It's my beat from Times Square to Columbus Circle, the gaudiest, the most violent, the lonesomest mile in the world. Broadway's my beat with Larry Thor as Detective Danny Clover. In the mid-afternoon light of Maytime, Broadway shimmers and languor walks the street. The dream walk, rhythm to the pulse of the sleeping neon, to the sun-worn blues yawned out of loudspeakers, to the slow erratic dance of the litter of night, held close, thrown away by a gutter wind.  But it does. It always does. The web of blood in the alley was already dust-heavy. Its threads leading you to the man huddled in a forgotten anguish against the flaking brick of an alley wall. His hand still clutched to the bullet wound as if he tried to claw out the pain and never made it. And the other man leaning over him being gentle and polite as he searched the dead man's pockets, then finding something and looking at it, then making the only observation left to him. It's a nice day, wasn't it, Danny? What did you find, my good one? Found him like that, all broken up about the bullet in his chest. Tried to tell me why it was there. The word never got out. It was phoned in? Yeah, from the back room of a bar down in the alley. A friendly chap wandered out for a breath of fresh air, saw this, ran back to the bar and made his phone call. Bought drinks for the house. He's still celebrating if you want to talk to him. You talk to him? Yeah. Friendly, lush. Invited me to a cold beer. I didn't take it. He knew, this man. Never had the pleasure, he told me. All the citizens of the alley never had the pleasure. I checked. Uh-huh. What's that in your hand? This? Oh, I almost forgot. It's a ticket for parking made out to a Charles Crandall. Over parked in a loading zone. He can snap his fingers at it now, huh? Is this your witty day, Muggerman? I tried, Danny. Days like this I guess I don't make it. Anything else, sir? Not a thing, nothing. Except that expensive watch on his wrist. You have to listen awful close to even hear a ticking. Very expensive. It's running, but in this alley you can't hear a ticking. No wallet, no identification, just the parking ticket? That's all. A wrist watch and a parking ticket. Not much for a grown man to leave behind him is it, Danny? In the alley, formerly known only to the chalk writers, the garbage collectors and the shortcut homers, then the alley became cluttered with new faces, mostly scrubbed, the girl in the picture hat on the pecanese, a maid in the baby carriage, the dad and his son. Mostly these, interspersed with enough men from the police department so that I could leave. I did. Back to headquarters briefly with the traffic ticket and to the traffic department. Long enough to check an automobile license number against a name and be given an address. Charles Crandall, Rooming House on West 17th Street. And go there. Wait a few seconds until the woman at the front door had finished shaking out her mop. Good morning. I guess I should say good afternoon. House cleaning, you sure lose track of the time. I'm looking for Charles Crandall, I'm from the police. Charlie hasn't done anything, has he? Is he home? I wish he'd answer me. I'm his landlady and I never had a better rumor than Charlie. What's Charlie done? We found a man with a traffic ticket in his pocket. Yeah, Charlie told me parked illegally. Is he home? I know, Charlie has been home for the last couple of days. I see. Yeah, Charlie's engaged, you know. No, I didn't. Brought his young lady over just last week, introduced us, Rosemary. Such a nice girl, helped me with the dishes. Rosemary what? Why don't remember quite, Nielsen is something. Rosemary, such a nice name for a girl gonna be married. Can you tell me why Charlie hasn't been home? Of course, sometimes he stays at Rosemary's house. Her parents love him like he was their own, like I feel about him. Was Charlie about 5 feet 11 blond hair heavily built? But not fat, you understand. Charlie takes exercise every morning. And the chandelier shakes in the parlor. I know Charlie's taking his exercises. And the chandelier shakes every morning before he goes to work. Do you know where Charlie works? Surely, Charlie's a longshoreman. That's another reason why he's not fat, works the peerless steamship line on loads. That's an idea. If you want to talk to Charlie, why don't you go there?  The foreman said your name was Charlie Crandall. Yeah, that's right. I'm from the police.  