of chromosomes which came from these existing chromosomes. So we have two X-looking chromosome pairs, something like this. Now each strand of this chromosome pair is called a chromatid. And strands of the same chromosome pair, they are called the sister chromatids. Meanwhile, the strands which belong to different chromosome pairs are called non-sister chromatids. So this strand and this strand, these two will be the non-sister chromatids. Now why am I telling you about all of these things? Well, the exchange that we were talking about earlier, the exchange of the genes, they take place between these chromatids, mainly between the non-sister chromatids. Now they do take place between the sister chromatids but they all have the same genes. The sister chromatids have the same genes. So even if exchange takes place, we won't get anything new out of it because this B will exchange and give another B, like another capital B. So that doesn't really give us anything new to work with. But if that exchange takes place between non-sister chromatids, where we know for a fact that there are different genes present over here, then that's what we're really aiming for. Now for this exchange to take place, the chromatids of these chromosome pairs, they're going to cross over each other something like this. And boom, they exchange their positions. Now this event where this exchange takes place because the chromatids go ahead and cross over each other, this event is called crossing over. Quite literally. So now that the genes have exchanged their positions and crossing over is done, the next question is what happens after this crossing over? Well, after crossing over, the chromosome pairs that we had over here, they are going to completely come apart. They will break apart or they will separate from their pairs and they will become single chromosomes once again. So we had these chromosome pairs over here, they are going to now come apart or they're going to separate or break apart and they're going to give us the single chromosomes that we're going to work with. So now that our chromosomes have separated out and they're into single files once again, this cell will now go ahead and give us the gametes that we need. And in true gamete production style, this cell will divide into four daughter cells or four gametes. And we know that all of our gametes have only one set of chromosomes, right? So each of these chromosomes will have a chance of getting expressed in each of these four gametes that we're going to get out of the cell. So we're going to get one cell with just this chromosome, then another one with just this chromosome and so on and so forth. So that way now we have four different types of gametes that we can go ahead with. Now will you look at these four types? Aren't they the same gamete types that we had in Morgan's Cross? Does that mean that we've solved this mystery? We finally know what went down in Morgan's case. Well, not really. You see there's a problem with this gamete production over here. You see the chances of these four different types of gametes and them having each one of these types of chromosomes or this combination, all of them have an equal chance of auguring. So all of them have a 25% chance of being produced. So that means that combining the gametes which are responsible for the parental lookalikes, which is this one and this one, if we combine them, then both of them will have a 25-25% chance. So the parental lookalikes will have a 50% chance of occurring, 50% P, let's put it here. And our hybrids, which are these two over here, they'll also have a 25-25% chance. So they're also going to have a 50% chance of occurring, which means that this will give us a 50-50 proportion and that means that it's going to follow the law of independent assortment. And we know for a fact that Morgan's fruit flies did not do that. So this isn't exactly what is happening. We're on the right track, we're pretty close to it, but this isn't what is really happening. So where are we going wrong then? We seem to have everything that we need and yet we cannot solve this mystery because our numbers are not right. For some reason, we are not getting the 83-17% population that Morgan had gotten. We are just not getting it, instead we are stuck with this 50-50 thing. So here's my next question to you. In this entire gamete production diagram that we have, which event is directly affecting these numbers, like which event in this thing or which cell over here is going to determine that we're going to get 50-50 population, the exchange thing, the gene exchange, the crossing over event, this is the one event that is determining everything. So there has to be something wrong with this thing. Something must be going wrong here that is affecting these numbers. So we are only getting these numbers if crossing over is a very successful event. So what if this crossing over is not a successful event? What if crossing over happens but the genes don't separate out like they should? What do you think will happen? Let's say that the chromatids, they cross each other but there is no separation of genes. The genes stay stuck together and they don't separate out and hence there is no exchange of genetic material at all. What do you think an unsuccessful crossing over will look like? Now that's a question we're going to explore in another video but till then keep thinking.


good morning everybody it's Thursday man the road's real icy this morning we had a blizzard last night April 6th into April 7th a blizzard I don't even know if that's allowed apparently it's gonna get away with it I like I pulled something in my back oh yeah that started happening when I got into my 30s you got to be careful though a work with chains and binders and stuff now if you tighten down your binder just at the precisely the wrong angle oh your back just starts screaming at you for a week so how did you do to me why did you twist me in that specific way I don't like it nice Kenworth oh look at this the roads are almost dry again already that's nice I hope we don't get any more snowstorms this year but you know I got a knock on wood because Maylong weekend is coming and it's a well-known thing in Manitoba for all of you new people who are like have recently moved to Manitoba or thinking about it don't fall for Maylong weekend okay it's a trap everybody thinks oh it's springtime because you know we get a few weeks are really warm why they're all the snow disappears Maylong weekend is what the first weekend in May and everybody goes oh yay it's springtime let's go camping let's do something outdoors you know some people would plan their weddings it's a long weekend it's spring it's gonna be beautiful no no don't do it it's a trap every year if it's not pouring rain like the cold rain not the nice summer rain the cold spring rain if it's not raining it's snowing every year so don't even bother everybody packs the campgrounds and everybody gets you know surprised every year so there's a little friendly Manitoba insider tip for you Maylong weekend is a trap probably get really warm yet like throughout April like really warm and that's why the trap works so well all the snow will be gone the Sun will be shining we'll be outside in t-shirts and shorts and then falls and boom Maylong weekend hits ha snow it's a cruel joke that Manitoba mother nature always plays on us every year we fall for it I'm guilty of it to fall for it almost every year not this year no plans on Maylong weekend I plan to be indoor or somewhere warm and dry this is day number four right just mixing up the IVF injections that's what I call them anyways trucker Josh is gonna take a stab at this I see what you did there all right hold that will you push the arrow right there we go they have such slippery skin did I do it right yeah I think so okay I was very nervous that one really hurts for some reason I don't know why does it hurt does it hurt because I did it or does it hurt no I hurt last night too I'm just a wiener the next is the pen and she's gonna have to get stuck twice twice today because there's only about what is that 150 175 in there so then we're gonna set the amount for 225 which is my dosage and then we're gonna put it all the way in and whatever number is left on that little screen is what we have to put into the next pin you just got to transfer the number over alcohol swab everything I'm an idiot though and I forgot to do those ones I think today huh so for the best thankfully I have a good immune system fights off infections easy so I should have been clean I'm pretty sure they would be clean set that 225 there she be right in there all right I'm poking this one sure you do that one yeah it looks like about 175 that's what I thought last night too when I saw it this pen is so much better than the other ones it'll it'll tell her exactly how much she put in and we have another one around here right there second one where should we go today oh my belly is so bloated that's like my number one symptom it's just a ton of bloating even I didn't even have an emotional outburst today at all today today at all today starting to repeat myself stutter maybe that's a side effect it went to zero there was a full dose in there we just realized that she doesn't have to take two needles today because this pen had 900 units is that what they call it individual units yet 100 individual units in here and she's taken four needles now at 225 individual units each exactly for just did the math that equals 900 so we're freaking out like well the pen must have malfunctioned it says that we don't need any more we better text the emergency line wait first we should probably math yeah Josh figured that one out I was just in panic mode at that point trucker math truckers are good at math believe it or not we have to do it every day just takes me a little while sometimes I gotta turn on my brain calculator I didn't even do it in my phone my math teacher would be so proud so proud so how you feeling I'll make side effects I'm still feeling pretty good the bloat is the biggest side effect a little bit of fatigue tiny bit of nausea here and there and very minor like emotions so her body is handling it pretty well we were warned that there would be all kinds of emotional roller coasters going on yeah none I thought for sure I'd be a basket case in a straight jacket by now but I guess we just want it so bad my body is actually handling something like a trooper for the first time in my life usually I get all the side effects and more just meant to be it's gonna work so that's where we're gonna end today I have one more day of injections and then more injections more injections but Friday we go see the doctor first I mean one more night of injections and then we go see the doctor or she goes to see the doctor I keep saying the whole wee thing all I'm doing is going to the parking lot she's going up to the doctor and I guess we'll update you guys from there and one day when our future child is watching this you better love us we went through a whole lot to bring you into this world and yo it's about 20 grand so get a job


And that experience, basically ever since then, that was six years ago, I said, you know, I think I found my life purpose because I knew how it felt to be so sick and so desperate and so needy and so, it's such a dark place. And I knew that there's people out there, it's like, whoa, if I could just show them this, it's so simple, they can transform their lives too. I can help lots of people with this. So that's why I started this company. I created an actual device and product which is actually the best right now in the world for this kind of therapy. And it's called PMF combined with Rife Therapy, the only system that does it right now in the world. And we have these coils, you listen to it, they look like donuts or lollipops, but they're called cheek coils.


Ladies and gentlemen, the President of the United States and in this situation, the rapport we build as individuals is in keeping with the final expect between the elected leaders of two countries, those people by the name of the state of the province, we applaud your dedication and wish you success in your drive to invigorate your economy. Your deep concerns about the turmoil plaguing that region. We do not agree on everything concerning this situation. United States and Mexico are motivated by a love of liberty and independence inherent in our systems of government. And mankind will not benefit from them while there may be oppressors and oppressed. Menacing other repressor regimes. We appreciate the creative and energetic efforts to bring peace to the world. For the United States, the conflagration in Central America appears too close to igniting complicating the situation and making it even more dangerous. This year, you visited Buenos Aires to bring these heroes to the President. But to be reaffirmed today, the United States will do what it can. The cooperation and the spark between the United States and Mexico will do much in our business areas. Our horizons will be open. And strengths equal in each other's eyes. They're only for each other's strengths. President Reagan has allowed us to get to know each other better. And in this difficult time, the Mexicans want to keep building not only a peaceful and dignified neighborhood, but a fructified and positive friendship. We are neighbors and reliable friends. We know and respect you. We've been made in several of these areas since the last time we spoke to each other. In others, solutions are needed, solutions for the benefit of our countries. I must say, President Reagan, we have a lot of opportunities on the American continent. We are all concerned about threats to peace, the problems of the arms. All the countries of the continent must make the greatest effort possible to restore the passion of any origin. In peace, we must also support the American Center and its development programs. We sometimes ask people to decide their whom they think in our country, whom their country believes in at any time. In this time, we must also support the American Center and its development programs. We need to ask them to let us know what they've been talking about. I started down the list of our silver herds of and the reason they've got those things right now. We have to discuss trade and commerce issues, border issues, and then there was a misrelationship. And there, what we were discussing.


The Department of Agriculture and Collaboration with the Taiwan Technical Mission, through the Enhancing the Efficiency of the Production Distribution Supply Chain in the Fruit and Vegetable Sector Project, also known as the 7 Crops Project, hosted a training session for a cohort of farmers on the four new varieties of lettuce being introduced to complement the three types already being grown locally. In the training, farmers were also introduced to irrigation techniques, as well as other fertilizers that can be used to increase crop protection. Project Coordinator of the 7 Crops Project, Adeline Nudovik, says the main objectives of the initiative are to help local farmers obtain a larger share of the market and reduce the importation of lettuce. In our different interactions with the importers, the purchasers and the sewer markets realize that we have an issue of lettuce insertion. So under the 7 Crops Project, we are trying to evaluate and also to try out the different varieties that we produce best in our environment and also meet the market requirements. So right now, the concern is that the lettuce, it wills very quickly, it doesn't stay fresh in the sewer market for a long time. So this is our first phase in training. So today we have training for the farmers who are producing lettuce insertion. So these farmers could see the different varieties and you get the pros and cons of each specific variety and from that, the next step is going to different markets to show them what we can do and also how these lettuces could meet the different concerns that they identified. Production specialist of the 7 Crops Project, Eric Shen, explains that new varieties of lettuce used in the trial over the last seven weeks include the green and red rapid lettuce and the green and red rumen lettuce. I've noticed that every time when I go to a farm and visit the farmers, the farmers are always planting the same variety, Eden and Trinity. It's all iceberg variety and farmers didn't even know they are iceberg. So we here trying to introduce more variety, new variety like a rumen and the leafy, the real leafy variety because farmers always think that Eden are leafy variety, which is bad for the farmers and bad for the markets. So now we need the trial to see the varieties chosen here is suitable for St. Lucia. So we could have a multiple choice for the consumer here in the markets and then the farmers can increase their income. Local farmer Zhaim Etienne says the training has been very informative and encourages local farmers to take advantage of the alternative farming methods being highlighted through the 7 Crops Project. It's always good to see that we have options with regards to you know planting and cultivating. As long as we could get the materials and the education behind it, farmers should really go into it and we could make a difference in terms of reducing our import bill because lettuce is one of the things that's highly on our import bill. The next phase of the project will include a post harvest handling workshop as part of an effort to enhance the shelf life of the crops being produced locally. From the communications unit of the Ministry of Agriculture, I am Anicia Antoine reporting.


In the following I will deal with the questions that are connected with my e-lectures. Each question will be discussed using a separate screen produced on the active board behind me with the title of the e-lecture where the question was raised on the right over here. As usual, the board content can be obtained in the e-lecture library on the Virtual Linguistics Campus. Here is the first of the questions that were asked by our YouTube channel community by the end of January 2013. Doesn't Homo archaicus depict a subspecies of Homo sapiens and not a standalone species? Maybe we should refer to it as Homo antisesa. Well, that is correct. Homo sapiens can be divided into these three subspecies. It is important to note, however, that there is some dispute about this division into subspecies and Homo sapiens neanderthalensis is sometimes included in the subspecies Homo sapiens archaicus. Another question from the same e-lecture. Shouldn't the role of the auditory cortex be mentioned in the context of language evolution? Well, it should, but the focus of my e-lecture is language production. And even though the development of the auditory cortex is essential to the processing of sounds, we chose to concentrate on those areas of the brain most directly related to speech production. Another question, still the same e-lecture. Weren't Paul Brokaw and Karl Wernicke anatomists and physicians rather than physiologists? Well, the simple answer is yes. Karl Wernicke and Paul Brokaw are always referred to as anatomists. In fact, they are mostly just credited with the identification of the two areas. Here are the areas that are associated with them and their functions. So perhaps, if they were still alive, you would certainly associate physiology with them too. But in their time, they were anatomists. A completely different question comes from the e-lecture language contact. Is Bislama a pigeon or a creole? Well, in the handbook of the varieties of English, we find that Bislama is a contact language spoken in Vanuatu in the southwest Pacific. And it initially developed as a distinct variety of English over about half a century between the mid and the end of the 19th century. Soon after the establishment of the British colony of New South Wales in 1788, a pigeon developed, which was used between settlers and aboriginal peoples along the ever expanding frontier. Features of this pigeon made their way into what has often been referred to as South Sea's jargon, which was spoken by ships, crews and individuals on shore in a wide variety of locations around the Pacific islands in the early 19th century. Today, as the language is used in Vanuatu, it has to be classified as a creole rather than as a pigeon. Here is a question that is connected with my e-lecture, basic segments of speech consonant. Is the uvula an active or a passive articulator? Well, there is disagreement in the literature about the role of the uvula. Bill Hart Castle, one of the world's articulatory phonetics experts write in his book, The Physiology of Speech Production, the uvula's role is probably not so important in speech production, except perhaps as an active articulator in the trilled uvula R, this one, versus being a passive articulator during post-vila consonants such as the voiceless uvula fricative H. So in other words, it is both active and passive. And I decided to opt for the trill interpretation, last but not least because Bill Hart Castle was among my teachers when I was at the University of Reading in the 1980s. Here is a question about distinctive features. Well, in fact, we received several questions about distinctive features. For example, whether or not phonemes that are associated with the feature minus coronal can still be plus anterior. I do not want to argue about fine adjustments of the theory of distinctive features here. Rather, I'd like to mention the central reference that we use on the virtual linguistics compass in this context. It is the book by Iggy Rocha and Wynn Johnson and their set of features summarized on page 110, where you can clearly see we have plus coronal, plus anterior sounds and plus coronal minus anterior sounds. Here is a question about two phonemes in RP. In conservative RP, e and u are real vowels, not diphthongs, aren't they? Well, first of all, both monophones and diphthongs are real vowels. And e and u are, of course, not two diphthongs. That's absolutely right. But they are simple vowels with a slight off glide in each case. Let's listen. C, 2. So, C and 2. In North American English, they're even transcribed as e and u, for example, in Labov's Atlas of North American English. I suggest to draw a distinction between them on the alophonic level only. E with its alophonic variant C and u with its alophonic variant 2. The next question concerns the sound system of German and German speakers who want to speak proper English. If the German o is lower than the RP o and higher than the RP o, wouldn't that result in a cot-court merger by German speakers? Well, I don't think it would, for one reason. The cot-court merger requires that the vowels involved are equal in length, which they are in North American English. In RP, by contrast, the difference in quality between o in cot and o in court is normally accompanied by a difference in quantity. So this one is clearly short and this one is clearly long. Since Germans are used to length differences, they don't seem to have problems with these two RP phonemes and make them different in terms of length. Here is a question about the intrusive R associated with the electric sound system of RP. What about inserting R between morphemes as in drawing? Is that RP? Well, it's an option. And that's why I took care in saying that the R can be inserted between vowels, even though the normal case is between words. Our penultimate question. What is the difference between an ablaut and an umlaut? Two terms that were not mentioned in the e-lectro-morphological operations. Well, an ablaut is a simple vocalic change where one vowel changes into another one. Here are two examples from English, ZZ and the German equivalent, Zitzen-Sass. An umlaut, by contrast, needs two vowels. For example, E and U. And these two vowels somehow result in a third. They merge. So in this case, and that's just an ideal representation, E and U merge to Ü. Again, here are two examples from English first. Forty. Old English fit. Back vowel O, front vowel E, became fit in Middle English and later, due to the effects of the great vowel shifts, it became fit. Well, in German there's a nice name associated with a town where Duisburg is not pronounced Ui, but Ü, Duisburg. So a case similar to the abstract one I presented earlier on. Here is the last question for the time being. One of our subscribers mentioned that Yoda, the famous Jedi Knight of the Star Wars saga, uses the object-subject word order. Well, before we discuss this, let us look at some examples. Here is the first impression. Prentice, you have Emperor?  If anything, just say about it. Okay. That'll do. Now let's look at what Yoda said. I hear a new apprentice you have, Emperor. Clearly a subject verb object structure, where I is the subject, here is the verb, and a new apprentice you have, Emperor, is an object clause, SVO. Now if you inspect the object clause itself, you find that the object in it, a new apprentice precedes the subject you, and the verb have. So here we clearly have OSV. And the second sentence, not if anything to say about it I have, again is OSV, but not so straightforwardly because here we have a split object and a split verb. Here are some further examples from the first episode of the Star Wars saga. Hard to see the dark side is. Well, the verb again is split and the subject is in the middle, Master Qui-Gon. More to say have you, more is the object to say have the verb and you the subject. So here we have OVS. And finally again this split verb situation revealed your opinion is with the subject in the middle. Well, and what about a pattern? Well, there's no consistent one. Perhaps one thing can be said. If a verb is periphrastic, that is it consists of several elements, the auxiliary always follows the main verb. So that's it for now. I'd like to thank all our subscribers and users. Here are those that ask the questions that I tried to answer. Their questions and comments contribute to the quality of our channel and they are helpful for all of us. And comments like this one here are especially motivating. I don't know how to thank you says Karima Guya. Being a beginner in linguistics, I've learned many new things while watching your videos and it's undeniable that it was much more profitable than spending hours and hours on reading big books on linguistics. Well, this is exactly what we want to achieve with our videos. However, you should still continue reading the relevant linguistics literature though. So thank you very much for your questions which are important contributions to the quality of our site and which I hope to have answered sufficiently. But sometimes even the most carefully researched answers may still be unsatisfactory. The reasons might be quite simple. Either we still do not understand many of the principles that govern language and linguistics or to quote one of my former teachers, Frank Palmer, formerly at the University of Reading, language is a terrible mess. Thanks for your attention.