My goal with this haircut is to make sure that I follow the angle follow the chin line and have a little bit of a forward fall to the front of the haircut. So I don't want to have it super extreme I think when people think triangular they over direct everything really far back and then it becomes too extreme in the front. I want it to be nice and soft. I'm also going to cut it with a center parting that way I can work on staying balanced on both sides. So center parting so just look right over the nose comb it back make my first part I don't have to go all the way down center back at first I'll continue that after I get this hair out of the way. So we'll saturate the hair I want to make sure that I keep the hair nice and saturated the entire time you want to keep only your elevation your tension your finger angle all of that stuff consistent but also the fabric of the hair should be consistent as well. All right so we're going to section the hair away now what I'm going to do just so that I can kind of cut this in half I'm going to work across the occipital bone from the occipital bone to behind the ear pretty standard sectioning. All right so comb this over I'm going to do the same thing on this side so I'll comb the hair in the direction I wanted to go and then I'm going to take a parting across the occipital bone over to behind the ear. If I put the comb flat just like this you can see the angle that is created from the difference between this angle and up here this angle and then obviously here this angle this is a round surface so if I'm holding the hair here and I continue up the head shape that elevation gets lower and lower as you go even though your angle stays the same so it's not so much about finger angle we're taught in school that this is 45 this isn't 45 45 at this point of the head is more like this right but 45 at this point of the head is like this so you have to be really well aware of what the head shape is doing because your angle is going to reflect and the weight and the density and everything in the haircut is going to reflect the finger angle that you have so I'm going to part this side out of the way so the way I'm going to work this triangular graduation is I want to make sure I'm working on a diagonal the same angle that I want to create here right so that diagonal should follow through to the jawline so I take that first parting and this is basically going to be 90 degrees straight out from the head and I'm going to cut my line so bring it back to me and cut the line this is going to be a traveling guide what I don't want to do is start over directing everything right away back here because that'll already push a lot of weight right behind I want it to be more consistent across and then start to take its dive down now those of you guys that get a hole back behind the ear first off don't freak out about a hole because sometimes a hole can happen but honestly we're going to cut into this so you can see how the the hairline right here gets a little bit weaker all of that in the dry cut I'm going to take off and I'm going to follow this line that I'm creating so I'm really focused on the weight line in the interior not so much the line on the exterior if you come around and you just cut shorter layers in here then you're cutting around shape anyways so you just need to know what you're doing I'm cutting triangular so as I get to the side here everything is coming back to me I'm not allowing my hand to go into that corner because it's triangular so I don't want to take off the corner I guess you should say and then I finish off using the line from that previous section so now you will see as I comb that down here that's our weight this you've got your line but then it goes up in a way but that's only because the hairline goes up in a way we could continue on this side cut this whole side if we wanted to I personally like to work both sides to make sure I have a nice balance shape before I move on to the rest of the cut we're going to change up our hand positioning a little bit I'm going to take a small diagonal forward parting that mimics the chin line or the jawline of the chin we got the head tilt forward now here's the hardest part the right side becomes harder because right away my elbow needs to go in the air in order to keep my fingers pointed down to get that consistency of my combing into the new section already as I push this hair in I want to push it over and sometimes you can push it a little too far sometimes you have lower elevation so that's the tricky part that's my line so that's what I want to continue this section into so I hold this up in my hand I can see my line through there and that's what I want to mimic in the haircut so two inches up when I say two inches up I'm not really being that specific but I'm already looking at it and I can see that it's two inches because I look at where the comb starts to bend on the head right so we're sitting here this bend right here that's where I want to because that's where I know that the head shape is moving so I want to make sure that that's where I'm staying in line with so that is our line working through the back so now I'm going to connect vertically straight out from the head so I grab not even half an inch not even half an inch to start this um the thicker your section that you grab of hair what happens is you pinch that hair together and you're already over directing it so anytime then you take a new section you get a diffused guideline because you're already because you're smashing it all together so to get the strongest guideline you want to make sure that you're not over directing too much hair pinching it in so less than half an inch here to start and I'm going to work that line this is where it's going to turn more into that 45 degrees off the head shape there's 90 right so 45 is about here that's the angle I want to create that'll start to build up that nice little bit of weight in there which you can kind of see happening I'll show you more in a little bit so this is what I've cut so far about an inch worth of hair I'm going to take half of that and push it away so I don't get involved with it and I'm going to bring just the this new section quarter of an inch of hair into that previous bring it right here and cut my line this is where the head starts to curve this way right so I don't want this to change I want it to start to dip so instead of going any more around this corner I just bring everything straight back it goes from going straight across now dipping because the head shape you're playing with that whole curve this way not only the over direction that's that side so let's move to the side here we're going to do the same thing so now you can see that nice dip you can see that bob shape happening see how that shape there works through to her jawline I think I'm going to work one more couple inch section then we'll blow it dry because I really want to get the shape in there so I take my next two inch right at the division point when I say division point I just mean basically the middle of the ear divides the back in the front so same thing guys I know it's a little repetitive but that's what cutting a precise bob is so center we're going to go quarter of an inch again in the back just like the previous panel that we cut the only thing you want to decide here is do you want to keep building that weight from here out or do you want to start to round it up right do you want the weight to sit a little higher or a little lower that's all based on your elevation from this point you've got the head curving this is where we stopped cutting right so if you want it to be about 45 degrees for me that's going to be a little bit higher elevation than you would probably think so I pull this out from the head here and I comb it up and pretty much straight out but you could see if that's 90 that's about 45 right so I just it's not that you have to be that specific but just know that the higher the elevation at this point the lighter that graduation is going to be like it's very easy to just now all of a sudden drop it down and then you see it goes a little weird because I'm not at where my gut really is but some people will just cut that off just to move it in because that's where they think their hand should be you got to trust what you're doing in the shape you're creating as I round this corner everything gets a little shorter tighter here so when I bring this back I cut my line here normal but then right here see where that disconnects right there that's okay let it disconnect that's going to start to build our forward shape that we're getting here you can see the flow of the weight and it starts to dive down right there so I'm going to do the same here blow drying working with a flat wrap technique wrapping it around the head really what I want to do is just form the hair to the head shape so then when down it's got that nice bevel already to it also helps smooth the hair nice I'm just going to work the iron into the hair and just smooth it out really just working with the head shape here so the goal here is to look at the weight within the haircut not to look at the shape on the outline like this you can customize like you see people do like different shapes within that the hair line all of that has nothing to do with like the actual shape of the haircut and you're not doing that within the wet cut now you don't want to go in here and just go full blown with your blade what that's going to do is push the hair and then you're going to end up with shorter pieces than you wanted and you're not going to get your line so just go in comb the hair down and I'll work with the scissor just like this and I'll start to etch the hair away little by little use the tip of the scissor across this way you're not pushing the hair and you get the line that you're going for my biggest thing is really focusing right now on keeping that line balanced and following my weight line which is above which is here so I want this line to match my weight line and it just keeps the haircut looking nice and balanced and to my eye looks the best then you can go in with a little bit flatter blade just to make the line a lot harder and sharper we're going to cut the sides the sides are pretty simple because you stick to the very similar way of just bringing it straight back and I will wet down just a little bit of this side as well it was already dry just because I want to have that consistency there's a few different ways you can do this if you want extra heaviness then you could start here and just work your way across I'm going to lighten it and then I'm going to shift into creating that line so I'm going to kind of follow it diagonally I think that'll work the best in this case it'll also really allow this hair here to lay nice and soft on the top all right so I take that parting and I connect that here and I've got my disconnection and then eventually I will be running out of hair that will reach back there this is all behind the ear now I'm going to take more hair I'm going to work diagonal forward along that jawline and bring everything back to this point so as of right now that first section there's not a whole lot to cut here so I'll take another diagonal bring it down to me a little more to cut so again I'll just work a flat wrapping technique around the head I'll just do a little bit of irony real quick goal when you're smoothing hair to cut it dry is to make sure that there's no kinks increases in it so now we've got our dry almost done bob so what I want to do is just go in and just soften some of this heavy weight this is very bulky very squared off looking so I'm going to bring that line in what I want to do is I want to take some of this hair out just like this and I'm going to start underneath here and I'm going to work that's my perimeter line so I want some of that to fall out and then I'm going to do a tease cutting technique which is a half open half close of the scissor which just removes some of that bulk this technique that I'm doing here creates more of a soft effect yes you can do this on curly hair I actually really love this technique on curly hair and that the only reason I'm over directing it back is that keeps that triangular kind of forward feel to the haircut so now it's already getting much lighter on the side and instead of having this squared off feel which was the old haircut the old perimeter I can now cut right into that line and create a more triangular perimeter so I'm going to go right into it and then you can see with the tease cutting it makes it nice and light on the edge as well so that hair easily kind of comes back now I'm going to do the same thing on this side


Alright guys one of my favorite Ho-hem products is my gimbal the iSteady V2 this has a little camera there on the top which allows AI tracking without any need for an app and they've taken this technology and incorporated it in one of their newest products the Ho-hem Go. This is a two axis auto tracking holder which you can use for your phone or your tablet. I'm pretty excited to try it out it's only $60 so it's very affordable if this is something you guys would like to try. Let's go ahead and unbox this and showcase to you guys how this works and let's get straight into it. So you have yourself the user manual there right on the top I'll go through that in a second you've got some instructions just there let's take this out and here you have this very nicely designed Ho-hem Go. It's actually pretty compact it's pretty lightweight but it can hold up to 11 inch tablets as well so if you are going to maybe use this for recording videos or live streaming or maybe taking meetings and calls then you know this is going to be perfect if you are the person to maybe move around a little bit. Let's see what else we have down here so just one more thing is the USB-C charging cable now this is powered by USB-C and it does give you up to 10 hours of battery life which I think is amazing. Before I dive into the design of this let's just quickly look at the user manual and showcase to you guys how it works so it's pretty straightforward just going to get your attention to this bottom right hand side corner here there's only two gestures the okay symbol to turn on the smart tracking and showing your full palm to turn off smart tracking so this is one of the same gestures as my Ho-hem iSteady V2 gimbal that I was showing earlier and the best distance of the gestion control is between half a meter to one and a half meters away and the tracking distance is good to have maybe half a meter up to three meters away from the go itself. Here's some information about the battery life so you can fully charge it in up to two hours when it is less than 10% battery life left you'll see a red light flash on the front of the Ho-hem go when it's fully charged the indicator light turns on and once it is charging the indicator will slowly flash continuously right on the front of the device some of these status indicator lights are listed here as well so when it's on standby and it's not tracking it'll be blue when the tracking is on it'll be green these are the two main status light indicators you will probably use if it flashes yellow that means it's on auto rotate mode and if the light is constantly on red then it's either fully charged if it's flashing continuously red then it is low battery and you should go ahead and start charging it so very simple let's dive into the design a little bit more so this is the button that actually turns it on but that actually doubles up as these status indicator lights so when I do turn it on you can actually see that light up in blue or green etc you've got yourself a quarter inch thread there at the bottom so if you wanted to mount this on a tripod then you can also do that you have the USB-C charging port right there at the back then you have a little knob here once you've placed your phone inside here you can actually turn this to tighten it so your phone or your tablet is very secure here's an example I'll just take my phone so you place it in there you tighten it so the phone doesn't fall off there we go okay so simply just hold down the button there at the front you'll see it now lights up blue and that means it's on and you're ready to use it so like I mentioned there's no app you need it can work with anything so if you want to stream maybe on Instagram live TikTok live you want to do Facebook live or you know just have any FaceTime calls with your friends or family okay so now that I have the camera on but this is the standard camera app on my iPhone I'm going to start the gesture controls by giving the okay symbol the camera is right there and it's very quick and easy this will go green once it's ready to start tracking me so remember to be at least 50 centimeters away if you do it too close it might not be able to pick up the gesture but you saw how quick and easy that was now this actually rotates 360 degrees not only that this can actually rotate vertically up to 30 degrees so I'm going to start moving around a little bit just to showcase the capabilities of this it's not really tracking my face it is focusing on my body so as I move around it will follow me as I go up down left and right that is pretty impressive now if I lower myself you can see it does tilt a little bit 30 degrees maximum but more than that it will cover pretty much your entire body no matter what type of thing you're doing and it does it from quite a bit of a distance as well so I'll step back and see how far I go you can see that is pretty quick and responsive you know I really like this gadget and what I want to do is now test the 360 does it stop at 360 or does it actually continually keep going round and round so I'm going to put it there in the middle of this room and see how well that performs so let me do that now okay I'll actually start the recording on my phone I'll give it the gesture there we go let's go ahead and start walking around 360 so it started facing the camera towards you guys it's doing a good job following me around now if I do go pretty fast and I get out of the view the light will go blue and that means it won't be able to continue tracking me but as soon as I get back into view without any gestures it will continue to tracking by itself now you can see I've gone past 360 this is the second time I'm going round so this is unlimited 360 as well so if you are maybe going to go around in circles when you're maybe running a class or a fitness type of yoga type class or anything like that and you're walking around talking to other people then you know this is going to be very convenient as well so for me you know I'm quite impressed the way this is working but let me go ahead and show you guys what happens if I do get out of view very quickly so I ran past it the light has gone blue without any gestures I'm going to come back and this light will turn green again there we go it's picked me up so it kind of carries on from where you left off but one thing I like is if you are in a live stream or you're running a meeting or any type of call and you don't want it to stop then the only way to stop it is if you do manually put up the gesture to stop this which I think is quite convenient so you don't get any interruptions so you have to really hold up your palm in front of it wait for the light to go blue that's when it's actually stopped so then you can move away and then maybe dismount your phone or your tablet so the way this is working it's really impressive and I can't find any faults with this all right guys so I just wanted to also show a comparison that this actually works very well if you put a tablet on it so I have an ipad pro here it supports up to maximum 11 inches so my ipad pro is exactly 11 inches and I just wanted to showcase a variety you know if you wanted to use this then this is actually very good to have a little screen on there of this size so I'll just go ahead and turn the tracking on and it just works as good as it does with the phone as well it keeps me in view and it's pretty smooth it's pretty responsive and I just feel like you know this type of AI tracking where you don't have to select your body manually or your face for face tracking or anything like that it just finds you as a person in the view of the camera and it continues tracking for you so for me that is a big win and then stop so all in all it's pretty simple to be honest guys and I'm quite impressed of the way this is designed it weighs only 300 grams so it doesn't feel like it's very heavy it supports your phone your tablets whatever your need is to maybe have a bit of more of a view when you're walking around the room or you're presenting or you're live streaming whatever it may be this is a very nice little companion because at $60 I don't think you can go wrong with this I've been a fan of Hohen products for quite a long time and you know this is a very nice gadget that I'm just going to add to that list if there's anything else you guys want to know about this device as always drop a comment down below if you did like this then do check out the link in the description to find out more information or to go ahead and maybe purchase this and make sure to subscribe I have new gadgets and new videos out all the time and I'm pretty sure you're going to be excited with the ones I have coming out very soon and I will catch you guys at the next one take care


You're here in person and also those of you who are following us on Zoom for this very interesting meeting with Vice Minister Francisco Coy. And we're grateful to you Minister for finding the time to come and speak to us all today. This event is organized in conjunction with the Embassy of Columbia in Ireland. And I'm a former Irish diplomat Bob McDonough and I'm delighted to perform this function today. So the running order will be that first of all, the Colombian ambassador will say a few words and then Vice Minister Coy will speak for about 20 minutes or so. Then we'll have a Q&A session which is open both to those of you who are here who can simply raise a hand to ask a question, but also to people on Zoom who should use the Q&A function on Zoom. And those who are following it on Zoom can start sending in your questions throughout the session and we'll come to them later. And you should identify if you're asking a question who you are and if you have an affiliation. I should just recall that both the Minister's remarks and the Q&A are on record today. Guests are invited to tweet and the handle is at IIEA. And the whole event will run to four o'clock or possibly a couple of minutes beyond that. So first of all, I'd like to invite the ambassador to come up and say a few words. Good afternoon, ladies and gentlemen. Distinguished guests and members of the Institute of International European Affairs, who are with us, both in person and online. It's a great privilege and honor to welcome you all to this event where we have the pleasure of hosting the Vice Minister for Foreign Affairs of Colombia, Ambassador Francisco Coy. On a discussion on exploration of Colombia's foreign policy on peace and life, a subject that resonates deeply with both Colombia and Ireland. Particularly distant as we are, our chair experience in pursuit of peace reconciliation and environmental protection have forced a bond that transcends borders and continents. Colombia and Ireland have both endured the profound challenge of conflict and division without our societies. Yet we have chosen the path of peace and reconciliation. Ireland's Good Friday Agreement, which marked a crucial turning point on its history, and Colombia's remarkable efforts in negotiating their peace accord with the revolutionary armed force of Colombia, stand as testament to the power of dialogue and diplomacy in resolving even the most difficult conflicts. Our experiences serve as beacons of hope for other nations that strive to put an end to violence and conflict. Illustrating that peace is attainable even in the more challenging circumstances. Furthermore, our nations share a deep concern for the protection of life and the future of our children. Both Colombia and Ireland are blessed with stunning natural landscapes, and we understand the importance of preserving our planet for future generations. Whether it is the lush green fields of Ireland or the rich biodiversity of Colombia rainforests, our commitment to environmental protection transcends borders. It is a privilege to have by Minister Francisco Coy, a career diplomat, who I personally know to be a distinguished representative of our foreign policy providing valuable insights in Colombia's journey toward total peace and the importance of life in all its forms. After a very fruitful dialogue with our Irish colleagues during the political consultation that we engaged in earlier today, his presence here on this course the enduring bond between our two nations and our chair commitments to promoting peace reconciliation and the protection of life at the stage. I invite you all to actively participate in today's discussion during size and perspectives will undoubtedly enrich our understanding of these critical issues. Thank you very much. Vice Minister Francisco Coy is the Vice Minister for Foreign Affairs of Colombia he joined the Colombian Foreign Service in 1988. He served as advisor to the Minister for Foreign Affairs from 1920 to 22. He was the Deputy Chief of Mission to the European Union NATO Belgium and Luxembourg for five years from 2015 to 2020. His other diplomatic postings include Washington and Rome. He has been a professor of Colombian foreign policy comparative foreign policy and US foreign policy at several universities so it's an enormous pleasure and honor to invite you Minister to address us on the very interesting and I hope uplifting topic of a Colombian foreign policy on life and peace. Thank you very much. Would you like to do it for him perhaps. Thank you. Thank you very much for by me having this conversation as our ambassador Camilo. My first time in, in, in Ireland, we held this morning political consultations. And then that's why it displays, I was reading a little minutes, some minutes late so I'm sorry I apologize for that but I think this is a very interesting opportunity to share with you some views about what's going on in Colombia regarding foreign policy and peace. I understand because we've been talking with Ireland for many years about our peace process we have been receiving cooperation and support from Ireland in several instances. Among them security comes in until last year, but we have a long conversation on peace. This very interesting topic to talk with Ireland. But my, I know that an official spokesman for for the peace issue but I can talk about foreign policy and the way to understand the peace, the peace initiative for moving. Particularly within Colombia but we also have a projection in our foreign policy. So thank you today I, I, EA, and his director Alex White for hosting me today at this major research institute for European international policy in Ireland and Europe. Thank you for my colleague and friend Camilo Reese for co-organizing this event. Thank you all for your presence here and for those who are connected through soon for your interest in Colombia. It's an honor to be here today as I know where the former minister of foreign affairs of my country have participated in events and this institution regarding foreign policy and peace. I want to start giving you a brief overview of our foreign policy on life and peace that is basically the main topics on our national development plan under this government. And then we'll try to get some specifics of our peace initiatives. Of course, I'm more interested in here your views and your questions about what we're going to present. So I'll try to be brief. I don't know if I'm going to use the whole 20 minutes, probably less than that. As you know, the government of Brazil and Petro started a more than a year ago, seven hours of 2022 with a vision of Colombia to constitute our country as a world power on life. It's an addition from him and having as a core of this policy, what we call a total peace in our country. Our foreign policy aims to first position Colombia as a regional leader international agenda in topics such as drug policy, migration, climate crisis, and the construction of maintenance on pieces of both domestically and abroad. And second, second increasing the country capacity to influence global processes involving Colombian internal interest needs and enterprise depend relation with the state and all the state actors to contribute to a productive transformation with the generation of the globalized economy climate action already using existing national gaps in the country, probably if any of you have heard President Petro remarks international international forum. He has stated very clearly that humanity the planet is approaching a very critical juncture where we have to act, particularly on climate crisis to avoid catastrophic effects of the situation. Besides that we are confronting multiple crisis in the international system that we need to confront with cooperation. We were addressing an innovative agenda for foreign policy with a gender focus where we are in the process of establishing a feminist foreign policy. We to address migration issues with a human approach probably heard about the way we are very active on the migration approach particularly regarding the migration from Venezuela of this country. We also aim to work for a peaceful harmonious cooperative and respectful coexistence with neighboring countries, bringing measures for the policy for victims of the conflict in Colombia abroad. One key key point of our policy regarding peace is basically fulfilled as fully implement the 2016 agreement with FARC is the first key commitment of the government but also to reach out to other groups that are still active in Colombia and produces a key level of balance beyond what can estimate the acceptable for our country. And besides of that, the global global projection in key issues, you're developing some regional strategies so we're Africa where 20% of our population is African descent so we're working on Africa, Africa strategic means among other things to establish new representations in this continent, to have a broad and plural projection in the Pacific region where the big actors are there and very important. Where most the economic activity or the world of the trade or the world are being held and in our neighborhood, maybe one of the key issues that we can see is a establishment of relations with Venezuela after a complete breakout of more than three years into countries that are neighbors and very close in all aspects of so we are recovering that relation with our neighbor with major neighbor. We also want to deep our relation to the European Union, European countries and trade peace and the transition and sustainable development. We are building our strategic alliance that will bring us to sign a new agreement peace and cooperation agreement the European Union in the next year I hope. We are consolidating also they were relation with the United States and other traditional partners, yeah, you are entering also in a new relationship with China. We are maintaining some strategic autonomy and have a deep and fruitful relation with the major, major powers in the world, and to play a regional role we will say that in our national level plan as, as we, we try to project Colombia as a leader in some global issues, region as a leader in regional issues so we can bring together our region to the big debates of the contemporary current international scene in climate and drugs and migration and other issues that connect us together. And also we are a Caribbean country where we are building new relation with our neighborhood, we are part of the Caribbean, we want to deepen the relation with them and react the reactivating all the integration process has been participating in in the past. And participate in all the regional consultation processes on migration, you probably heard about the recently, we have a continental migration crisis that it can be seen in our border with Panama and the Darien area, when basically two flows of people from from South America and converging one coming from the south, from the northern Chile, keeping together people from Peru, Ecuador and other nationalities, and from the eastern part of the country from Venezuela, all of them converging in the Darien part, it is a huge migration crisis right now we're talking about a continental migration crisis, we need to work together, we're trying to propose some measures to address that. One big issue for President Petro is a climate action and just energy transition as you know that the world is approaching a critical point in regarding the climate crisis. And because of that we're proposing some initiatives to address that crisis among them, and the chain of that for a climate action and effective cooperation in the climate front, so the work can stop the world warming problem that is bringing us to a very critical point, we probably close the non-return point, we need to act that before we reach that critical end and will be bringing new proposals to the COP28 that will be held in a couple of months in Emirates. Total peace policy, as I said before, the first point is to fulfill our commitments as Colombian state with the 2016 FARC agreement, and then we are reaching out to other groups, still in arms in our country, the first of them is the ELN. As you mentioned, the Colombian state has been negotiated with the ELN for more than 20 years without reaching an agreement, the first time the Colombia has left the leaning government, with the ELN interpreted as an opportunity to reach a definite peace agreement, we've been engaging within five or six rounds of negotiations in different countries in Venezuela, Cuba and Mexico so far. President Pedro has fixed 2025 as a prospective date for a definitive agreement with them, which will be a good opportunity, but also the idea is to approach all the groups in arms, the second one is what we call the EMC, the Estal Mayor Central. Basically, this is from FARC, those who were within the process and then defected, and those who never entered the peace process. This weekend, we had a first round of negotiations with them, we agreed in principle to have as it's far with them, it's a very risky attempt to reach them, but we need to do it because President Pedro has said repeatedly, Colombia cannot fulfill the older development challenges without having peace internally in all aspects, which means that also the government is reaching out to other armed groups with no political agenda, basically organized plan, offering them an opportunity to submit to law and get a more lenient treatment in the penal system. That still has not started, but it's a purpose to reach out. The process with the Central High Command or EMC as in Spanish, it started March 13, 2023, and we are working now on a ceasefire. How peace projects to our international policy? Probably the most precise example is our relation with Venezuela, where we decided to establish relations after more than three years of complete breakout. With the purposes, one is reveal all the relations that have been neglected for so many years, we are trying to recreate institutions with Venezuela, we share within a long border, 2,219 kilometers, very active with millions of people in both sides of the border, so we need to reveal that relation. It's only common sense to do that, you cannot have that kind of relation with a neighbor so important. And the second one is to play a more constructive role regarding the internal process of Venezuela, as you know, the foreign policy, the previous government was aimed at a change of regime in Venezuela, which obviously get a failure. Now we're trying to get a different approach to Venezuela, helping as far as we can the internal process, approaching both parts, government and opposition in their political discussions. We've been playing a role, not so visible or trying to project to size, and probably in the next few weeks, we'll see both parts to return to a process that had started in Mexico at the last round of negotiations. Later last year, we'll be working to try to get it together and get an arrangement. We support and promote in general multilateralism and international and global dialogue as a fundamental mechanism for finding solutions with global problems. We are convinced that one criteria to formulate foreign policy is not necessarily as it was before our national interest, which is still important, while working now with the criteria we need to cooperate with our partners or our neighbors or our friends around the world to solve problems. One of the big challenges of the international scenario can be solved within only one country, think about drugs, think about climate change, environment, think about migration. None of these countries have one country only solution, so we prioritize cooperation as a way to confront or to address those problems. With ELN, probably it's one of your interests, we are working on that, we are agreement on as it's far and very difficult to help, but we are working very hard to have it to sustain. And we're working on that, as I told you before, our interest is to reach an agreement by 2025 as President Petro has stated as instructed to the government presentation in the peace talks with ELN. We have learned some lessons about the previous peace process and we cherish peace with Ireland regarding peace issues. So we highly appreciate the political cooperation and support of Ireland for peace in Colombia. As I said before, and particularly during the Ireland's tenure in Security Council will receive support and always constructive comments and observations from Ireland in New York and we've been working together in many ways to deepen our cooperation on peace issues. Although each of our countries is working their own path, exchanging experiences is important to learn from one another about innovative ways to overcome common challenges. I remember so many times that Iman Gilmore referred to a peace process in Colombia when we go get to those moments of crisis, they told us, well, our peace agreement, the Friday, the good Friday agreement was in 1998. I remember we have so many years of experience still, the process is always fragile. We need to keep working and try to keep it alive. When you cannot take it for granted, once you sign a peace agreement, you cannot see the end of the process, probably the beginning of the process after signing peace, you need to work on implementation and keep the course to avoid the, to avoid to get back to the conflict. Compromises must be made in those process. We need to understand that in Colombia. That was clearly discussed during the, after the peace agreement, when you say if you want peace, you probably need to sacrifice in some way justice because what you have to value is more important. You have justice and bringing all the people who have broken the law before or get within some kind of agreement to keep peace and within our point of view, peace is more important. And for the justice part, we have the transitional justice ways and we have implemented a special justice for peace tribunals to try those involved in the conflict. Remember we take in Ireland more than 23 years to implement the good for the agreement in Colombia, still in the early stages of implementation, but we have the all the willingness to keep going ahead in that implementation and that's why we are taking new initiatives toward peace. Ireland plays an important role in the, in Colombian process as expressed by US special administrative team Gilmore. He said once over the years Irish civil society organization churches trade unions development agencies and parliamentarians from North and South are regularly visited Colombia to express support for peace building and for the defense of human rights. All of which contributed to climate in which it was possible to advance in peace negotiations. We in Colombia try all the time. We are involved in political debates about the peace peace agreement peace implementation. Very often we feel that they were failing in that peace process because the internal debate is so intense that sometimes you seem you seem to see that there's another company coming coming over but actually when you take perspective when you have partners and friends like Ireland and help us to see the situation in Colombia. We see that the Colombian peace agreement with FARC is quite successful. The FARC the mobilized completely. They're fulfilling their obligations the government is trying to do the third part of the agreement. No, no that's as much as some people would like but it's still working the peace is being held. The FARC the mobilized completely out now they're a political party that participate in in the political process so sometimes in spite of our people believe supersedes the peace agreement. It is going to continue that the same way we are going to we are working with other actors with the LN and we're engaging now with the ECM or the other groups, because we need, we need to we are sure we need to get peace before we address successfully other challenges that are coming for our situation. That is basically what we wanted to share with you and open to questions I hope to to be able to answer them. I'm a diplomat for a foreign minister. And not a sperm piece but thank you very much.


I want to get into another another perception topic called motion perception and this is obviously very important for virtual reality um you can of course, look at static panoramas in virtual reality, but our perception of motion is really fundamental to the kinds of things that we um that we do all over the place in virtual reality . So, that is the next big topic motion perception and remember as I said last time it is kind of a template you know there is x perception where x may be all sorts of things depth scale motion color um on and on and on. So, so um we may also apply the same concept to hearing or touch. So, um perception of different kinds of textures for example. So, this is um again as we go through these pathways from the sense organ all the way up to the higher parts of the brain there is some hierarchical processing going on and there is a perceptual process in there and that is what we are trying to get an understanding of and trying to characterize. So, what are the purposes for motion perception some of the main purposes well one of them is a segmentation or segregation. In other words um we might like to know if we are looking at a scene in the um in the jungle let us say we might like to know that um there is an animal that is moving there right. So, so the perception of that motion is very important and you might imagine um for evolutionary reasons it is very important right to know if there is something moving in the jungle right or in the forest that is a that is about to I do not know potentially eat you let us say right. So, um so it is very important to identify that. So, perceiving that motion among a static background is very important and you might notice that our eyes tend to fixate very quickly on something that is moving. In modern times our ability to detect a moving car or or or or cycle or some other some other vehicle that may be a dangerous to us as we cross the road is also important right. So, as a similar kind of purpose. So, we are very good at um extracting some object that is moving from a background at stationary. Another purpose is to extract 3D structure 3D structure of an object um from the motion. So, for example um you know if I if I see this book moving around in some way I get some idea about its structure. This book does not have a very complex structure, but um take something you know much more complicated like a chair with legs and such move it around and you get an idea of its structure just from the way it is moving around on your retina right. There is some 2 dimensional image that is changing on your retina, but you can infer 3 dimensional structure you can learn a lot about that. It is almost as good as if you walked up and started probing the object with your arms and use all of that information to try to build a 3D picture. So, we are very good at building 3D pictures somehow in our minds of objects that we have not um maybe ever seen exactly before, but we are using a lot of prior information again prior bias and and from the context we have a lot of information about how the lights falling on it in a certain setting that we are familiar with and we make judgments about its 3 dimensional shape. You can make illusions and fool the brain in some in some cases and get some false conclusions, but nevertheless we rely on this very carefully um very frequently in in in a large number of settings. And finally, another um key purpose is visual guidance of action and this is exactly part of where I wrote on scale perception here one of the one of the important aspects reaching out and grabbing something. So, if we want to reach out and grab something then we are using um motion and we are using um motion perception we are perceiving the motion of our hand as we reach and grab something and that visual feedback helps us to accomplish the task. So, visual guidance of our actions so that is useful for manipulation by grab a cup um general hand eye coordination and um may provide information about um you know other kinds of self motion. Questions about that? I am going to cover a couple more topics and then I want to get to one of the main aspects of this perception of motion which is going to be frames per second I really would like to talk about that because that is obviously something that is on our brains a lot we talk about this in connection to the lab the virtual reality lab and um we would like to know how many frames a second are enough, but I want to give a few more basic concepts first. So, one thing that I find fascinating is if we look at the neural circuitry remember we talked about the visual pathways from photoreceptors all the way up to the visual cortex. So, along that path and actually very early in the path we have the following kind of circuitry. So, suppose there is an object that is going to go moving across the retina some object it goes moving across the retina and imagine that there are neural detectors let us say. So, somewhere back here there is a detector A and a detector B. So, imagine this neuron fires whenever the object moves across this location and as the object moves across the location here um this one fires. So, which one is going to fire first well first A fires then B fires what is interesting is there is extra neural circuitry that looks like the following it goes through here as a box and I am going to describe in a minute and then these feed together to some third neural structure called let us say C and inside of this box is a delay say some delta t perhaps it is a 50 milliseconds. So, what happens here is this C fires if both A and B fire, but only if A fired a little bit ago. So, A fires a little while ago and B is firing right now the superposition of those in time right A a little while ago and then B right now will fire C. So, that is a very very simple motion detector. So, we have those all over the place for varying speeds and various distances of neighboring distances and. So, one interesting outcome of that is that you are able to fool this sense by something called the wagon wheel effect which if you have ever made some kind of pattern like the following. Let us see take a you put some stripes around the rim of a wheel and then you spin the wheel it may start to look like it is rotating backwards even though it is going forward. So, this is interfering with the basic operation of this neural circuitry it is easy to fool it into thinking that is going in the opposite direction because it is just based on very simple timings and the flashings of neighboring say the kind of in some sense the flashing or signal appearing in various spots along your retina and those photo receptors responding. So, you can very easily fool it into thinking reverse directions unless there is a more coherent picture of moving from place to place to place to place along a very long sequence. So, this is very interesting I think also one thing to think about is object motion versus observer motion this is one of the key ingredients to avoiding simulator sickness if you are not careful. So, if I just were to look at the images if I could somehow make a recording of the images that hit your array of photo receptors right and we imagine we are just going to play a video back now of what is hitting your photo receptors. I might see some kind of motion occurring there, but how do I know if that motion is due to you moving or some object in the scene moving could be some combination of the two, but let us suppose it is one or the other how would I distinguish between the two if I were just watching the video I do not think there is any way to fully distinguish that right. Unless there is well ok maybe you would start to guess from the context what is probably happening and use your powerful brains to make an inference, but if you just look at the raw data there may not be enough there to really make the judgment. Let me give a simple example let us suppose we have an eye looking upward all right. So, draw the cornea sticking out here and I have an object that moves from right to left. So, it is moving along like this. So, if I draw out the retina of the eye I guess when the objects over here on the right then there is an image of it over here on this part of the retina and then when it moves across it ends up over on this part of the retina. Not drawing too careful of a diagram here, but I think you will understand the principle you can really curvy here. So, as the object moves from right to left imagine the eye is held fixed and then the image goes from left to right make sense right. So, that is one possibility this is um the object moves and the observer and I are fixed right. So, the observer is head and the eye let us see are fixed and then there is another case which in which I will hold the object in one place and then I have an eye here and I move the eye over here. So, when I start off on this side and I have the retina coming around draw it again over here should be the same eye just moving across from left to right and when I start off over here I get the image on this side and when I come over to this side I get the image on the other side way off there I see um. So, in this case the eye moves and the objects fixed. So, these two cases I just want to say if you imagine how the image looks along the retina they should more or less correspond to the same thing. Now one thing I have done here I should admit is this is a bit fictitious of a scenario because it is actually very hard to do this in practice. So, if I um if I want to um you know try to look at an object let us say um that is moving across my field of view um it is very hard to prevent your eyes from tracking it and doing smooth pursuit it is very hard for you to disable your vestibular ocular reflex if you are moving around while you are fixated on something. So, in fact if I go back and forth like this I am looking at the camera right now it is very hard for me to keep from continuing to look at the camera it is like I have to put my fingers on the sides of my eyes like this and then I can keep it from rotating that is about the only thing I can do um don't try that at home I guess maybe that is hazardous to your health um, but um um. So, it is very hard to stop these reflexes. So, given that that is the case given that your eyes are going to be rotating anyway that is going to make these two cases even look very similar to the case of no movement at all right because your eyes rotating to keep a stable image on the retina. So, I just want to point out all these cases like even if your eyes are not rotating these two are somewhat indistinguishable. However, when your eyes do rotate in one case um if you are doing this, this will invoke the vestibular ocular reflex because you are moving your head back and forth um you could also do with pure rotation which is also translating your eyes through space and then this corresponds to smooth pursuit if this object is moving slowly enough. So, those are different modes of operation which is part of the key of how the brain is going to distinguish between these.  It is not just looking at a raw video signal let us say from the um from the array of photoreceptors it has got more sources of information coming together. So, the brain uses more information to distinguish. We talked last time during saccade motions there is saccadic masking or suppression which um when this happens it suppresses the motion detectors. So, while we are performing saccades it is that the motion detectors that I just um I just erased one of them right that when I did the A, B and C um neural circuit those outputs are suppressed.  So, very interesting. So, there is already some inhibiting that occurs there um another thing that the brain uses is eye movement commands. So, that is very interesting the um somewhere there is a command issued to um let us say commands issued to um to contract or expand the muscles that move your eyes and rotate them right. So, um if that is the case it is a matter of sending those signals to the right place where perception is being performed or the motion perception is being performed and using that information. This is sometimes called um by neuroscientist efferents copies right the motion commands or motor commands. It is very powerful information right the same thing happens in engineering if I give a command to a robot that says move forward and then I observe what the robot is doing you you can make a lot better inference if you have access to the command oh I know that the robot was commanded to go forward right. If you program the robot yourself you have that information if you did not program the robot you do not know what is inside of it then you do not have that information right. So, this is extra information that is inside the brain throughout our neural system let us say and I can be used here.  So, if the entire scene is moving what is usually the case? Is it usually the case that everything around us is moving simultaneously or is it usually the case that in that event it usually means that we are moving right. So, if I if I all of a sudden notice a huge change I go like this right it is very unlikely that all of you are rotating in some kind of role right. So, that is prior information if there is enormous large scale motion across the retina probably you are the one that is moving right. So, that is following back on you might remember I talked about the big swing illusion where in an amusement park over 100 years ago there were a bunch of participants sat down in a swing that was actually stationary and in the entire room started rocking that is such an unusual scenario that would correspond to you know it corresponds to in reality everything is moving around you, but your brain interprets that as I must be moving and everything else is stationary and that is what made people very sick and quickly believing that the chair that these chairs are in a spinning all the way around that the swing goes all the way around 360 degrees because it was tricking this information basically giving you an artificial scenario where the large scale motion assumption is in fact incorrect. Let us see if we are psychotic masking occurring. So, let us see if we are holding stationary and we are looking at an object well let us make let us define the scenario first. So, is it let us suppose there is a stationary object and we are looking around the object right like reading a book for example in that case there is a lot of change across the retina, but the motion detection is suppressed right. There is another scenario where let us say the object is moving slowly in that case there is no saccade it is smooth pursuit. There is a scenario where there is the objects moving very fast and some additional saccades are being inserted in order to keep up, but I think at that point there is already been enough motion detected I believe from the smooth pursuit times in between the saccades. I am no expert on neuroscience, but I am trying to speculate as best as possible for those different scenarios. The both cases are identical except the last one. No, I think the I think the saccade motions we do most often the saccade motions that we are doing kind of the normal saccade mode is to point the fovea or orient the fovea so that it is so that you are getting higher acuity images of a single fixed target. So, those particular motions are interpreted because of the saccadic masking as that must be motion of the eye just in that mode. So, in the case of smooth pursuit it is usually not the case that you are doing extra saccades to try to take in all the information of the object by pointing the fovea while it is also moving. Usually in the case of smooth pursuit is trying to keep a stable image on the retina. So, it is not a saccade case. That is a very good question. Yeah, I think that is reasonable. Why not add the vestibular sense here? I think that is reasonable. Very good. Yeah, absolutely. If the head is moving there is going to be additional vestibular information. If the head is fixed then it uses eye movement commands. So, I like that very much yeah. So, vestibular input if head moves or I guess your entire body could be moving without your head moving if you are on some kind of moving carts let us say in a car for example, then the head itself but still technically moving with respect to the world frame, but may not move with respect to your collarbone for example. So, all right very good. Any other questions or comments? Smooth pursuit versus vestibular ocular. Well, vestibular ocular is using your vestibular signal which I guess that is where it got used for one of the cases right. So, it is using exactly your self motion in order to compensate. The smooth pursuit case is not your motion it is the motion of the object you are trying to see right and so it is based purely on expectation of the motion of the object and trying to keep that stable across your retina right. Both are trying to do some kind of let us say stable image on your retina right. These are fundamental differences in whether or not the vestibular signal is getting used and evoked because of the motion or you are just trying to track a moving target and that is where the differences are I am just trying to say that kind of geometrically in terms of just raw images these look identical. But there is so much more information going on being obtained by the brain that it can distinguish these two cases. That is what I want you to think yes that is right like wow it does not have you know just from images. So, if we were to think like engineers and we just turn on a video signal and look at it how does the brain know right. So, I am saying yes the brain knows there is a lot more information here. So, all right very good nice are very good comments very good ways to think about things. There is one more piece of us one more piece of information that is very naturally extracted from the images that change across your retina and this is called optical flow. This is this ends up being very important and it is one of the most important aspects in relation to motion sickness or simulator sickness I should say not necessarily motion sickness because the VR participant is not necessarily the one moving. All right usually we say motion sickness for something you might get from moving in a vehicle let us say moving in a car while being a passenger especially that is motion sickness simulator sickness would refer to what you get from a virtual reality experience for example where you may perceive your own motion, but you are actually not moving. So, those two are kind of inverses motion sickness versus simulator sickness. So, optical flow. So, what happens is in this case the brain can keep track of images on the retina or features let us say on the retina. So, there may be some particular feature I see a red dot above the camera there. So, I can I can move around in some way and that dot is going to appear somewhere on the retina and I can keep track of that right and if there are several dots then if I get closer to them the dots will start spreading apart. If I go further away they will start contracting if I go to the left they will move to the right. So, this is called optical flow information where features are moving in the image. So, our brain perceives them to be the exact same object or element in the world there are a bunch of them and we perceive a kind of general flow because of that . So, it is tracking movement of features on the retina and we end up with a kind of vector field kind of velocity field on the image plane or roughly the image sphere if you think about the way the retina is shaped it is fine. So, if we think about various self motions as I just illustrated if I am going forward then the flows tend to be outward from the center correct. Also the flows tend to be faster at the periphery then and then straight in front of me. So, not only are there directions in the optical flow but there is also a magnitude right. So, these are these are full full fledged velocities in the image plane or image sphere if you like to view it that way. If we go backward then these reverse and if we go to the left then we see flow to the right. So, so when I move myself to the left I see you flowing to the right also if I turn myself counter clockwise I also see flowing to the right. So, I see also a counter clockwise of course, I will get flow in the opposite direction by going right or clockwise rotation. Our ability to perceive optical flow turns out to be strongest as I look forward right about here I think somewhere around 20 to 30 degrees off. This is the place where you have a very high density of rods if you remember when we looked at photoreceptor density and generally it is very strong in the periphery right. So, that means that if there is some kind of motion in the periphery we respond very quickly to that turn our heads could be a predator right maybe some evolutionary reasons for that. So, just generally speaking it is stronger in the periphery I believe it peaks around 30 degrees or so and then it starts trailing off again because of the low density of photoreceptors that we have as we gradually go to the side gradually look to the side. So, based on this optical flow we have a big problem in virtual reality big problem you have experienced in the lab already I am sure which is the illusion of self-motion from optical flow. This is called Vection you have said this before if you are sitting stationary in a train and the train next to you starts moving you are looking out the window maybe you are not even paying a lot of attention in fact it is your peripheral vision that notices that there is some motion to the side you get a feeling like you are going backwards all of a sudden right. So, it is the illusion of self-motion when you grab on to a controller or you hit the right keys on the keyboard and you move your avatar around in virtual reality you perceive an optical flow that gives you the illusion of self-motion every time you do that that is a mismatch between your vestibular signals which can measure the true acceleration and your eyes which are trying to also measure the acceleration and your eyes are being fooled but your vestibular organ is not that mismatch causes a significant amount of nausea in people. And in fact it is very easy to make horribly nauseating experiences I believe one of the worst things you can do is to make it appear that you are virtually rotating and then put some kind of sinusoidal oscillation into it at about a couple of hurts and people will get sick very fast like that you want to have a fun project to do in the lab try to make the most sickening experience you can it should be some kind of rotational thing experiment with different rates and you know compete with your friends for the for the prize of the most sickening experience. So, that is the problem is that the vision system and vestibular system are in conflict again I talked about decision theory your brain is trying to fuse information from multiple sources normally in the real world there is a consistent picture now there is a big inconsistency. So, being nauseated is not necessarily a surprising response to that right because maybe another thing consistent with that is you have been poisoned right. So, it is good to eject right who knows. So, it is hard to know exactly what all the mechanisms are and why this is happening but it may be that you get sickness because the body believes that something bad has been ingested right and. So, why else would there be such a strange conflict it would not be able to take into account modern engineering as one of the plausible hypotheses unless you experience enough of this and then eventually you may be able to train yourself to overcome this mismatch. That may be a lot of work to overcome some people may learn it easily some may not could be bit could depend heavily on age, gender many other kinds of factors. I should give one simple example of this we did some experiments I think it is worth considering just to try to alleviate these kinds of problems. This is more and this more has more to do with user interface design or avatar control or movement things like that, but I just want to give you a very simple example of this problem and how it tends to behave. So, so very simple example is suppose you want to ramp up your avatar or character of motion. In other words suppose you believe you are in a beautiful world, you would like to move forward you grab on to a controller and you want to just start walking forward. I want to ask you which of the following two are best to do. So, you would like to get up to some fixed walking speed and so this is your speed here, this is time and so one scenario is you would like to get up to this speed let us say. So, one scenario is you just gradually ramp up and then get to your speed that you would like to be at and then the other choice is you just decide that you are going to rather make a continuous change you just discontinuously jump to the speed you would like to be at and go forward. So, this one corresponds not at all to the real world because normally you cannot accelerate at an infinite rate right. So, so, but this is what you can do. So, you just pulse and all of a sudden bam you are walking at full speed. Which one of these is more comfortable experience for virtual reality? Let us call this scenario A scenario B. Who thinks scenario A would be more comfortable right. So, this corresponds very closely to the real world you gradually ramp up your speed this more comfortable. Scenario B is this more comfortable? Ok I have seen I think 0 hands being raised but some little head nods here and there. So, here is what happens was that B? I am hearing more B's now right right I should mean you know professors are always trying to trick you right. So, it cannot be the you know this looks like the obvious kind of comfortable sort of answer just make it maybe like it real bit would be in the real world I start off I just gradually get up to a speed and then I am comfortably going along. Well what happens here in the first case is there is an interval of time between these lines here during this interval of time there is a mismatch right there is a vestibular mismatch. So, your brain has the opportunity to latch on to a mismatch over a period of time. And it builds a lot of confidence right you imagine the brain is going oh yes I am certain there is a mismatch it has been going on for a second or two right. Whereas in this case there is a mismatch only at some tiny fraction of a second right. So, just a if you want to look at the limiting mathematical case then maybe it is only a single 0 length interval impulse right. Bam there is some mismatch this the brain may rule as an outlier it may say ok there is always outliers in the data a kind of hiccup it is gone. So, this seems to be perceived as an outlier like what was that some big flash some huge mismatch probably junk discarded this one the brain is very certain and the brain is right you know there is some very consistent mismatch happening here. So, this ends up being very uncomfortable a b ends up being the one that is more comfortable. This is some of the this is one of the reasons why you will see this as well in some of the apps where if you are rotating your character you may notice that some of them when you press the button it rotates a fixed number of degrees each time rather than smoothly rotating smoothly rotating is very nauseating but jumping discreetly is not as bad. But if you jump discreetly 90 degrees each time then you are not even sure which way you are facing anymore. So, you have difficulty of being disoriented you are not really sure where you are facing anymore it would be great to just point and click where you would like to go and just be there if we could do that in the real world it would also start to get confused about your where you are in space. So, that is a trade off you have to deal with so we want to minimize this kind of discomfort due to this vestibular mismatch with your visual cues. But at the same time we also want to make sure that you can that your spatial reasoning and awareness remains intact. That is a challenge we face. If you can make progress on that for your class project I would be delighted you know. So, it is a great great challenge. What is the velocity at which direction does not appear? You may be a lower limit like if the mismatch is sort of small enough there is another limit which could be that maybe I make the slope so low that and it is so gradual that it may be comfortable right. So, that limit could exist. Feed itself. The upper limit to the speed. So, if I raise this up higher. I think it I think it will tend to be worse. But there are interesting questions about going up to speeds that are familiar to us right. Like we may be if we believe we are in a car we may be accustomed to going up to some speed and then remaining at that and if we see stimulus it is like a bunch of roads around that may be comfortable. If we are in a building and we go up to some speed that is quite outrageous faster than we could run in the building that may be uncomfortable so maybe it is in fact not uncomfortable. I don't know you know there is a lot of things going on here. There are a lot of prior cues. Our brain is basing its conclusions this kind of unhappiness that comes up because of the mismatch on a lot of prior information. So, that is why I wonder about when I showed you the birdly demonstration of the flying. You go flying over virtual San Francisco for example. That does not correspond to an experience that we have ever had before in the real world. There are regular cues but there is a lot of vexion going on here I think nevertheless. But that is not the same as the scenario like here where you are just doing ordinary everyday walking which your brain is quite familiar with and there is a very obvious mismatch so it may be helping it to be worse by doing things that exactly the same kinds of speeds that were normally comfortable with. So, it is providing everything in perfect alignment except this I really do not know I would have to do the experiments on a case by case basis. Virtual reality most of the points are discrete and you cannot have a smooth speed increase so it will be like you are jumping from one point to other at various speeds so that might cause the point might be at one point and suddenly it is at another point. Yeah very good I think that is a very good point in fact that is going to lead into my next topic which is apparent motion. So, if you have that are being generated by a digital system and you you know under what conditions do you perceive that as a continuous motion under what conditions does that feel like the real world do you perceive that like the real world and so there is a nice sort of gradual entryway based on your question into the next topic you know it at fundamentally I do not really make too much of a distinction between continuous versus discrete if the discretization intervals are so small that it is sensible levels that could be detected by the body then the two are essentially the same the universe itself is a discrete or continuous well I think it is more discrete actually than continuous when you look at it carefully when you move beyond Newtonian mechanics and into quantum mechanics and things so the discrete versus continuous itself is not extremely important distinction in this context


Family Theater presents Marjorie Steele, Chuck Connors, and Charles Bronson. From Hollywood, the Mutual Network in Cooperation with Family Theater presents You, Remind Me of Me, starring Chuck Connors and Charles Bronson. And now, here is your hostess, Marjorie Steele. Thank you, Tony Lafranco. Family Theater's only purpose is to bring to everyone's attention a practice that must become an important part of our lives if we are to win peace for ourselves, peace for our families, and peace for the world. Family Theater urges you to pray. Pray together as a family. And now, to our transcribed drama, You, Remind Me of Me, starring Chuck Connors as Bill and Charles Bronson as Birdie. 40 seconds, I think. Yes, just about 40 seconds, ladies and gentlemen. Left in this, which is the ninth round of the scheduled 10-rounder between heavyweights Wild Bill Callan and Art Fuller, sometimes known as Dancing Art Fuller. Ladies and gentlemen, I'd like to tell you I've never seen a contest like this one. There's been a complete change in Callan. Callan, you remember, as the man has been favored to win this fight. Wait a minute, he did it again? And that's at least the sixth time, ladies and gentlemen, Fuller faded toward the head of Callan, and then he moved in with a rain of blows to Wild Bill's midsection. Right now Callan is holding on now. He's just holding on as if his life depends on it. No, they're apart now. Callan just threw a left, and another left at the head of Fuller by Dancing Art is moving in anyway. Oh, Callan just took a jarring left. And now a right over the heart, and a left to the midsection. This could be the end of the fight. Now Callan's trying to tie up Fuller again. Dancing Art's not having any. And again, Fuller throws a right to Callan's head. It's not even close, ladies and gentlemen, Wild Bill is reacting almost like he's hit. All guarding of anything but his head is forgotten. He's backing away now, he's covering. And it's a right and a left to Callan's middle. And another right, and there's the bell ending round nine. Both fighters moving toward their respective corners. Callan it would seem in some confusion. You know, ladies and gentlemen, this has been a clean contest all the way. There are no marks on either of these boys' reputations. But nevertheless, there's been something wrong with this fight. Or to be more accurate, something is wrong with a man who was rated to win this fight by a knockout. And I do mean Wild Bill Callan. At the beginning of the fight, he appeared to be in top condition. During the weigh-ins this morning, he seemed to me to be full of confidence. In fact, he seemed to be looking forward to this bout. Tonight is just another rung in the ladder. But something is definitely wrong. From the beginning of the fight, Callan, who was usually regarded as an aggressive fighter, always in there, always pushing, has been on the defensive. And he's not been defending too well against that rain of body blows that Dancing Art Fuller's been dealing up. In fact, from my position here at ringside, I've noticed several times during these last few rounds, one Dancing Art Fuller could have fought with, well, with a good deal more efficiency. Or it might be that Fuller is just as surprised as I am as everyone in this arena is tonight, I think, at Callan's change, or maybe I should say Callan's loss of style. I see Callan's seconds are bending over him now. Got their heads closed, they're talking fast. I don't think Bill is hearing much of the advice. Oh, there's the warning buzzer. All right, ladies and gentlemen, in just a few seconds, the tenth and final round of the main event of this evening, the scheduled ten-rounder between Wild Bill Callan and Dancing Art Fuller, and there's the bell coming out of their corners now. When they touch gloves, center of the ring, Fuller steps back.  Fuller hooked him with a left, a hard, clean, jarring left. Callan's covering up now. Oh, ladies and gentlemen, ladies and gentlemen, I think this is going to be it. Fuller is really going to it now. There's a left hook to the head of Callan, and a right to the body, and a left is down. Wild Bill Callan is down, ladies and gentlemen. And this looks like it. I'm very much afraid for Wild Bill. Shaking his head now. He's trying to get up, but he just can't seem to make it. There's the count. That's just about it for Wild Bill Callan. Ladies and gentlemen, the winner and a very popular win in the arena tonight is Dancing Art Fuller.  Yeah, sure did. That dancing nod, he won. Yes, he did. That's why I'm here. But this is Wild Bill's dressing room. Fuller one. Don't you want to talk to Fuller? I don't know whether Fuller won or whether Callan lost, Bertie. Huh? Well, never mind. Skip it. That's the door, isn't it? Yeah, yeah, that's the door. You want to see him? Yeah. Well... What is it, Bertie, huh? Don't tell him I'm out here. You know what I mean. Don't tell him you've seen me. Why not? Wild Bill, he's mad at me. He's mad at you? Why? He just is. Don't tell him I'm here. Okay, I won't tell him, Bertie. Mr. Milton, while you're in there, see if he's all right. I think he's all right. No, I mean, all right. You know, like me. You know, I'm not all right. You know what I mean. He took a lot of punches. Will you do that for me? Yeah, Bertie, sure I will. Yeah? Who's there? Ted and Milton. Open the door, Helen. Honey. Open the door. All right. I'd just like to ask... Oh, Mrs. Callant? Couldn't you come some other time, Mr. Milton? You know, the name is Milton, Mrs. Callant, with an M. Come on in, Ted. Thanks. Can't make him wait, baby. He's a big muck-a-muck in the sports world. Got to let his readers and his radio audience know the scoop, right, Ted? Yeah, it's about the size of it, I guess. Uh, Bertie out in the hall? Well, he told me not to tell you. He says you're mad at him. I mean, why anybody could be mad at that poor, punchy guy? Nobody's mad at him. Open the door, will you, Helen? Sure, Bill. Bertie? Come on, I know you're there. Uh, did you want something, Bill? Come on in here. You're... You're not mad at me anymore, huh? No, I'm not mad. And I want to say I'm sorry I popped off at you, okay? Oh, sure, Bill. Okay. There's no harm. Now, no harm, Bill. Honey, get me a 10 out of my bill, will you? Right.  I mean... Yeah, I'm all right. In a lot of ways now, I'm all right. I've made up my mind. I'm going to do what Helen wants. Hey, that's real nice.  Now, don't forget.  I'll do it. Sure. You'll hear from me, Bertie. Here's the 10, honey. Yeah. Here. I want you to take this. Oh, no, I don't want any money. Take it. It's just my way of saying things. Ah, no, I don't... Would you take it to make me feel better? Well, if it's going to make you feel better... It will. All right, then. I'll take it. And, uh, thanks a lot. That's all right.   Boy, it's been a long time, you know, since I outsmarted anybody. It's a long time. But, you know, I used to do that a lot. And nearly every fight, Mr. Milton here, he knows... Oh, sure. He can remember me when I was real good. Oh, sure, sure I can, Bertie. You were tops. Yeah, you know, I was real good. It seems for such a short time. Such a long time ago, too. You know, I can't even remember. You know what I mean. Oh, look, hold it, Bertie. Listen, Callan, would you mind letting me in on all this? Bertie, I'll tell you what. You go out in the hall and wait for me. As soon as I rest up a little more, Helen and I will buy you a cup of coffee, okay? 15 minutes. Hey, wait, this time I'll buy. I got money now, huh? Okay, you can buy it. Wait for us. Uh, how long did you say? About 15 minutes. Right. Poor guy. All right, now will somebody please let me in on all this? And tell me just what he did to rate a payoff? Well, I just don't see that it's any of your business, Mr. Milton. Well, Mrs. Callan, maybe I'd better tell you a thing or two. All right, all right.  What do you mean cool off, Callan? Easy, boy, easy. Easy, sure.  So, somebody's got to lose. Oh, is that your only comment? Well, what am I supposed to say? I got a moat in my eye or the lights dimmed? No, my foot slipped? Fuller's just a better man than I am. That's all. Oh, no, sir. No, that's not all. That looked bad out there. It doesn't look so good in here, either. What do you mean? Well, I come in here and find you're trying to pay somebody for doing your favor. Birdie? Well, how does it look? Huh? And then I see you taking it easy. You're not particularly disturbed. Wasn't that fight supposed to be an important step in your career? Are you suggesting, Mr. Milton, there was something wrong? A payoff or something? Well, Bill would never do a thing like that. Why, the very idea is just... Well, it's not even worthy of comment. In fact, you've got a lot of nerve, Mr. Milton, coming in here and suggesting a thing like that. It's ridiculous. Oh, you're protesting too much, lady. You're overplaying the part. Bill should break you in two. For what? Yeah, but didn't you hear the things he said? He as much as said... I know, I know. I mean, he's right. It does look bad. He comes in here and the only one here is my wife. No manager, no seconds. Where are they? Could he know I threw him out? He probably thinks there are picking up winnings on bets I placed on Fuller. Oh, honey, look at it from his point of view. This looks bad and it's going to look a lot worse after he hears what I've got to say. I don't see how it can. Okay, I'll show you. And this is for the record. This was my last fight. This was you... Aha. All right, that figures. Last fight, why go away poor, huh? Oh, no, Ted... And did you even have that punch drunk ex-pug birdie placing a bet for you? No, Ted, you're going to push me too far.  Wait till you see the morning papers. There were a lot of sports writers in that arena tonight. And if this fight looked as bad to them as it does to me, you'll quit fighting all right, but it won't be any quiet retirement. It's going to be like lightning walking through a forest of tall trees and awful lot of light and an awful lot of noise. So what? We can stand a lot of light. She's right, Ted. We're clean. One of the big sporting goods manufacturers offered me a job a couple of weeks ago. Ted and it'll give me a chance for a home life, so I'm taking it. That's all there is to it. No, sir, it's not. Listen to me, Callan. You're a good fighter. You've got a lot of style, a lot of power. You can go places. And what's more, you know it. We've had about enough, that's all.  Oh, that doesn't have to happen. I can name you 100 top fighters came away clean as a whistle. And I can show you a thousand who didn't.  Not quite like birdie, honey. If I tell you about birdie, Ted, you can put that in your column and the people will understand. Maybe even let you, what do you call it, cop a lead or steal a march or something on the other sports writers. Yeah? All right, I'm listening. Well, it started when I first met him. Oh, maybe a month and a half ago. I was up at camp training for this fight. I was doing some early morning road work with my manager, Duke Oles, but joined mostly because I insisted on Helen being at camp with us. I remember we were coming down the road on the back three when we saw him. He was standing under a tree by the path and it looked like he was waiting for us. All right, all right. Let's walk it a while. Who's this? Huh? Oh, no. That's all I need. One of those around the place. Who is he? His name's birdie. I've seen him around. I... I'm not a soldier. I'm not a soldier.  Yeah?  That's what they call me. You know what? No, what?  Yeah? Well, not now.  Sure, I guess you're right. Get off the farm. There's no room for you here. On our duke. No! I'll let you have your own way about having your wife up here. I think I made a mistake in letting you go that far. I won't have any punch-drunk ex-pugs around here. Wait, look, I'm not punchy and I don't get many fights no more, but I'm not punchy. Of course he isn't, Duke. What's the matter with you? You think I don't know? Look, this man's a fighter and I think we should show him a little hospitality. What about all the soldiers? They don't give me many fights no more. Duke, I think we can find a place for this man, can't we? Find a place? You mean have him around all the time?  Give him a job, Duke. Great Scott! Bill, I... I... All right, all right, you ask for it. I'll do it. Now, if you gentlemen will pardon me, I'll go prepare a place for him. But you'll regret it. I promise you that. Uh... Hey, you got a sweat worked up. You know that's no good to stand still like this. You're earning your keep already. Don't pay no attention to what he said. You know what I mean about being punchy, I mean? Of course not. He your manager? Tries to be, I guess. He don't want any punches around, you know, and it's for a good reason. That could be my job.  Why doesn't he want them around? Well, it's a...  You gotta be careful. Always gotta be careful. Uh... What were we talking about? The punches? Yeah, yeah, that's right. Now, if a fighter sees him around, he begins to think, you know? Thinking it could happen to him? What do they call you? Birdie. Birdie? Yeah, that's because some... They think I like your manager things that I hear birds sing, you know? Well, you know what I... You know, the sing when they ain't singin'. But that's not the reason it's... The reason is because I just got one song to sing. Hey, I smell bacon and eggs. We're not far from the house now. You'll be tasting them before long. You're a good man, Wild Bill. I won't forget what you're doing for me. That's nothing, Birdie. No, no, I mean that. I won't forget that. I'm gonna pay you back. You see if I don't. How you do it?  Or maybe better, maybe I'll sing you my song. Birdie stayed on at the training camp and nearly every day I'd hear from my manager about it. Duke was afraid of him and for a while so was Helen.  And then she started singing her old song.  That we could get out of this, well, this pseudo-existence. Well, honey, are we gonna go into that again? I don't mean to, but... Well, look, we're livin' all right, aren't we? Don't I make a good living for you? Yes, but there's more to life than money. There's more to living than we see. Now, look, baby, after the full of fight, we'll... Oh, don't say it. I know what's gonna happen. You'll make a big promise to take time off. But it won't happen. Well, what would you have me do? What am I trained for but fighting? The danger. Danger?  Oh, Helen, don't you think you're being... Oh, they wind up like Pavlov's dogs. Trained to react to bells just like beasts. And for what? So people can go watch them try to hurt each other. It's a sport, Helen, like football or anything else. People go to watch a contest, a great sport. All right, maybe it is. But maybe you should know when you're too old for the punishment of this sport. Bill, the danger... Is largely in your imagination. Now, don't worry. Nothing's gonna happen to me. I pray every night you're right. Let's just enjoy the evening, huh? All right, I'm sorry I startled all this. It's all right. Bill... Yeah? Remember that word Bertie couldn't pronounce? The word he asked me to look up? About what happened to him? Oh, yeah. Well, I finally got around to looking it up. It was patechial. It's a kind of hemorrhage resulting from repeated heavy blows to the head. I didn't tell him, but it means the same as punch drunk, according to the dictionary. Now, honey... I didn't mean anything by it. Don't think that. I just thought you'd be interested. In the weeks that followed, I think maybe God could have pulled my guardian angel off the job at any time, and Bertie would have been there to fill in. He was always around. People would come to watch me spar, but he wouldn't pay them a bit of attention. He'd just stand by, and almost always with a spare head protector. That's enough for today, Bill. Right. Hey, you look good while, Bill. You know you did a real good job in there? Thanks, Bertie. Not even breathing hard. You got good wind. Don't you get tired of carrying that head protector around? You never tell, you know, when a strap is going to break, and you're going to want one? That's why I carried it. I wish I had one had them when I was fighting before. I don't know. These things have been available for a long time. Yeah, but not this good. Maybe not. I was watching you, Bill. You don't keep your guard high enough. You got to keep it high here. Oh, I don't know. They didn't tag me too many times.   The rest of you, they can patch up pretty good. But not the head. You got to keep that guard up. How is it, Bertie?  For some, they say it can be bad.  You told me. Sometimes you forget things. And mostly, I guess, that's the way it is with me. What do you forget? Oh, lots of things. I can remember some of the good things that happened to me. You know, when I was on top, but not too many, you know. Yeah, I think I do. You see, Bill, what happens? Well, it's like a sound in a night. You wake up and then you're not sure you really heard it. I can remember lots of names. There's a Corbett and Jefferies, Tani, and Schmeling. But I can't remember whether I fought them or not.  She had hair. It was like gold. Her name, her name was, I don't know. I can't remember. Hey, Bill? Yeah? Bill, you got to keep that guard up. Now, will you promise me? Sure I will. I promise, Bertie. And I kept the promise. Duke shouted at me a couple of times the training camp crowd even laughed, but I kept the promise. Because I couldn't shake Bertie out of my mind. I think of the things he said, and Bertie never said anything just once. You remind me of me. You're going to be a great fighter just like me. But remember, you keep your guard high. They can patch up the rest pretty good, but not the head.   You wake up not sure you really heard it. I don't know how it might happen to you, but with me now, I took a solid punch and I shook my head trying to come out all the way, you know, to clear it, but I never came out. It never cleared. Now, that's it, Bill. Either he goes or I go. We got a little more than a week left before the fight. I'm not going to stay here and see him ruin you completely. So take your choice. He goes or I do. Oh, maybe you're right, Duke. Maybe you're right. All right. You gonna tell him? Yeah, I'll tell him. I can do it. I'll tell him. I didn't see Bertie again till the night of the fight, and I guess you could say I was in pretty fair shape. That is, I was till I saw Bertie in an aisle seat near my corner while I was on my way to the ring. He had the head protector in his lap. I stopped to say hello. Wish me luck, Bertie. How'd you know my name? No, your name. Oh, hey, you went dancing artfully? It's me, Bill Callan. We were together for almost five weeks. Yeah, I never seen you before in my whole life. Sure you have. I'm the... I'm just like the rest of these people. I come to watch one of these fighters getting all silly. It looks like you're punchy already. All right, Bertie. All right. Hey, hey, wait a minute. Wild Bill, wait. Let go of my robe. Hey, wait. Let me tell you something. Because you've been good to me and because you remind me of me. Now, it's my song. Let go of me. Now, get out of the fight game, Wild Bill. Go ahead.  Or you're young enough for something else. Do what your wife wants. Let go of me. Your punch-drunk bum was so helpful. All right. All right. I'm punchy, Wild Bill. Now, don't be like me. If you've got to go in that ring, you just remember what you promised. Keep your guard high. That's my song, Wild Bill. Don't be like me. I saw him sitting there for the whole fight and watching me like a hawk. And all the time holding that head protector in his lap. I couldn't get him out of my sight or out of my mind. So I guess you could say I was just keeping the promise I made to him. Maybe I didn't really mean to, but I kept it. Uh-huh. And for squeezing you out as a possible title contender, you tip him ten bucks. I'd like to tip him a thousand. Maybe you don't get it, Ted. He was repaying a debt in a pretty big way. He was giving the greatest thing he had to give, the benefit of his experience. A great gift? I've been out at almost seven years now, Ted. That's enough. More than enough. Another year you could go for the title. Next time you're around the gym, Ted, talk to the older fighters, the ones who don't get matched much anymore. See how many caught when they couldn't shake off? I don't think the risk is worth the title. And now, if you'll excuse me, my wife and I have a date with a friend. This is Marjorie Steele again. If you were to make a trip to some other village or town, you'd expect to find it all together different from your own hometown. But then you'd find any community different from your own. You see, in a way, they're like people. Each town or village has a personality of its own, and each has customs slightly different from those of other towns, and even those which might be only a few miles away. And of course, the greater the distance there is between communities, the greater will be the contrast in customs. But no matter how far you travel, in every community you'll find one thing which is in common to all communities. In Berlin, San Loh, in Boston, or in Kiercock, or Gander, in a fishing village on the Irish Sea, or with a nomadic tribe in the Sierra, you'll find the people believe in and acknowledge their dependence on God. And in some of the older settlements, you'll find a traditional custom observed daily. It's the practice family theater recommends each week, daily family prayer. Through family prayer, you assure yourself of God's continued love and his continued blessings. And praying together as a family assures you of something else too, for the family that prays together stays together.  From Hollywood Family Theater has brought you transcribed You, Remind Me of Me, starring Charles Bronson and Chuck Connors. Marjorie Steele was your hostess. Others in our cast were Lawrence Dobkin, Alice Backus, and Leo Curley. The script was written and directed for Family Theater by Robert Hugh O'Sullivan, with music composed and conducted by Harry Zimmerman. This series of Family Theater broadcasts is made possible by the thousands of you who feel the need for this type of program, by the mutual network which has responded to this need, and by the hundreds of stars of stage, screen, and radio who give so unselfishly their time and talent to appear on our Family Theater stage.  This is Tony LaFranco expressing the wish of Family Theater that the blessing of God may be upon you and your home and inviting you to be with us next week when Family Theater will present Turn On The Lights, starring John Lund. Marshall Thompson will be your host. Join us, won't you? Family Theater has broadcast throughout the world and originates in the Hollywood studios of the world's largest network. This is Mutual, the radio network for all America.


Salt-affected soils include both sialine and sodic soils. Sailing soils contain an excessive amount of soluble salts. The presence of soluble salt makes it difficult for plants to absorb water from the soil. Sodic soils carry high amounts of absorbed sodium ions that damage soil structure. Soils become hard and compact when dry and sticky when wet. Both sialine and sodic conditions considerably reduce the agricultural productivity. Over 833 million hectares are salt-affected soils. The map currently covers 73% of the global land area. What are the drivers of salt-affected soils? There are natural and human-induced sialine and sodic soils. In arid, semi-arid and coastal environments, sialine and sodic soils are naturally present. These soils are not degraded, but typical of these landscapes, where halophetic vegetation is present. The unisalt flat in Bolivia is an example of this type of landscape and soil. All the sialine soils surrounding the lake are used to produce crops, particularly the quinoa reel, which is a very nutritious crop. These soils also produce natural vegetation eaten by camelids. Human-induced sialinization and sodification. The main drivers are unsustainable agricultural practices. Irrigation with poor quality water. Removal of deep-rooted vegetation resulting on raised water table. Water pumping at the coastal plains. Overuse of fertilizers. Because of climate change, soils at coastal areas are facing seawater intrusion, causing salinity and sodicity. What can we do? Conserve natural ecosystems, prone to salinity and sodicity. Manage soils and water sustainably. Apply appropriate irrigation practices and adapted crops. Manage salt-affected soils in harmony with nature. Let's work together to halt soil salinization and boost soil productivity.