I'm not surprised. I am, I didn't think you were alive, Charlie. Come on. If I'm not being too previous, where you taking me, Mr. Clover? You'll see. I had parking tickets before. Nobody ever took me by the arm and let me down a cold, damp hallway. That's all? Nobody ever? Never. So help me. I've been missing out on things. Life has passed me by, huh? I've been here, Charles. Don't tell me. Let me guess. It's a morgue. Uh-huh. I keep looking at such things in the papers whenever you boys put on the safety campaign. Look, the paper says. Drive carefully or this on the slab is you. Because I got a lousy parking ticket, you're making me live it? This is the new up-to-date method. There's a chill in here here. How come I'm sweating? Take a good look, Charles. I'm looking. I make you a promise. I will drive carefully, observing all the traffic signals, and I will never over-park in a loading zone again. Promise. Cross my heart. Gypsy blood oath, if you want. You know him? Cover him up. Put him back. I've had him. I said something, Charles. You know him? Who knows people who ask for this kind of thing? A shelf for a grave.  You've introduced me to a new experience. You've given me a memory I never had before. We found this parking ticket on him, Charles. Yours. Huh? Look at it. Yours.  It's very complicated. I'll listen. You're sure you got the time? You got nothing better to do? Down here, there's all the time you'll ever need. Fortunate me. That's right, Charles. Count your blessings. What I'm building up to, if you give me the chance. Last night was a blessing. Maybe this what you're showing me was a part of it. I wouldn't know. I'll hit you. The part you know. I'll wait. Well, last night was my night in Sally's Bar on 3rd Avenue. Oh? This man was found in an alley near Sally's Bar. I wouldn't know about that. Well, I know as Sally's a man with an open ear, I cried into it. You'd had a tough day. That too. I'm a long shaman, remember? That too.  Yeah, about the engagement ring I needed for my girl, or my betrothed I call her. About the engagement ring, I couldn't afford to buy for her. Because a man like me don't lay away for things like that. Must have been very dramatic. Ah, yeah, I put it on. Maybe more than it needed. Because a girl walks over to me, runs her fingers across the beard on my cheek, tells me she has heard the whole thing, the big trouble I'm in with my betrothed. And she stopped your weeping. You could say that. She told me there was a jewelry store, Skully's jewelry store down the street, to come with it. To pick out any ring in the window I wanted. Like a fairy tale. Yeah, you could say that. So I went with her. Pointed to the fattest ring in the window with the fattest numbers, a star sapphire. She says meet me again tomorrow, I'll get it for your half price. Good girl to meet in a bar. You'll never dream how good. After that she takes me back to Sally's. Let's me exchange my other sorrows with her. You had more? Only one more I could call to mind, at the time. The parking ticket. Well she says give it to me, I know where to fix it. You believed her. I hear it's been done. And that's the last you've solved the ticket. The gypsy blood oath, if you still want it. Who is the girl? Helen, address Sally's bar on 3rd. Go to her, Mr. Clover. A girl like that can ease many sorrows. Just ask for Helen. They'll know. Don't thumb through any travel folders, huh, Charles? Why should I? I found a home here. Cover them up, huh, Mr. Clover? It's chilly in here. Sally's bar on 3rd Avenue, the boy had said. Go there and ask about a girl named Helen, because Charlie had given her a traffic ticket and the ticket had turned up on one John Doe, dead on arrival. 3rd Avenue is a tenement five stories high and miles long. At nine o'clock the night is going full blast. The open air card games for juveniles only, the doorstep tristing places, and every seven minutes the elevator screams. More between Comcho's Hong Kong hand laundry, special attention paid to pleated dress shirts and the blue star delicatessen, cream soda and hot corn beef two bits. Somewhere between there was Sally's bar. I walked in. What's yours, friend? Beer. Make it draft. Uh-huh. One dime. Thanks. Your name's Sally. You own this place? Yeah, so? You work here every night? Yeah, why? Skip any nights this week? Hey, what's with you, Buster? You spent the dime, drink your beer, listen to the music. I'm looking for Helen. Who? Helen. Tall blonde, you know. Look, Buster.  You ought to know Helen. I want to show you something, friend. See this? A ball bet. I bought it from a kid who swiped it from a Yanks dugout. I sawed it off. You want to hear how it goes? That's the way it goes when I slap it on a bar. You want to hear how it sounds otherwise? You want to... Copper. You want to stop, huh? Why didn't you show me the badge before? What about Helen? I get it.  You figure I tell you about Helen, huh? What about her? I told her to stay out of here. What do you want me to do?  The other night she was in here talking to a longshoreman named Charlie Crandall. Know anything about that? Oh, it's in trouble. She or this Charlie? Charlie Crandall was talking to you about an engagement ring. You remember that? Who remembers for what reason my ear gets bent? Helen, I know. You want her, huh? Where do I find her? You wait on that bar stool, she'll be in whisperin' at you for a drink. Well, you can't wait. Try the second floor back at the corner house at the end of the block. This side of the street. Can't wait, huh? Walk down to the corner house, which the sign at the head of the steps said allowed no visitors after 10 o'clock, and the other sign at the end of the corridor. Do unto others as you would have them do unto you. Wash out the bathtub, and the door with the swinging open briefly, then closing, opening. Helen. Helen. Get no answer. The tenement draft swings the door open and presents a room, a torn apart room. Nothing was in its place, nothing was undisturbed, except the girl on the bed, the strangled girl with the tumbled blonde hair, the dead girl, the murdered girl. You are listening to Broadway's My Beat, written by Morton Fine and David Friedkin and starring Larry Thor as Detective Danny Clover. Anyone interested in an auto ride from Hollywood all the way to New York? A fella in Hollywood named Jack Benny has to make the trip. He's got a fine Maxwell automobile, and he's looking for someone who loves sharing the scenery and the expenses. For full details and fascinating highlights, be listening to CBS's Jack Benny show this Sunday evening. And remember, Eve Arden as our Miss Brooks will be on hand, too. Springtime on Broadway is like springtime on a thousand other main drags, except for one thing. Mother Nature doesn't function on Broadway. Nothing grows. It gets constructed. But nobody bothers. There's the salary to be earned, baseball scores to be considered, and the weather to be discussed. However, as in all times and places, there are the crackpots.  You waste a shrug on that one and flip the newspaper over another page and scan the quarter column on the right-hand side. Girl murdered in Tenement House. Police seek link with death of unidentified man, which was straight reporting. I know because I was the policeman directly concerned. Next morning, open the notebook and scan the personal brand of shorthand. See now an item. Charlie Crandall had been taken by the hand and led to the window of Scully's jewelry shop to pick out an engagement ring. Go there, look in the same window and walk into the store. Oh, good morning. I'm Danny Clover from the police. Yes? I'd like to see the manager. Well, well, I guess I am until Mr. Scully comes in. What did you want to see him about? I'm his wife. Take a look at this picture, Mr. Scully. Have you ever seen this man before? I might have, but I don't know him personally if that's what you mean. Maybe I've seen him someplace. Who was he? The man we've got in the morgue. Now take a look at this picture. Young girl, also in the morgue. How terrible. Do you know her? She could be anybody, somebody's sister, sweetheart, in the morgue, in a police morgue. Oh, what happens to people, Mr. Clover? My, my, look at him. Hello, honey, like it? Blue coat and brown pants. Well, it's different, George. I took my brown coat to the cleaners on the way to work. It got soiled. Oh, sorry, dear, this gentleman. Oh, this is Mr. Clover, George, from the police. And this is my husband, Mr. Scully. Oh, something I can do for you, Mr. Clover? I'll just take a look at a couple of pictures. Here, this one. Never saw him. Take a look at this. No, her either. Dangerous characters, huh? George, they're dead. They're in a police morgue. No, I don't know either of them, Mr. Clover. Oh, George. I'm talking to the gentleman, Louise. But I'll forget if I don't tell you now. My wife is forgetful, Mr. Clover. That's a good kind of wife to have. What is it, dear? Mrs. Reed was in here for her diamond brooch. I couldn't find it. Why not? Why couldn't you find it? Mrs. Reed was furious. You promised her you'd have the catch repaired by this morning. Well, it's ready. Why couldn't you find it, Louise? I looked. It's not there on the repair rack. I looked all right, but I couldn't find it. Call up Mrs. Reed and tell her your husband's here, Louise. Tell her to stop in for a brooch. Well, do it, Louise. You're not missing anything from this shop, are you, Mr. Scully? Missing what? I don't know. I don't understand what you're talking about. A robbery, anything like that? You're joking. If I had a robbery, I'd know I'd been robbed, wouldn't I? You want anything else, Mr. Clover? No? Then you won't pardon me, won't you? Sure you will. What's the matter, Todd Taglia? You got a big sadness? From your office window, Danny, you can see the harbor in the Yon. It makes you unhappy, huh? Lady Jane Pugh, the ne'er-do-well girl detective from London Town. She has pushed off from our fair shores, Danny. The paper said she grew lonesome to eat an English kipper in the fog. That happens to a girl sometimes. You're fighting me, Danny. Don't do that at a time like this. There's only one thing to do with a grief like yours. Do you know? Tell me, Danny. Don't tease me with it. Tell me. Bury it in work. You mean I tried, Danny. Don't help. There it is on your desk. You buried your grief in this envelope? A part of it. The rest, what's in the envelope, is lose from the FBI, concerning the fingerprints of the man now in the morgue whom you found bullet-holed in the alley. They matched them? To a minor hoodlum named Johnny Malloy. Used to work off their city, crossed a few sweaty palms with silver, address unknown. I informed them his new address.  Yeah. Danny Clover speaking. This is Rosemary Nelson, Mr. Clover. Can you come to our house right away, please? Who did you say? Rosemary Nelson. I'm Charles Crandall's fiance. He told you about me, he says. It's about the ring he gave me, the engagement ring. I don't want it, nor him anymore. Please come. What's your address, Rosemary? The Brownstone with the marble stoop. 1827 West 50A, if you'll be here. Right away. You going out, Danny? You mind? If you want to leave me alone with a memory, it's all right. Go ahead, Danny. I'll be all right. I've been alone before. Bye, Danny. Don't pay any attention to her, Mr. Clover. She's upset. A lover's quarrel upsets a girl like Rosemary. I know. We've had them before. And that's all it is, Rosemary, just a quarrel that needs a policeman or a referee? Look at this ring, Mr. Clover. Beautiful. Star Sapphire. Take it. I don't want it. Give it back to whoever Charlie got it from. You know where I got it from, who I got it from, how I got it. Don't make a tear-stained production out of it. I'm not crying, Charlie. Not anymore. That's one thing I used to like about you. You never gave me a reason to cry. You got a star sapphire, didn't you? Is that what eats you? Because you never had a thing like that before? Because the star shoots pains through your head? Leave me alone. Just you leave me alone, you hear? Rose. Rose, honey. Where'd you get the ring, Charles? Honey, Rose, baby. Listen to me. I told you I'd tell the police. I dropped in a Scully's jewelry store a little while ago. I noticed a little square, clean place in the window, like where a ring box had been. This the ring, Charles? Yeah, yeah. You need an engagement ring, lonely man. Take it. Looks like I don't need it anymore. Helen Griffith, get her for you like she said she would. Half price and everything? Half price and everything. You could go ask her. Except I read in the paper she's dead. So you'll have to take my word for it, huh? You were with her. You were with her. And she sold you the ring. And now she's dead, and you want me to wear it. Get him out of here. Get him out. Yeah. Why don't you do that, Mr. Clover? It ain't the same between Rose Mary and me anymore. So why don't you do like the pretty girl asks? Let's go, Charles. I'm sorry, Rose Mary. Leave me alone. Just you leave me alone, you hear? What are you waiting for, copper? What is it you? Come on. What are you going to hold me on? Suspicion of murder? Until I come up with a new one. Hold me down at headquarters, Danny. Turning the air blue with complaints about Scully the jeweler. Charles, about it on the way down, huh, Mugerman? It'll pass the time for all of us. You, me, and our boy, Charlie. This is Danny Clover, Miss Christie. What am I supposed to do? Put two fingers in my mouth and whistle? You made a complaint about a jeweler named Scully. What's the complaint? Don't talk to me like that. What is this, Mugerman? I'll handle it for you, Danny. Now look, Miss Christie, you told me something about a watch in about Scully's jewelry store. I want you to tell Mr. Clover. That's a matter. You got amnesia, sonny? Please tell him. It's about my layaway plan. Whirl that around for a while. Danny, this is a mad dream. We lost that one, Mugerman. Try another move. Miss Christie. I told you it's my layaway plan. My layaway plan. You mean you bought something for Mr. Scully on a layaway plan? Don't, don't, you boy. What did you lay away, Miss Christie? A watch for man's wrist. And Carton figured a bit of it, make him happy. You still haven't told us what the complaint is? That's Scully for 11 months now. Been paying down on the watch, see?  No watch. Scully tries to sell me another one. That watch have a gold face, gold wristband? And if you flip open its backside, there's 17 jewels visible to the, if you'll pardon the expression, naked eye. Hey, Danny, that sounds like the watch we found in that guy in the alley. Yeah, entertainer, Mugerman. You heard what the man said, sonny. Entertainer. Then a squad car, and on the way to Scully's jewelry shop, the gathering together of the after images of two people's dying. Item, Miss Christie. The fact that her wrist watch had disappeared from Scully's store had turned up on a murdered man's wrist. Item, Helen. The fact that she had gotten a star sapphire from Scully at a big saving, the fact that she'd been murdered. Conclusion, Mr. Scully had been robbed, or he'd been giving away merchandise. Anyway, it was a conclusion that needed Mr. Scully. Hello, Mr. Clover. Is your wife here, Scully? In the back, sort and stock. Get her. Well, if it's important, Mr. Clover, but she's busy. Get her. Mr. Clover. Hello, right. Louise? Louise, come here for a minute. Leave it and come here. Mr. Clover wants you. Mr. Clover, you remember the policeman. Well, tell him to come back, George, if you stop. Don't worry about it, Mrs. Scully. It won't take long. I told you I couldn't recognize those people. I know. Your husband couldn't either. What's the matter? Don't you believe us? Yeah, don't you believe us? Tell me something, Mrs. Scully. Did your husband ever locate Mrs. Reed's diamond brooch, the one that needed the catch-fixed? Well, why ask her? Ask me. Yeah, I found it. You mean I found it, George. You remember we laughed when I found it in the repair case after looking there a dozen times? I just couldn't understand it. Because when you looked a dozen times, it wasn't there. Tell her where it was, Scully. What are you trying to do, Mr. Clover? Tell her where the brooch was, Scully, and the wrist watch, and the star sapphire ring. Oh, my. He's crazy, Louise. I don't know what he's trying to do. Oh, George. Well, George, I'm not going to lie for you. You might as well know that. After all, you've done something wrong. I know I'm a plain woman, George, and I'm in my 40s. And I make myself forget a lot of things. But not this, George. She doesn't know what she's talking about. You lied to me, George Scully. You said you took your coat to the cleaners, and you never did. When I was in there today, the cleaning man asked me about you. Said you hadn't been in for such a long time.  I lost my coat. Must have lost the keys to the store, too. Is that why we've been using mine? That how that hoodlum Johnny Malloy looted your shop, Scully?  Well, when it's hot, a man takes off his coat. But your keys were in the pockets. Why didn't you report it to the police?  That's why you couldn't report it. But I was only drinking when they were in a bar. I don't care what you were doing. After all, you promised me. Louise, I... I lied for you about the pictures. But I'm not going to lie anymore. Not about her, even if she is dead. Louise? What do you want me to say? I don't know. Tell her you killed Johnny Malloy. Only he didn't have the loot. He'd already given it to Helen. So you had to strangle her to get it. And you got it. Hey. I don't know what got into me, Louise. I didn't want you to know it was such a beautiful night. I was walking along. I stopped to light my pipe. It was in front of the bar, and I heard a tap on the window. It was Helen. She waved me in, and I... I just didn't want you to know. But you promised you wouldn't. And now look at you. George Scully.  I think we better go, Scully. Louise, you've got to help me. We'll get a lawyer. He'll tell you what to say. I won't lie, George. I just am not going to lie anymore. In May, the night sighs down on Broadway like a rosy promise. And someone smiles and takes your hand, whispers. And for an instant, the lights are brighter, the noise louder, and your scream mixes well with the scream of the night. It's Broadway, the gaudiest, the most violent, the lonesomest mile in the world. Broadway, My Beat. Broadway's My Beat stars Larry Thor as Detective Danny Clover with Charles Calvert as Tartaglia and Jack Krushan as Muggevin. The program was produced and directed by Elay at Lewis with musical score composed and conducted by Alexander Courage. In tonight's story, Lou Merrill was heard as George Scully, Jeanette Nolan as Louise Scully, and Adam Williams as Charles Crandall. