The two greatest obstacles in man's own life is man's own mind and man's own mortality. We know through the ancient studies of the East, especially in the Yoga Sutras of Patanjali, that it is believed man's suffering comes from the fact that man confuses his mortal body for his immortal soul. And even though this philosophy is really still only taught in yoga schools in martial arts schools, it was a philosophy and a theory that ruled antiquity. Many can say that this philosophy and this theory is what ignited theater, arts, government, policies. But then of course, as we know, an error came around where man started to submitting to an idea of theology that their soul and their self-worth was judged by something outside of themselves. And with this sort of control, a lot of these ancient philosophies and these ancient theories that gave us so much life and so much beauty went underground. But before we go any further, you know what to do. Please hit that subscribe button and give us a like. Every time you like the video or you leave a comment or subscribe to the channel, you are helping me get this information out. And once this information starts to circulate and get out, we can have deeper conversations about how to course correct the mess that humanity has gotten itself in. And of course, this channel would not be possible without our patrons and our producers. Without you guys, this work simply would not exist. I thank you guys so, so, so much from the bottom of my heart. If you would like to join our Patreon community, there is a link down in the description box below. Welcome to Esoteric Atlanta. My name is Bryce. And today, we are going to be talking about the Ulyssian Mysteries. Now a few things before we get started into this deep dive. As always, I am going to call in Michael and Gabriel and all the beings of the highest light and highest good to be here to protect this information, to help keep the recording intact, the filming intact. And I ask that you help me say the right things that need to be said in order to get this message out there to the greater whole. I also want to comment that even though this video is being released on Friday, January 6th, I am actually filming this video on Monday, December 26th. I hope that you guys all had an incredible Christmas. I am a little bit hung over this morning, but that's okay. I had a lot of fun with my family. As many of you know, I am going to be traveling, doing a quite a bit of traveling for a pretty substantial period of time in the coming new year. So I wanted to go ahead and get a couple of weeks worth of content done, for many reasons. One, so that it was less stressed for me during travel periods to get myself up. And two, I know that I am going to be giving some, I know that I am going to be giving some assigned topics pretty soon and so I wanted to go ahead and get this stuff out there, stuff that I find near and dear to my heart. Now because this is being filmed on December 26th and aired on January 6th, if you became a patron or a producer in the middle of that time period, that is why your name was not on the credits. Don't worry, your name will be appearing on the credits very, very soon. And of course, all of you guys who support the channel, whether through your donations each month or by sharing these videos, you guys mean the world to me. You know that I am heavily, heavily shadow banned on my channel. And so thank you guys so much for being here and helping me get this research out there. Even though I'm the one that does a lot of this research, I don't consider it to be my research because I feel like this is just a point in our timeline where we all need to be pulling up these interesting topics and looking a little bit deeper at them and seeing where maybe we have gone wrong or where maybe we have been led astray. So I thank you guys for participating in this with me. As I've said, as Rhonda Doss has said, we are all just walking each other home. So you guys are truly the rock stars and the spirit behind this channel and I am so appreciative of you. All right, so let's get into the topic at hand. Now, we have seen the Ulyssian Mysteries mentioned a lot in our Sophia and our Magdalene deep dives, right? Through the books that we've been reading and trying to understand the true story of Magdalene and Yashua Ben-Yosef or as many people call him Jesus, although that was not his name. We're seeing these references to all these mystery schools. And to be honest with you guys, I was just going to do another big deep dive into the mysteries of Isis, the mystery schools that surround the priest and priesthood of Isis. However, in doing that research, I realized there were a couple of mystery schools that kind of predated the Isis mystery school and kind of ran conjuncture with them and some of the members of the Isis priesthood were also a part of other mystery schools as well. They all kind of worked together. And so I thought we kind of need to break this up into different story lines. And so we're going to be talking about the Ulyssian Mysteries today, building up to understanding the mysteries of Isis. Now, this is very, very, very fascinating. I just truly loved researching the Ulyssian Mysteries because there was a lot of similarities I saw in this particular ritual and in some of the rituals we see today, again, in the yoga world and in maybe the martial arts world. We also see the same type of rituals coming through things like dieta, which is an ayahuasca ritual or a peyote ritual. And we'll get into that a little bit later. We know that there are theories that the Tree of Life that is spoken about in the Bible as well as other sacred texts has on some accounts been thought to be understood, the psychedelic mushroom. And you guys know I'm a huge fan of microdosing. And so just so you're aware, in some of these old mystery schools, the use of psychedelics was very, very prominent. And I personally do not have a problem with this at all. As many of you guys know, if you've been on this channel for a while, we know that everything is inverted. We know that the original word for sorcery that we see in the Bible, that Greek word, was pharmakia. And it doesn't take a genius rocket science to figure out what pharmakia is. And so when we look at things like ayahuasca, peyote, mushrooms, we're looking at something that the marijuana, we're looking at something that the earth actually provides, that God and God's infinite wisdom created for mankind. We know that our lives, or if you're on any type of a spiritual journey, you know your life is more than just waking up and going to bed, going to work, working out, putting makeup on, taking a shower. These are just activities done in a whole picture of what this journey really is about. And this journey of life is about the soul knowing itself. And so on this journey, I do believe that God and us all being fractals of God gave us help, gave us assistance through these things of psychedelics. Now with that being said, most psychedelics are not, from my understanding, are not addictive. I know I have not ever experienced anything like that with any type of psychedelics. In fact, when I do go through phases of microdosing, I often have to set an alarm on my phone to remind me to take my medicine each morning. And even in saying they're not addictive, this also, there's also this idea that, and Rob Doss talks about this as well in a lot of his books, that we use the psychedelics for one purpose, to help expand the mind, to help work through limitations that the mind has, that the mind doesn't actually know it has. So we can open up other doors of possibility and doors of thought and doors of understanding. But eventually they do have to be put down and put aside so that we can now continue the journey without the assistance. Now as many people who have experienced these ritualized ayahuasca or peyote or even full on having a full on serving of mushrooms knows that when you are full on in these experiences, there's really nothing you can do.  Microdosing, yes, you can't because there's not enough to make you kind of zone out of the world's red. It's just enough to relax the mind. But when you're full on in these experiences, you have to do it in a very controlled way.  They should be used very sacredly and very ritualistically.  You do have a leader with you who is very much like a healer, a doctor who is monitoring you during this experience. If it's a big group doing it together, you will have the shaman in the room doing the sound healing, which we'll talk about with this mystery school as well because this also existed with them too, but also making sure that the right vibrations are coming into the space that's being used so that each participant has the experience that he or she needs to have. And on top of that, each participant also has a babysitter, has somebody sitting with each person, somebody that is completely sober, that is experienced enough with the medicine, as they call it the plant medicine, to be able to help the person who is going through the procedure. We'll call it not freak out or if they need to go throw up because that happens a lot or they can help them make sure that they are completely safe. They also are there in case the ritual for the person gets extremely dark to the point where the person looks like they can't handle it anymore. They can call the shaman over to come and change the vibrational frequency so that there's a shift for the participant. So with that being said, I want people to understand, especially if you're not familiar with these types of experiences, that there are a lot of rules. There's a lot of integrity with this and it's not something, it's not like smoking cigarettes or like any other type of like drug where you can kind of go out or like alcohol where you can still kind of function in society and sometimes I think being able to function in society with is what makes the addiction the worst. These other things you literally cannot do and it has to be used specifically for a ritualistic experience, things like ayahuasca. As I said, a lot of people have kind of a bumpy ride with it because a lot of their own ego death, a lot of their own fears start to come up. It's not a party drug. It's not something you're going to do to go and have like a rip war and time at a concert. So I want people to really understand that and of course do your own research, go out there and look this up for yourself and understand it for yourself. There's a lot of information out there about this. So again, we are seeing remnants of these old mystery schools throughout our society today. Again, with these ceremonies, with traditional yoga, not Western yoga, but with the traditional yoga, with things like martial arts, you do have to be quite disciplined and in these mystery schools there was a level of discipline. This is definitely not a system where everybody gets a participation trophy. This is definitely not a system where there is a quote unquote safe space. This is a system of process that's going to bring you to your knees. As I've said, through my 16 year journey in traditional yoga, a lot of this time has been very, very hard because what you're doing is you're going up against yourself. Now, these mystery schools were not run like cults are today. Yes, they had priests and priestess or shamanate people there that were responsible for initiating the initiates in the ritual. But because this is such a personal experience for the individual, just like the Ayahuasca ceremonies today, each individual had their own experience and no one was there trying to tell the initiate whether their experience was wrong or was right because each and every one of us is in a battle against ourselves. Now, the Ulyssian mysteries were again an initiation process that happened every year based off of the story of Demeter and Persephone. Now, it's important to note that many people believe that these mysteries, these rituals, predate Greek civilization as we know it. It's also extremely important to note that these Ulyssian mysteries were run by women, high priestess of these mystery schools. So just a little bit of a backstory with the story of Demeter and Persephone. Demeter is the goddess of agriculture and fertility. Persephone is Demeter's daughter. Persephone was assigned the task of painting all the earth's flowers. But before she was done, Hades, the god of the underworld abducted her and took her captive. Demeter, of course, being the ever-loving mother, was distraught over her missing child. And so she went to Zeus and basically pleaded with Zeus to help her get her daughter Persephone back from Hades, back from the underworld. Zeus finally relented and agreed to help Demeter get her daughter back when Demeter caused a huge drought to come across all the land. Once the drought happened, the civilization, the people of the world petitioned in Demeter's favor to get Zeus to assist her in getting her daughter back. Now, there was a rule with Hades, the god of the underworld, that if you were brought to the underworld with Hades, you couldn't eat or drink anything. If you were to eat or drink something, you would be destined to have to return back to the underworld. Now, Hermes, who is also Thoth, who we also know through our study of the Emerald Tablet, most likely was the son of Zeus, who wasn't necessarily a god, but an Anunnaki. Well, Hermes, or Thoth, was sent down to the underworld to retrieve Persephone. But before he was able to do that, Hades tricked Persephone into eating four to six pomegranate seeds. Now, they say four to six, and you'll see why, because we're not exactly sure, and depending on where in the world you live will determine what the number of pomegranate seeds were actually eating. But because she ate these pomegranate seeds, she now was destined to return to the underworld every single year for four to six months out of the year. You see where I'm going with this. Well, once she was able to come back to her mother Demeter, Demeter was so excited that she made the world flourish again in flowers and greenery and produced and harvest. But then, many months later, when Persephone would have to return back to the underworld for four to six months, Demeter would go into hiding again. Coldness would come over the land.  So when Persephone has to go back into the underworld, that's the start of our winter, our fall, our winter then goes into spring. When Persephone is then returned back to her mother, the goddess of fertility and agriculture, when everything is brought back and all the wrongs are righted and everything is flourishing and new life is appearing again. And hopefully, as we get into the rituals of the Mystery Schools, you'll see why this story of descent and us and we're so important to the Mystery Schools. Now, it is argued that the Elysian Mystery Schools were the most famous Mystery Schools in all of the ancient world. Now, the Elysian Mystery Schools get their name even though their whole setup, their whole gig is based on the story of Demeter and Persephone. They get their names because the temple, the main temple where all of the rituals happened, was in a town called Ulysses, which is still a city in Greece today. Now, yes, I don't think that this is the actual location. I don't think any of the locations they tell us are accurate. If you're new to this channel, that's a long story as to why I don't think that. Just a hint is to start studying Tartaria, then you'll see why I don't think that. But just know that this is where they report that these things happen. I do think they happen in a town called Ulysses, but I don't think that it was in the location it is today. Ulysses is 14 miles northwest of Athens. Now, as I said earlier, these Mystery Schools predate Greek civilization. And at this time, many of the roads in towns in a world were like goat paths, right? They were probably more akin to what we would call hiking trails. But the Elysian Mysteries, these rituals that happened every year were so important to the cultural and spiritual personality of the time and the air that the road from Athens to Ulysses was an actual road. And the road itself had a name. It was called the Sacred Way. Now, yes, the Mysteries represented the myth of the abduction of Persephone from her mother Demeter by the king of the underworld, Hades. And because it was a deep representative of this story, the rituals and the understanding of ceremony for each individual happened in three phases, which we're going to get into. These phases were the descent, the search, and the ascent. And this happened more or less in the Greater Mysteries because these rituals took place in two different sections, the Lesser Mysteries and the Greater Mysteries. Now, the participants in both the Lesser and Greater Mysteries were the Priestess, the High Priestess, the initiates, others who had already done it, had done these rituals therefore could watch, and ones who had already reached a sense of enlightenment. Now, the rituals started in the spring. So the Lesser Mysteries was the ritual that started in the springtime, right when Persephone would be returning back to her mother Demeter. And the Lesser Mysteries seems to be more of like a seriomony educational time. Like, this is when the initiates who were doing the Lesser Mysteries, they were gearing up and preparing to do the Greater Mysteries in the fall because you couldn't do the Greater Mysteries until you had done the Lesser Mysteries. And you'll see why, because the Lesser Mysteries, they were basically learning and having to reenact the story of Demeter and Persephone, the actual story of Persephone being kidnapped by Hades, going underground, Demeter looking for her. And so they had to have a very comprehensive understanding of this story so that when the Greater Mysteries happened in the fall, they themselves were more prepared for the psychedelic growing of consciousness and understanding of their own soul that was waiting for them. Now, the Greater Mysteries would start in and about September in the fall time. And all of the people, the initiates who had completed the Lesser Mysteries in the spring, would start their journey in Athens. And they would actually walk the Sacred Way, the road, the 14 miles northwest to the city of Ulysses. Now, when they were doing this, as they were making this 14-mile walk, a lot of the citizens would stand on the sides of the road and would like insult them, would call out very demeaning things to them. And their job, the initiates job was to take it in and not react. This was supposed to be the initial phase of destroying the ego. Now, what do I mean by this? Now, if you have been on this channel for a while, you probably have a better, good idea. Or if you are a great lover of philosophy or of Eastern philosophy specifically, or if you have yourself studied the Yoga Sutras. The ego is the false sense of self. The ego is something that is created by the mind in the body to protect and to give the body purpose. Now, in the Yoga Sutras, Patanjali speaks of this in three different characters. We have property, which is nature, nature is anything with a birth, life, and a death, and therefore is constantly changing. Parusha. In Parusha is the soul, the eternal watcher of the property, and Ishvara. Ishvara is God, or Lord, the highest level of consciousness.  Man thinks that who he is is his ego. When his ego isn't real, because his ego isn't permanent, his ego is the false sense of self, his ego is associated with property, with the nature, with the body, but the soul, the Parusha, is something that is not the body. For example, my soul is not Bryce.  What is real is the soul that runs through the body. We also see this in things like Shiva and Shakti. Like the Shiva is the soul, the Shakti is the body, the expression of the soul. And once you start to understand this, this is when true liberation starts to happen, because then you can experience your life the way it was meant to be experienced as a temporary thing, an opportunity for the soul to know itself. We understand that in order to even start questioning these things, one has to suffer. There has to be pain in one's life, obstacles in one's life, for one to sit back and go, what's the point of this? Well, the suffering is necessary. It creates the friction to then push us into these deeper understandings. So this is what was happening in the Ulyssesian Mysteries, the initiates who were coming to this ritual to have a greater understanding of who they are, who they really are. Their first experience in the greater mysteries in the fall was to take abuse, basically, from their neighbors in order to start to dissolve the ego. Once the initiates got to Ulysses, they would stop by a well. Well, that it was believed Demeter herself had stopped by in search for her daughter Persephone. Once they got to the well, they were instructed to fast for nine days. Now fasting is definitely a huge part of spiritual practice. And I know why they had to do this because they wanted to clear out their system of all food and all drink because after the nine days, they would be served this like elixir, this like almost like a tea or a beer. This was called a kion. Now there were some herbs for sure in this drink, but there was also psychedelics in this drink. Psychedelics that were seemed to kind of perhaps even be along more along the lines of like LSD, but definitely more like ayahuasca and peyote. And of course, again, this was being very much monitored by the high priestess of the Ulyssian Mysteries. Now I do want to mention too that this was not a small group of people. If you go to an ayahuasca ceremony today, you're looking at like 10 to 20 people. There were about a thousand people per year who came through these initiation rites. Once they had had their psychedelic tea, they were brought down into this underground theater. Now this was almost like sensory deprivation in some ways. But once they got inside the underground theater, again, there was no light to the outside world. They had candles lit and they would start sound therapy. Now it is said that once one went through the greater mysteries, they were sworn to secrecy. If they were to tell their secrets, apparently they would get killed. I don't know if I believe that, but they were told not to really speak of it. So this is kind of roughly what we know happened just from some accounts. Very much again, like an ayahuasca ceremony is today, they would start a process for a few days of sound therapy. So basically like what we have playing bowls today where people play bowls. And so these people, the initiates would be under a mind-altering substance, not necessarily mind-altering, more mind-opening substance, where they had to contemplate the story of Persephone and Demeter ascending into the underworld and ascending again while having their mind expanded through the psychedelics and through the healing modality of sound therapy. Again, a lot like what Shaman's do in Dayeta to this very day. Now a lot of these stories we see, even the story we see of Jesus being crucified and resurrected, even though I don't believe he was ever crucified. I have more proof of that now because it's now believed that what Magdalene and Yahshua were doing was actually reenacting the story of Ishtar and Tamuz, which we'll get into in a later video. So there wasn't actually a crucifixion. But if we look at the crucifixion in the way that Ishtar and Tamuz's crucifixion story was supposed to be told, as well as Demeter and Persephone, we're looking at the fall of man. The fall of man being man falling into his own ignorance, not necessarily man falling into sin as we know it. Because remember, the original definition of sin was just to miss the mark, to not understand who you actually are. And so if we're looking at the greater concept of this, the descent, man fell into amnesia, man came to earth, the soul decided to come to earth into a human body to go through amnesia, to descend, to forget who he or she actually is in their soul, to get confused, to misunderstand. And then once one goes through somewhat of awakening in the sense that they start to question things, that begins the search, the search for the truth, the search for the answers. Once one is engaged in the search, once one takes in these rituals or the initiations, then one can start to ascend. And one starts to ascend because one reaches the ultimate liberation, that one is not someone, a person is not their body.  And in that understanding, we have the ego death, we do go through dark nights of the soul because we've been confused for so long, but then we start to see liberation. Of course, in this mystery school, as well as most of the ancient cultures, we see heavily the concept of reincarnation, which I absolutely believe in. Most of the people I know believe in reincarnation. You see, you see Yahshua teaching reincarnation in the missing books of the Bible, you also see mentions of reincarnation in the canonized Bible as well. This is very much a very, very deep concept that's spoken about and basically understood to be fact by most cultures on this earth. And why is this? Well, energy cannot be created nor destroyed, it can only be transmuted. So when a person dies, there really can be no destruction. There really is no death because the soul itself cannot die. And so the soul itself has to transmute itself into another body, another thing, whatever, whatever you're supposed to go to next on your journey of understanding who you are in the greater whole. Something interesting I found about mentioning you Elysian mysteries regarding reincarnation is that you're taught through this that you're not living to die, but rather you're dying to live. And of course, once there's that liberation, once that fear of death is gone, you're limitless. The Elysian mysteries are also thought to have come from Egypt. And this wasn't a lot of the research I did, which I totally understand, even though we're looking at Greek characters, a lot of these Greek characters do come originally from Egyptian characters. As I said, Hermes is actually thought the writer of the Emerald Tablets, right? So we're seeing basically Justin Metamorphis of these stories that were taught in Egypt as well. And of course, we know that the Egyptian culture was the offshoot of Atlantis. Again, we are the Atlanteans. So that was interesting to me. Now the Elysian mysteries had to go underground in the fourth century because of the Christian Emperor Theodosus. And this happened in 392 CE. And I thought it was interesting. I'm going to put a clip from a Joe Rogan interview where somebody speaks about this.  Well, again, a lot of these old belief systems, even though you do have priestesses, you do have people who are responsible for taking care of the rituals. And there definitely is quite a degree of initiation and going through the discipline of initiation in these schools. Everything about these schools is about the individual experience. Again, that's what we see in yoga. That's what we see in a lot of these martial arts, even though you have your teacher, you have the palm guru, you have the dojo, you have the sensei, all these different teachers. It's really about the individual experience. I know as a teacher myself who's been authorized to share this philosophy, I can only teach you the philosophy. I cannot help you experience it. That is something you have to do on your own. And when you know that and when leaders know that, there's less control, right? But there's also a lot of respect to the process that there is a process here. And so it's more of an even tango. And this is also the same thing that Jesus or Yahshua taught as well. I mean, if we look through the Bible and through the missing gospels, Yahshua was not a fan of church, of temple. In fact, he was very much against these organizations, which is actually pretty sad because Yahshua basically came here to say, hey, yo, brah, you don't need the rabbi to get you into heaven. That's already inside of you. There's no middleman. There's no middleman between you and God. You are the conduit of God. Anybody teaching you, they called Yahshua rabbi, which was teacher, just a teacher. And he was very clear that all he can do is teach you the mysteries. You are the one that have to live them, understand them, be them. But what happened after Yahshua passed away, which I don't believe he was crucified, but again, that's a story, different story for a different day, was that they created a whole religion around him. And so here was this teacher that was telling you that you are the one responsible for your own salvation. He was telling you this and now this whole religion is based off of him and something he didn't teach. So the controllers created a religion around him, making him the pinnacle, the person who decides where your soul goes, which that wasn't what he said at all. You are the one responsible for the growth of your soul. Now why is this important? Why do I bring up Yahshua? Well, yes, because Yahshua basically taught the same things that the Ulysses and Mystery Schools taught, but because of Yahshua's wife. Now, once again, the Jewish prophecy said there would be two of them, not one, two. The Christians wouldn't change the prophecy to fit their narrative, but there was two of them, a woman and a man, Magdalen and Yahshua. She was the female Christ. Magdalen, we know she was part of the priestesshood of Isis as was Alma Mari, Yahshua's mother, otherwise known derogatory, her derogatory name is Mary, as is Magdalen's derogatory name, Magdalen's name is Magdalen, not Mary Magdalen. Alma Mari was also a priestess and the priestesshood of Isis. And one wasn't a priestess and the priestesshood of Isis without also being a priestess and the Ulyssian Mysteries. So the Ulyssian Mysteries were very much a part of the original Christian teaching. However, it was the quote-unquote Christian emperors who destroyed such teachings in their black robes.  Well, it's interesting because the guest on Joe Rogan's podcast also brought up black robes. We know that preachers and priests to this day still wear black robes, as do the bankers, as do the judges. And ever wondered why they all wear black robes? Because they're sworn into the cult of Satan. And I've said before, the official Christian religion ain't nothing but Satanism with a bow on it. This beautiful mystery school that mirrored the teachings of Yahshua, the teachings of the East, that gave each individual the power to save him or herself through hard work, through discipline. This beautiful faith that inspired the arts, theater, the concept of a republic where different areas could self-govern were destroyed by the cult of Satan. They took the power away from you and put it in the hands of the church and in the hands of Jesus. I believe they changed his name to Jesus to try to escape karma for themselves because his name was Yahshua.  We're learning more and more about the mystery schools today. And there are still flavors of this around, as I've said, in the yoga shalas, in the martial art dojos, in the diet and ceremonies. And it's interesting, Joe Rogan made a comment with this guy that I'm going to paraphrase, that I thought was really fascinating. People who are not involved in any sort of practice, like yoga or the martial arts, tend to always seem to be a little bit lost. But people who seem to be heavily involved with martial arts or yoga or do ceremonies like diet don't seem lost. They seem to have a deeper understanding of the path that they're on. This doesn't mean that they have all the answers. And that struck me when I got chill bumps when I heard him say that because he's right. He's right. Before I found the practice of yoga, I was lost. I was raised as a Presbyterian to believe that my salvation was in the hands of someone else and totally out of my control. But when I found yoga and I started to study the philosophy set forth by Patanjali, that's also the same philosophy of the Ulyssian Mysteries. After the deconstruction of my program, I felt liberated. I understood that karma is merely my work and that nothing that the world tells you matters matters because it's not permanent. And because it's not permanent, it's not real. But what is real is that I and you will live again, always living, never dying. It's just the body that needs to be changed. But you are eternal. The only things that are true are eternal. And how beautiful is that?  If you really knew that deep down, no one would ever be able to control you. At that point, you would become liberated. And of course, the Satanic Church can't have that. All right you guys, thank you so much for sitting through this. Let me know your thoughts down in the comment section below. Of course, we are going to be looking at other mystery schools building up to the priestess of Isis and their mysteries. I am going to be covering deeper Ishtar and Tammuz, which is another concept of these mystery schools to be dissented to your own personal hell, the underworld of yourself, your shadow side, right? To only then be resurrected again into the light that was always with you to begin with. And so I'm super excited if there is a mystery school, another mystery ancient mystery school that you want me to cover, leave it down in the comment section below and I will be glad to look into it. I'm so, so, so excited to be exploring this with you guys. Spirituality. I love history. I love the cool stories of history, but spirituality has to be my utmost favorite thing. I know for a fact that I have been in these mystery schools in the past. This is very much familiar to me.  Have a wonderful Friday. The best is yet to come. And I will talk to you all soon. Bye.


What I have realized, Your Excellency, is that U.S. is not business as usual as far as politicians are concerned. What I have seen today has impressed me so much to think that we have you as a born. Let us share thoughts between you and us. I want to know what you do. What plans have you got to concretize power? The health care, quality health care. The question is on the economy, privacy. It is very challenging for people to assess the farm land. Once you are from the youth, a lot of youth are, they are not doing anything anymore. Most of us are lost jobless people. What plans do you have for persons with disability? I have faith that I hope tomorrow will get better education. I want you to tell us here and now your agenda for the people of this country. I wanted to know about education. Education is big and that's a huge topic and we can sit here all day. But one thing that I can tell you for sure is that that for me is priority, priority number one. And the reason why priority number one is that this is what is required today to make money. I am very, very convinced that it is not just manufacturing and all of the things we are doing. We will do all of that but the knowledge economy is what is going to take our country out of the current poverty. And we are going to focus a lot on that knowledge economy. It starts with education and we have done a few experiments. We need to reform our educational system, change the curriculum. Young people should be given a real opportunity to earn decent pay and to live well. We must ensure that this campaign for 35% or even 50% is not an elite thing. That we involve the market women. We involve all of the women, the grassroots women in the campaign, especially now that it's gone back to the national assembly. We need a lot of attention to completely restructuring our security. We need more men, more boots on the ground. We don't have enough men, we don't have enough boots on the ground but we also need more technology. If I have a medical challenge and I want a doctor and they tell me the best guy is in Sokoto and is a Muslim, I might want to say because I'm the first down to Sokoto to work.  But when it comes to politics, because we don't take the destiny of our people seriously, we don't take what they think. We just want power. That's the reason why we play politics with that. So we should do it. I think it's also absolutely wrong and I think we should discourage politicians and cause them politicians to play ethnic and religious games to advance themselves. You are eminently qualified for what you are running for. We are at the excellent. I've always talked about the best and when you are here, when you are with me, I always mentioned the best. Choose amongst you the best. Look, most for somebody that is religious and somebody that knows your economy problem. We have just ahead of us a new Nigeria that God helping us we will get to that new Nigeria. God does not make a mistake. Why God must have given me those experiences is because a time will come when our country will need new leadership and that time has come. It is time now. The time has come. What I am pledging is that you will find a president who is honest, who has integrity, who will not steal money. You also as our distinguished delegates the men and women who will take the important decision, very important decision as to who will be our flag bearer. I want you to take into account the future of our country and the generations to come. We must work together to ensure that we are able to deliver the best for our country and deliver the best for our children. Thank you very much. God bless you.


Remember the Pritikin experiment? You put people on a plant-based diet in exercise, and as little as 12 days, you can turn their bloodstream into a cancer cell fighting machine. Here's the before picture, a layer of breast cancer cells is laid down in a petri dish, and then blood from women eating the standard American diet is dripped on them. And as you can see, even people eating crappy diets have some ability to break down cancer. But after just 12 days eating healthy, blood was drawn from those same women, and it was dripped on another carpet of breast cancer cells, and this is what you're left with. Their bodies cleaned up. You can also look at it another way. This is what's called a eternal deoxynucleotidal transferase, DUTP, Nick End Labeling, or tunnel imaging, which measures DNA fragmentation, cell death. Dying cells show up as white spots.   But then, after 12 days of healthy plant-based living, their blood can do this. This is that programmed cancer cell death. After eating healthy, their own bodies were able to reprogram the cancer cells, forcing them into early retirement. It's like you're an entirely different person inside. How does a simple dietary change make one's bloodstream so inhospitable of cancer in just a matter of days? That was the next question they set out to answer, and they finally did, in 2011. Here we sought to determine the underlying mechanisms for this antarcancer effect. What they came up with was IGF-1. If you measure the blood levels of insulin-like growth factor 1, before and after 11 days on a plant-based diet with exercise, IGF-1 levels significantly drop, and IGF-1 binding protein levels significantly rise. That's one way our body tries to protect itself from cancer, from excessive growth, by releasing a binding protein into the bloodstream to tie up IGF-1. It's like our body's emergency break. Yeah, sure, in as little as 11 days a healthy diet can reprogram our body to slow down IGF-1 production, but you still have all that, you know, IGF-1 circulating your bloodstream from the bacon and eggs you had the week before. So your liver releases this snatch squad of binding proteins to take it out of circulation, pronto. Exercise alone can drop IGF-1 levels, but you need that plant-based diet to get those kind of snatch squad levels. And so with that combination, 20% less IGF-1 and 50% more IGF-1 binding protein, no wonder there's such a dramatic cancer cell die-off after just a few days. So did they solve the riddle? Did they figure out how a plant-based diet shuts down cancer growth? Well, the definitive study wasn't published until recently. Same as last time, before and after a few weeks of a plant-based diet, cancer cell growth drops and programmed cell death, cancer cell death, shoots up. But then, here's the kicker. Remember how IGF-1 levels dropped? Well, what if you added back to the cancer the exact same level of, you know, amount of IGF-1 banished from your body because of the healthy diet? What if you added that back in with the cancer? It erases the diet and exercise effect. It's like you never started eating healthy at all. Now, if cancer growth just came back down to here, you'd be like, okay, IGF-1 was part of it, but the fact that it eliminates the effects of the lifestyle changes suggests that it was the mechanism all along. Walking and eating a plant-based diet for just a few days, lowers circulating IGF-1 levels, which then can reverse cancer growth.


Welcome to Toffy TV. It's the Everton Newsday. It is Monday the 30th of July I really should remember that because it's my mum's birthday today. Happy birthday, mum. And Everton goalkeeper assigned a new contact today, but it's not that one It is Martin Stechlenberg. He assigned an extension to his Everton stay till 2020 so it's a two-year deal. He said his family are happy. He's happy and he's happy to stay at Everton That's good news. He's a pretty decent back-up goalkeeper Yes, they could probably be a better back-up goalkeeper, but We have got a pretty good first-choice goalkeeper and so I have a second-choice goalkeeper with experience Who in you know in training and stuff like that will help the first-choice goalkeeper in Jordan Pickford and also with a With good young back-up keepers coming through as well. It's It's it's it's pretty sensible to do that So he's signed a two-year deal Jordan Pickford as has as revealed over the weekend Will we offer the new deal at Everton rumour to be a six-year deal now? Obviously there's a lot of talk of Chelsea sniffing around the player, but listen the play is not even back from preseason Yeah, his first game will be the game against Wolves So listen, he ain't going anyway, let's be honest and I never know hoping that he will sit down and sign a new Long-term deal with the club that hopefully will keep her keep teams away from him and keep him quite happy for the next few years Oh, so so hopefully that'll be done in the next few years Lucas Dignay the Barcelona left back. He has been spotted at Barcelona Ready to fly over and hopefully finalize his deal to Everton. He was in the Training camp with Barcelona in America was released before they played spares on Saturday night flew to Barcelona and there has probably got put as odd It's put things in order before he flies over to Macy's side to hopefully seal that deal tomorrow or certainly in the next 48 hours. So Yeah, so when that happens, we will let you know on toffee TV The Evan staff behind the scenes who've been working at Goodison Park and above The Everton one shop they have moved into the live of buildings today They have took hold of what looks like an absolutely fantastic Space in the live of buildings obviously owned by Farhad Mishiri For the next part of evidence history officers overlooked in River Mersey and overlook The site at Bramleymore dock where Evan will hope to build a stadium in the next few years And yeah, yeah from the pictures. It looks absolutely fantastic The people who've moved are the club's finance people services marketing and media and communications team are among the 160 staff have moved into 28,000 square feet office space located on the seventh floor of the grade one listed Building the new officers offer panoramic views across the River Mersey among the famous Waterfront and the heart of Liverpool city center The sleek main reception state of the art board in meeting rooms and cafe bar look out towards Bramleymore dock. It's fantastic Everton have been linked with Joe Mario today the Inter Milan sentiment feel there He was at West Ham on loan in the back half of last season He's been linked and moved to Everton our link with a move to rail bettas And the only really other bit of news is I'm all the looking a player who seems determined to get away from Everton a Play who obviously wants to go or seems to want to go back to Leipzig Leipzig wants him he has put Some little hints today on his Instagram He put a little picture of a playlist and then a couple of plain emojis next to one of the songs Is he hinting that he wants to get away? Is he hinting that he is getting away? Everton have been quite adamant so far this summer that they want to keep the play and have him as a first-team player But obviously the signing of a charlison has that has that made it maybe a bit easier to sell them on For me, I'd love to keep him but at very least I would you know if a loan Maybe could keep him happy or could keep everyone happy I think that would help in his development and maybe you know because I just think he's a top player I think ever needs to do everything they can to keep all of them But listen if they don't they don't that's up to them if they feel like they need to move him on because he's Offering nothing to the club because of because he doesn't want to be here then so be it Hopefully the club say he's gonna be here next season and he will be here for the following season Anyway, that is it if anything breaks over the next few hours regarding Dinier or anything else we'll let you know on toffee TV. Thanks for watching. I'll see you later


I remind members that if the amendment in the name of Stephen Kerr is agreed to, the amendment in the name of Neil Bibby will fall. The question is that amendment 3009.2 in the name of Stephen Kerr, which seeks to amend motion number 3009 in the name of George Adam on UK election bills be agreed and members should cast their votes now. The vote is now closed. The result of the vote on amendment number 3009.2 in the name of Stephen Kerr is yes 29 no 90. There were no abstentions. The amendment is therefore not agreed. The next question is the amendment number 3009.1 in the name of Neil Bibby, which seeks to amend motion number 3009 in the name of George Adam on UK elections bill be agreed. Are we all agreed? No. The Parliament is not agreed, therefore we will move to vote and members should cast their votes now. The vote is now closed. The result of the vote on amendment number 3009.1 in the name of Neil Bibby is yes 90 no 30. There were no abstentions. The amendment is therefore agreed. The next question is that motion number 3009 in the name of George Adam as amended on UK elections bill be agreed. Are we all agreed? Yes. Can I confirm that that was a yes? No. The Parliament is not agreed. No. It was it. It was it. Thank you for that confirmation. The Parliament is not agreed, therefore we will move to vote and members should cast their votes now. The vote is now closed. Point of order, Stephanie Callaghan. I have not been able to vote. I would have voted yes. Thank you, Ms Callaghan. We will ensure that it is recorded. The result of the vote on motion number 3009 in the name of George Adam as amended is yes 91 no 29. There were no abstentions. The motion as amended is therefore agreed. The final question is that motion number 2975 in the name of Keith Brown on public service pensions and judicial offices bill UK legislation be agreed. Are we all agreed? Yes. The motion is therefore agreed. That concludes decision time and we will now move on to members business.


Welcome to English in a minute. These are footsteps. But what could it mean to follow them? Let's listen. Follow in someone's footsteps. Anna, you got a new accordion. I want to follow in my mom's footsteps. Oh, does she play the accordion too? Oh, no. She plays the piano. Beautifully. Well then, how are you following in her footsteps? Music, Jonathan. When you follow in someone's footsteps, you do something they also do, like a job or activity. You want to succeed at something like they have. You can follow in anyone's footsteps, not just a parent's. And that's English in a minute.


Welcome everyone to the third day of the live program conference. We have keynote Professor Salidjane Norman, Professor in Performance Technologies. So if the first thought was about live coding and the second about maybe computer science and coding, now we focus on the liveness, I guess. And Salidjane is at the University of Sussex, part of the new Sussex Humanities Lab and works at the music department as well in the School of Media, Film and Music. A long history of doing interesting things in various European institutions. But I guess I'll hand over to you. Thanks Thor. Thank you. Well thanks Thor and Alex for this wonderful opportunity. It's a really fantastic event and I feel very privileged. And of course, as is the kind of classic formula on the third day, not quite dead, but there's been a lot that's come through that I'm going to try and bounce off of rather crudely. So this is going to be something of a mishmash and I would like to keep it tight time-wise because I would really like to try and allow some time for conversation. I think this will spark some discussion. Also it's formidable coming up on the back of... I can't do anything like what I did yesterday and I certainly can't do what Julian did the day before. But I'm going to try and take you into perhaps more my performing arts and theatre side of the story. So please wave at me if I'm going too fast because it's gibberish although speed might not be a problem in that case. And I will try and rip through some material that hopefully isn't too dense. So my work as a performance theorist, sometime practitioner, historian, deals with embodiment, expressive gesture, staging and framing techniques. And I define theatre very broadly and Orthodox theatre scholars quite blasphemously as being an arena for projecting and poetically modelling all kinds of liveness. So this ranges from the artificial lives coming through ancient techniques like puppetry, juggling, magic. I'm very interested in instrumental dexterity in these questions of cognitive load that Tim referred to wonderfully yesterday. But I'm also interested in artificial life and theatre as a kind of an arena for exploring artificial life in terms of software, hardware, wet wear and their hybrids. So I try and write in these different areas and it's very uncomfortable but I think I'm drawn to the discomfort zones of these things that kind of fall between the cracks. I'm not going to try and define liveness, it's a can of very live worms. But Alex yesterday mentioned the Icelanders' liveness performance in a mediatized culture which I think is relevant to some of the exchanges we're having here about the different degrees of presence and mediatization at work and our concepts of liveness especially dealing with performance media. And I would also suggest that Stanier can pick a paper on deadness technologies of the inter-Mundane is a really interesting one which perhaps raises some of the criticality that Jeff was itching towards yesterday. They talk about the capitalist cashing in on performance necro worlds. This is a way perhaps that we might sharpen our reflection on the liveness of live coding. We're not just resuscitating dead performers, we're doing something that is inherently non-capturable, perhaps. So there's an interesting discourse that Stanier can pick about the status of accelerationist post-industrial cultures and what this is doing to our readings of liveness. The mastering of liveness, literally post-production mastering, I mean that is as deadly as it gets. So are we looking to try and offset live coding as an act of defiance or resistance in that it does perhaps have a unique vitality, it playfully messes with temporal systems that elsewhere are driven by very different profitability goals? Or are they so different after all? And this is another critical question that we need to be raising. And I'll flip to her, I've quoted a colleague and she's an artist and she's a coder. She created a wonderful piece of distributed creative software called Keyworks. So this is perhaps the critical slant that it's interesting to bear in mind, that the playfulness of out-and-design research creation, this is for you Alan, has much to offer in the open discourse and shared praxis between rigorous scientific methodologies and the crapshoot of entrepreneurialism, too early in the morning to pronounce that one, but that same playfulness, the dynamic relations that emerge through interplay have already been subsumed by the system and are driving it. So we need to be alertly aware that the ontology of play and interplay in this uncommon ground we have to be aware that it's shifted and that's an important thing to bear in mind. So just quickly, a couple of words about where I'm coming from apart from the theoretical practices or discourses that I'll allude to. I've been exploring performance and expressive gesture for a couple of decades and I look at it as a means to creatively flesh out digitally extended spaces. So I work, as I said, with puppeteers, with musicians, with dancers. I'm interested in specific corporeal skills. And my first motion capture workshop, which is of course not live coding, this was at the International Institute of Puppetry in Chalville, Mezier, which is on the French-Belgian border in 1994. Wow. And basically at that time, puppeteers were using motion capture to generate what one might call digital shadows, electronic shadows. So it was a rudimentary form of mirroring. Of course you could play with the shadows, you could extend them, you could slow them down, you could speed them up, but it was a deforming mirror process. But then, and I've been doing these kinds of things over the years, so that's another one from Chalville. So we used optical and magnetic motion capture systems so that we could compare the infrastructural differences and nuances of technical systems. But this one, sorry for the quality of the photos, but this is kind of archaeology. I was a research associate on European framework projects for three years at ZKM, and I managed to pull together a workshop with EU funding, looking at these questions of real gestures in virtual environments. So always these notions of hybridization. And here, the flower that's up there, this computer graphics flower, has been designed by a guy called Linterman, who is a procedural kind of expert. He works on modeling natural growth systems. So he's a usual SIGGRAPH contender for the best morphogenetic systems. Genetic algorithms basically used to emulate and drive kinds of natural processes. And this flower then has been mapped to the puppeteer, his motion capture points, so he's able to manipulate it. But Burnt in real time is sitting on the stage as well, and he's actually tweaking the points of the template, the flower points of the template, so that he's giving them more or less autonomy while Ramon the puppeteer is working. So there's a very interesting relationship happening here. The flower is a static entity. Burnt does morphogenetic stuff, but if we tried to do that in 1998 with what was actually an evolving flower, we'd have really blown the system. But what's interesting is that there was a very different dynamic of interplay between the manipulator, the human animator, actor, and this entity that had its own life. And what that created was not a mirroring, but actually a whole range of dramaturgical possibilities that went from emulation enslavement through to dramaturgical partnering, through to risk, through to conquest, through to threat. So there was a completely different kind of terrain that was opened up by ascribing more autonomy to this computer-driven entity. The other area that's influenced my work a lot is Steim, the studio for electro-instrumental music in Amsterdam. I was artistic co-director there from 98 to 2000, but I worked with Michel Weiswitz more or less until he died in 2008, unfortunately, and also with Joel Ryan. And Steim, as many of you will know, has always been obsessed with this question of creative embodied ways to explore hardened software potentialities. And Mariah, who works there, I think, gave us probably the best possible example of what I see as the Steim ethos and philosophy yesterday. So this is the perspective from which I'm coming at generative arts practices. I was at the Transmediala Toplap panel in 2005, and I was delighted by the range of stuff that I encountered. And for me, I just thought, oh, God, this is all about extensions to theatre. This is performance and performativity growing. And of course, if you go back to traditional theatre technology, we've been moving from static light and sound systems through to kind of fairly pedantically preset systems, through to on-the-fly controllable systems, through to systems that we can give more or less autonomous behaviors in live performance contexts.  And the other thing that we've always done, and which I think is really relevant here, is that we've been upscaling and downscaling spaces and times. That's what theatre is for. That's what it's about. It's a place where you can mess around with scales. And this, I think, responds to a very basic urge or yearning that my friend, Louis Beck, calls our yearning as creative extremophiles. Human beings are creative extremophiles. I think the best of us are. We push the edges, but we push them in creative ways. So of course, we know that computational entities have long flourished in performance. Again, this is not live coding, but it's worth remembering. So there's sound and light, but there are also choreographic notation systems like this one, Rudolf von Laubens' system, has been a very strong basis or framework for software like Tom Calvert's Lifeforms. This goes back to the 90s. It was developed with the dancer, programmer, Teckler Schipholst at Simon Fraser University, Vancouver, which next month is hosting the Movement and Computing Workshop. Last year's edition was at Eacom. This year's is at Simon Fraser. And so this whole arena of movement and computing and of Lifeforms-type software exploration is a very, very vigorous one. And I think there'll be a lot of live coding in Vancouver as there was at Eacom. This has inspired work for Merce Cunningham. Oh, this is, sorry, that's from Lifeforms. So you've got templates. You've got possible geometries and parts of the anatomy that you can recompile to perform impossible gestures because we have gestural thinking that comes through what we normally do. If you want to do something that you don't normally do, throw it at a computer, recompile yourself, and it will come up with things that you would never have dreamt of. So this is what Merce Cunningham did with Lifeforms. And he developed a whole new choreographic syntax and vocabulary. This is Paul Kaiser's work for Cunningham using Lifeforms animations that are projected on a scrim in front of the dancers. And, of course, this technology has also influenced William Forsyte. He did the CD-ROM called Improvisation Technologies, while I was at the ZKM in the 90s, using Laban notation systems, so to look at questions of gestural amplitude and speed and the ergonomic qualities of gesture, if you like. And then more recently, did this wonderful piece called Asynchronous Objects. This is a dancer, right? But this was done with Ohio State University and Forsyte basically spawned a whole bunch of different sorts of declensions of what choreographic movements could be if they were given different kinds of computational renderings. 3D, 2D, whatever. This is a person who's done some interesting work in what that's Synchronous Objects again, sorry. So that's a group of dancers. And if you go on to the Forsyte website, the Motion Bank, you can see the different types of readings and renderings that we have of life movement through this particular choreographic work. It's fascinating. Jean-François La Pointe. No, it's not Jean-François. Sorry, that's wrong. It's François-Joseph. I'll have to change that. There's one guy who's been building this thing called Choreogenetics for the last 10 years. So he's been developing generations of in-silico dancers. And their movement sequences are subjected to simple algorithmic processes. You can see them here. Repetition, translocation, and conversion. And this builds increasingly complex choreographic mutations. So I'm not trying to pass this stuff off as like coding, but what's important about it, I think, is that it provides new ways for us to write and manipulate movement instructions. So this opens up potential for live coding processes or live coding type processes. Performance systems I see as being unique kinds of exosomatic organ spaces. So this is a term I'm borrowing from the philosopher Robert Innes. It's quite a useful concept, I think, to strap on to the wonderful work by Perry Cook and by Don Ide. In fact, last year at the live coding event at Sussex, David Ogborn gave us a fabulous kind of overview of these different approaches to extended biological, anatomical, and cognitive selves. But I like Innes's notion of the exosomatic organ, which he describes as a device that substitutes for, extends, and compensates for natural powers of the human body. So it can be manifest as a microscope, a computer, a language, a loom, an airplane, an institution. And exosomatic organs, I'm quoting Innes, have their own trajectories. They have their own dynamic logics or vectorial paths. They define and pre-define the grounds for the historical variability of consciousness and forms of perception and apprehension. So exosomatic organ spaces extend our senses. They ground our perceptual schemata and our co-evolving motor skills. And, of course, there's a very strong iteration between these perceptual and motor skill developments. They construct as much as they construe what Innes calls the world at the end of the cane. This is the blind man's cane. And its materiality, its rigidity, its weight, its texture serves as both probe and filter. I would suggest that as a performance practice, live coding's exosomatic world at the end of the cane is characterized by unique temporal dynamics. And we've had some really exciting insights into these temporalities. Thank you, Stephen. And I think it's interesting here also to explore something that Jeff Cox pointed to yesterday, Shintaro Miyazaki's micro-temporalities. His algorithmics defined as the interleaving of concepts of algorithm and rhythm. But also we can look back to the founding rhythm analysis of people like Henri Lefevre, which is, you know, it's a political agenda. It's an agenda of social tuning. And this is part of what we're doing as well, I would suggest. And then there's work, obviously, on the cultural industry's takeover of our temporal consciousness, the good old Adorno-Horkheimer stuff, and more recently Bernard Stiegler. I think this kind of reflection is all relevant to our exploration of different rhythmic modalities, different forms of communitas that are being generated through live coding performance. So to create spaces for developing and collectively appreciating these performance practices separating them out from everyday contingencies, we've been designing containment systems for thousands of years. It's a slightly brash term, but, you know, I worked for a few years in an industry where containment systems were actually quite important. And I think it usefully demarcates realms of autonomy where we can co-mingle or control human and non-human actions. It's cultural apparatus. So I'm coming back to Barad's definition, again, that Jeff used yesterday of an apparatus, not as a mere static arrangement in the world, but as a dynamic reconfiguring of the world. So the characteristics of these containment systems, these apparatuses, their scale, their level of detail, their means for separating contents from environment, their observer positionings, these obviously affect the ways that liveness can be projected. And in turn, the very liveness of the phenomena they contain challenges their own boundaries. So this is a process of ongoing feedback. And I think we need to be looking at this containment system when we're trying to define where is it that a live coding performance starts and starts? Where is it that the infrastructure starts and stops? Where is it that our literacies and our social conditionings are brought to bear in our appreciation of a live coding performance? So this feedback thing, it's something that live coding specialists and the ones I'm referencing are mostly in the room, have called, they've classified into nested loops that include feedback between source code and running process, raising kind of event and concurrency questions, manipulation feedback between the programmer or artist and the work in progress, performance feedback, which involves obviously the external outputs, the display systems or sound protection systems, display we use too idly as being an exclusively visual term, but of course deplicari means to unfold. I think it's really unfortunate that displays being monopolized by visual culture. It's a wonderful term for sonic and all modalities of sensory experience. But anyway, and then there's social feedback which encompasses audience or co-performers in a distributed system. So I want to step outside, radically outside informatics-based practices to see how other kinds of adaptive performance systems might be seen as being open to runtime interventions and generating real-time live feedback that affects their evolution. So if I apply for example these categories to emerging academic canons in the European performing arts, I might view 17th century royal choreographer Pierre Beauchon who was actually inventor of the classical dance framework as being engaged in manipulation feedback. He was devising the code, he had to make it usable for and co-developal with performers including Beauchon himself. So it was constantly being refined keeping with the performance feedback loop. And then of course social feedback was crucial especially at the French court. It upheld relations between the dancers, fellow dancers and audience. So this is a scale question but basically if you do some transposition, if you do some extrapolation you can map these notions of feedback across to very different historical phenomena. This is not actually a Beauchon piece. This is slightly earlier, this is late 16th century but it gives you an idea of the arena within which these different sorts of feedback were engaged. Here's the king of pieces, La Place du Classe, but the aristocrats, the spectators who really have to see the stuff, he doesn't really have to see it because he is it. They have to see the stuff but they have to see whom. But basically what they're seeing is on this ground level. So court dancers were actually interpretations of instructions that were governed in part by obvious corporeal, biomechanical limitations. There's a limit to our gestural amplitude, to our speed, to our precision. And they were also pushed to their limits in the name of innovation. Court spectacles were luxury goods. They were only performed once and that meant that they had to be very, very strong in terms of their innovation. They were free from the imperatives of reproducibility.  No pressure. And then there were kind of hardware. This is one of the remappings that Margaret McGowan, a scholar of Court Ballet, has done where she's shown some of the incredibly elaborate kinds of patterns. These were monographs that were read by people in the galleries. So this is reading movement, right? This is reading code. Sometimes these were the royal monogram and that's where everybody just swooned and applauded, of course. Otherwise you were beheaded. And then there are the hardware limitations. Here's Louis at his best. You try and do it pirouette in those shoes. Of course in those days it was a very gentile and gracious turning on one's own axis. But these kinds of things really influenced the flexibility and the vocabulary that people could use. The Sun King was the ultimate live coder because he was a star, as his name suggests. Even if he totally fudged the vocabulary that his poor courtiers were trying to develop as a basis for a transmissible, transferable, knowledge transfer type of programmatic language. There was a notation system that was based on Beauchamp's work. Here's some examples. This was published in 1700 and this dominated classical dance for over 150 years. So that thing that with historical hindsight we look on as being very rigorous and congealed and frozen. It must have actually been quite adaptable and open in order to last for 150 years. And the early notations systems were mere floor plans although gradually, so here is some more, gradually as you move towards the 18th century and human beings come more sensibly into the picture they get brought into the engravings. Reproduction techniques, of course printing techniques have a lot to do with this as well. We're in an ecology of resources that is well beyond the actual performance space per se. Yet all of these traces and we've got quite a few of them won't ever let us know how easily dancer choreographers really rework the classical code. And I think it's difficult today by the same token to see how freely live coders develop and navigate their programming languages. Or how distinctive their respective systems ultimately are. Nick Collins yesterday came up with this wonderful Codio morphology term borrowing from Dennis Smalley. I'm waiting for a Codio-Rodio, Alex. But I think that Nick talked about a taxonomic approach to live coding practices. We've got a corpus now that allows us to devise this. And if we look at what we've seen over the last two days, we've seen stuff that's based on games, we've seen models that draw on tangible interfaces, repurposed instruments, we've seen a whole range of stuff. And I think a taxonomic approach to this would be quite valuable. And this would perhaps help us to see that canons or academic implications or reproducibility imperatives are kicking in, if they are. They may not be, but let's not kid ourselves. So whether we're dealing with the 17th or the 21st century, in either instance how far can artists depart from recognised frameworks whilst ensuring compelling legibility as opposed to bloody boring legibility of dynamic processes for their own engagement and for their audiences and which audiences are we talking about? Are we talking about code literate audiences? Are we talking about general cultures? What are we talking about? How conditioned are feedback loops by performance infrastructure, by the types and emplacements of the projection systems, the display systems, the audience positioning? I thought that the stained glass figure probably had the best view of all the other night at the left bank. And a few of us commented on that. Why is this being influenced by the specific socialities of practitioners and publics, including the fact that we take into account the fact that there's a guy up there or a reproduction of a guy watching all this going on? And we're not oblivious to it. It's not innocent. There's nothing innocent about this. So I want to turn to some more recent pre-computational still performance work by a Bauhaus artist, Oscar Schlemmer who lived from 1888 to 1943, sadly died too young. But Schlemmer drew on mathematical, experiential and affective principles to create choreographic programming that some people have described as corporeal calculus, which is interesting because calculus is the mathematical study of change. And he built these kinds of systems and Schemarta, so egocentrischer arm lineature is when the figure is generating its own space. Whereas, this one, figure arm lineature, the figure is subservient to the vectors and the prescriptive characteristics of a mathematical space. Schlemmer was always torn between these two models and I think they're quite interesting to look at. But he also, so here's a real live example because sometimes when you just see this, you think, oh yeah, that's easy to do, it's a pretty picture. But actually this guy, Werner Siedhoff is a really amazing dancer. He wasn't just a pretty picture. And there was an incredibly tight correlation between what Schlemmer was doing diagrammatically and what people were doing physically at the Dessau Bauhaus. And then he devised these kinds of typologies, these gestural typologies and these bear their own kind of movement vectors. They have their own kind of propensities for certain kinds of linear movement. They can be deployed, they can be modulated, they can be combined and they can express new kinds of movement potentialities. So a lot of the experimental work that Schlemmer did involved taking movement sequences and literally processing them through these different types of figures and seeing how they were deployed, how they were modulated. He was building up vocabularies. So they were movement sequences that were constructed and reconstructed in the course of their execution. Which uncannily aligns with some of the things we say about live coding. And again, not just pretty pictures. Using extensions, using prostheses, whether they're sticks or hoops or a mixture, these all inflect our movements. These are strong theatrical examples. But let's think about the perhaps more subtle theatrical examples that we're sometimes blind to. They're up there on the stage when somebody is doing a live coding performance. There are what John Bowers calls instrumental ecologies. There are playful ecologies that we use and that we operate. And it's good to be perhaps aware of these. And Schlemmer also worked on the influence of materials on movement. So this is the metal dance which had a very specific kind of gestural pattern to it. It was a metal gesture. It was a heavy metal gesture. And this is glass dance. And this was all tinkling. I mean, it's interesting because basically going through geometries, going through materials, there is a kind of a dictating or a prescription or at least a suggestion of constraints and codes that are just there to be played around with and eventually to be broken. The other thing about Schlemmer that I think is really important and I'm glad that these photos I think show it better than the diagrams that some people remain completely obsessed by and they forget about the human realities. Schlemmer's dances were fluid human elements and he was very attached to that. A lot of his colleagues were working on mechanical, strictly mechanical theater and dance. And Emma Cocker has talked about the artist's body which might be conceived as a processing machine acting out algorithms and performing code, but like the artist's body that Emma whose arbitrariness and whose idiosyncratic behaviors Emma emphasizes Schlemmer insisted on the non-fixedness of human engagement, its openness to connection and interpretation. And actually Slub talk about the human thread you even talk about the homemade quality of the music and one of the texts which I really love which is granted by expressive control over the software and I think this is quite an analogous situation. So basically Schlemmer's performances are devised and often improvised with corporeal grammars modulated by a whole bunch of factors. We've seen some of them they can be exogenous factors coming in from the outside or they can be ascribed or innate gestural typologies group interactions they can evolve freely their cues are partly programmed these might be learned or scripted gestural sequences they might be kinetic behaviors dictated by geometries or materials and there are also partly spontaneous responses to programmatic constraints this is improvised and directed programming however much Schlemmer may have rehearsed some of his pieces and he did and his performance notation systems were inspired by I'll get there shortly by corp ballet patterns that were read from raised viewing galleries he knew his history so he used color codes and diagrammatic marking for floor trajectory notations that resemble actual motion traces so this is the triadic ballet which is one of his most famous pieces so all of the costumes were basically dictating the gestural and kinetic typologies of the dancers and here you can see the kind of work that went into looking at how graphically these systems were going to unfurl their innate mathematics and here's some of the notation stuff so Schlemmer actually conjectured about notation which was made by trails deposited by the dancers feet and he also talked about space that was filled that might be spilled with a soft pliable substance in which figures generated by movements might harden as negative sculptural forms producing 3D relics he likened to technical organisms very similar to what Foresight's managed to do with contemporary technology and again I point to Emma's work which I think is really wonderful on new notational systems and the need for us to actually evolve and devise notational systems that actually meaningfully convey what are novel types of gestural practices gestural practices that involve extremely hybrid environments and agencies alien agencies as Chris Salter calls them so these notation systems of which Schlemmer could only dream and that are now fully instantiated that mobilize ideas of live capture or sampling of physical activity per se comprise something that Brian Rotman described as a symbolic writing he contrasts this to the symbolic writing of alphabetical or mathematical systems Rotman is a philosopher, mathematician and semitician he he talks about trace and residues this is a writing that has to do with trace residues, echoings and ghostings it has to do with second and third and nth degrees of what I call registers of presence which I think are needed to capture something of the complexities of live performance as a crucible for temporal meltdowns and the notion of the theatre as a crucible is a very a rto notion he talks about a place where we trample the traditional systems of disparate and discreet bodies and languages and we put them into this we throw them into this crucible they are dismembered and re-membered so live coding performance is productively caught between the manipulation of symbols alphanumeric character command lines and physical corporeal interventions and I think Mariah and Chris have shown us this beautifully so maybe Rotman's reflection on symbolic and asymbolic systems and on what he calls gestural haptics might help us think through the embodied specificities of live performance so if you're editing a source code to modify a running process this obviously means that you're using a formal language a symbolic system in short whose grammatical structure embeds syntactical and semantic requirements that's easy to say Nelson Goodman compares the semantic and syntactic properties of analog notation systems his example is a gauge whose needle rotating clockwise over a non-differentiated surface roughly indicates rising pressure so he contrasts this system with digital systems and takes the example of a gauge that records the successive insertions of coins in a toy bank or what he calls a dime bank so this is from his languages of art and I'm wondering whether the exosomatic organ space of live coding doesn't mobilize both kinds of systems in other words the abstract autonomously evolving processes are necessarily and excitingly entangled with human input that cannot be reduced we know to the strictly computable or computational so when code is deployed or transduced by programmed sensor laden physical objects kind of exclusively by a computer keyboard and screen this further highlights the ergonomics aspects of the relationship and maybe this is where Steven I was very taken with your evocation of secondary syntax and I was wondering whether we we mightn't be thinking about nested language loops and nested linguistic modalities as well as nested feedback loops the great linguist compares existential modalities of the schema a fixed form realized and viewed in the same way as an object with ritmos which designates the form in the instant that it is assumed by what is moving mobile, fluid the form of that which does not have organic necessity sorry organic consistency it's the form as improvised commentary, changeable so there's something very close here to the kinds of language that we've been using to describe live coding it seems there are lots of wonderful reflections and I'm cutting this very very short on the language or the languages of liveness Richard Doyle's book on beyond living rhetorical transformations of the life sciences talks about the curious chiasmus or folding between vitality and textuality that accompanies for example the emergence of DNA code it's a fascinating thing to look at as a parallel perhaps to some of the notions of liveness we're trying to associate with live coding performance so I think that these kinds of differentiating concepts or frameworks I've been looking at them to look at gesture it's eventual preservation or it's vital non-preservation they've got a lot of scope for development in the live coding domain philosopher etienne Souriot and I'm sorry to be throwing all these names at you but I will write them down has written about the need for us to get beyond thinking in terms of exclusivist, hierarchised modes of being and instead to embrace ideas of existential pluralism and I think again Stephen this was something I thought I was hearing coming through your beautiful conversations of temporal structures and so these etienne Souriot's existential pluralism foregrounds the relational dynamics that operate across different modes of existence rather than discretised existences or modes of existence as such and I think this notion on the relational dynamics is a really valuable one so to conclude as a performance to conclude as a performance historian I see live codings striving for rhythms and patterns ever closer to the bone of that thing we call real time striving for creative fusions of flesh and symbol or what Guattari calls machinic processuality beautiful term that comes out of chaos I see this as part of an archaic yet very vibrant theatrical quest we're a pattern hungry species and we're forever searching for signals for frequencies and scalabilities that can extend our exosomatic organs which are having to deal with a very steeply evolving environment so for me live coding is about creatively engineering our relations to time it's an activity at the core of all live art practices perhaps if nothing else to bluff the intractable linearity of our own lifelines and of my own 30 minute intervention I'll leave it there here are some of the people I've quoted and I should really very strongly acknowledge all of the people especially who were at last year's Sussex Symposium who were wonderfully rich source of information for me but so many of you in this room as well so thank you really rich, thank you very much I really love talking to reading so much in there and I found it very helpful I think this idea of an entanglement between symbols and action I think is very helpful I guess you could think of it as a continuum where people are moving in different directions in their practices software developers who want to connect more collaborate more with people or musicians who want to explore happening in a symbolic way and so I think bringing body into the discussion like balances it in a way and allows us to understand each other help us resolve these little conflicts which is always the same so yeah I've got a question well, thank you Alex I mean I feel as though the movement, this feedback movement between the kind of performance that I'm dealing with and the levels of coding skills and performances that people here are dealing with is an incredibly productive iterative kind of system because I feel as though my probably very clumsy and totally non-computational and non-discretisable notions of time have just taken a very healthy hammering by reading and re-reading and re-reading work that a lot of you people have produced I think we need it, we need it from both ends but I do think it's very much to do with coming to terms with this exponentially rescaled hybridity and entanglement's a good word Barad uses it, it's actually the subtitle isn't it, of her book Meeting the Universe Halfway the entanglement of quantum mechanics or something and then Chris Salter's entangled performance book which is a really interesting one as this is Alien Agency's book so I think there are valuable kind of metaphors that you can hang your hat on or at least get to work on we have a question out of there isn't Kate there I just wanted to add to that with the Rotman reference because I was looking at topology as we described before I did that like if we stop changing something then we frozen in time and it's not longer like this idea of largeness like we use almost I'm sort of extending this a bit but that's like another really nice way to start eventing what Rotman is actually his performance work is people vamping topology they have to non-geometry and geometry in this way to start relationships with time and making symbols yeah and I think Shashin Wei there's a scholar working he's founded a topology research lab in Concordia he's now at Arizona State but he's a mathematician working on these kinds of concepts as well and he's coming up with new terms to talk about neosemic systems where we're actually trying to devise vocabularies and languages that are of a totally different semi-nature to what we've encountered previously and I find that really useful in the role of the document or even the kind of the relationship between the idea of largeness and the relationship of uniqueness presence and whether or not and I'm curious where you might be in that debate but I mean also if that's extended out there is perhaps an assumption that greater levels of largeness greater levels of realtime necessarily somehow in advance and yet there are these models and it's a good point and I think that's why something like the Staniak and Pieckert text on deadness is really useful because I think we are obsessed, I don't want to quote the accelerationist manifesto it drives me nuts but I think we are obsessed with this kind of catapulting thing that you've referenced and a few of your questions already faster, quicker, leaner, meaner when buto can be one of the most powerful communicators of largeness through its stillness and working with people like Tadius Conto on the theatre of death where he says we read largeness in theatre by putting basically totally mechanised dehumanised dead actors on stage and that makes the audience aware of how alive they might be you know and yeah, I think it's good to be challenging the premises whereby liveness is a superlative that is just kind of scrapped onto a bunch of existing adjectives because it may be the exact opposite that's required Alan, have a question I'm not asking a question about something that seems to be inviting in plain sight and a lot of the work that we do here my direction into this of course is come as a technologist certainly in tactile and tangible systems and working with dancers for many years and those experiments clearly challenge the attempt to embody our experiences at a time through competition but one of the things that was most disconcerting and what I did with the project actually was where we introduced computers into a dance studio in order to find another layer of abstract thinking about the process and what was really problematic for those dancers was the physicality of the devices we introduced into the studio and I think what hides in plain sight is that we talk about computation as an abstract whereas in fact the average performance we've had here at this conference is a model of people opening their laptops at stage I can't even think of the number of keyboards that gesturally and in the involvement of that but you haven't shown us any pictures of computers and you haven't said anything about the embodied action of using a laptop or a touchscreen or a mobile phone I wonder if you have any comments about those things well yeah I think I've shown you one no good point and agreed okay lots of computers here lots of cables yeah no mobile phones in 94 but actually what was really interesting about this first workshop and it's something that stayed with me since I'm grateful for you to raising that point is that I recruited 15 puppeteers from all over the world and they were the best in their respective puppetry techniques and they came, they didn't know anything about digital spaces and they came with these illusions of its unencumbered joyful platonic weightlessness and transcendence and they were confronted with the irritation of what were then very short so polymers cables really nasty primus technical university delft is great but these were clunky systems calibration tea posers forever you know and the whole we kept all of the computational stuff and in all of the workshops I've done we've kept that stuff very visible because it is part of the wider performance ecology and I think it's really important it does drag it drags on the system but it can drag in very productive ways it's not exclusively to come back to Emma's point it's not a negative drag coming to terms with the different temporalities of the processes that you're engaging with creatively it can spark a completely different reflection on your own processes so yes it is really important and next time I'll show more slides with messy stuff well I think sadly we have to get into the paper session but that doesn't mean that we have to end right now because I know there's a question here Nikolai and the first presenter you could come up and Seligene could you just continue did you have any questions? I did thank you very much Steven one of the lessons you have for us that lightness has been in performance all along we're just struggling because the technologies where you've been using computers have this barrier to lightness for a long time the fact that we have to write these programs are only gradually overturning I'm just testing the sound for this yeah absolutely I mean I think one of the reasons that I started experimenting with motion capture and then worked with people who were using robotics and stuff on the stage is because there was a possibility for deploying computational lightness in a slightly more livable real time way so it is frustrating but I think there's a lot that's been done in a few decades and I think that live coding performance has a very specific contribution to make to the analysis and the discourses building up around those typical fantasies I'm really really excited by what is going on here Thank you Alex, did you have a last comment? I was just going to ask a question about mediatisation what does it mean in a notation written in the way we have built an output it's an internal speaker you have an only sound flow you need to tell if you have mediatisation that's the line in terms of house language so I'm only understanding something here no, I mean Auslanda was very useful for looking at the traps of playback and the entertainment industry I think he did a very good job in 1999 you know and it's I think it's just my computer and these kinds of constructs of people who were not really live or who were being presented were not really there were questions of authenticity associated with mass mediatisation and the entertainment industry I think that the mediatisation that you're talking about and the one that I'm trying to get my head around but at the moment it's still really really messy in writing, language, notation syntax, grammar the rigors to use Auslanda's word are formal structures in generating something operates a a sweat and blood being it's of a very different order and I don't know I don't know whether the language associated with a bit of code is a question of your capacity to read it to read the language in it it's a literacy question as much as anything in the beginning of writing


Whereas in Wing Chun, the first basic move we learned is the straight punch, right, which is this. You can't reach them this far. I have to be this close to reach them. So that's the main thing. We can tell from just the first move in the forms that the distance that the martial arts designed for is totally different. Mantis is long range and then Wing Chun is short range.


Adab Camo. Love the enthusiasm. You hit the ground running, literally. This is exactly what we were hoping to see. But let's talk for a minute about the importance of keeping up the momentum throughout your deployment here. We need you to start strong and finish even stronger. Welcome to Adab. We are thrilled to have each of you and excited about the unique talents and experiences you bring to the wing. We are truly looking forward to building our community based on professionalism, discipline and trust. Now that the last team is largely moving on and the new team has largely arrived, we're thrilled to see you hitting the ground running. The pace is definitely not going to slow, so we need each of you to start strong and finish even stronger. Remember, the main reason we are here is to execute the mission, but we can't be effective without making sure we care for each other. Make it a priority to get to know your fellow airmen and to look out for each other as brothers and sisters in arms. Not only do we want you to connect with your Adab family here, we also encourage you to set personal goals to work towards during your tour. We want you to leave here stronger both personally and professionally. Let's also remember to leave the base better than we found it. Team Adab has performed superbly, but there's always areas right for innovation or improvement. The best ideas usually come from our youngest airmen. Be bold and offer your feedback because just good enough today won't be good enough tomorrow. Lastly, it's not only about work, we hope that you'll get out and enjoy the events that our mighty FSS team puts together and check out the unique experiences of the local area has to offer. It's important to cultivate positive relationships and a sense of community around the base and to learn about the customs, culture and the history of our host nation. We are confident this will be a fantastic deployment for each of you. As a team, we will deliver combat air power and help ensure regional security. And it begins with every one of you starting strong.


Welcome Trader Sir, Ticknell, Charles Hitt, we'll update Ethereum, we have seen the corrective move player, we have been tracking here into the equal legs extension and the projected pitch four trend line support coming in at 2674 and so what we're looking for there was a break of this descending trend line resistance which we've got so as we now hold the monthly pivot support of 3228 but for an extension to the upside to get into this trend line resistance 3881 we get through there then we look for prices to extend up into the monthly range resistance and prior highs of 43.59 on route to an ideal test of the 127 extension up to 46.69 As always Trader's Planetary, trade the plan and most importantly manage your risk. Until next time, thanks very much.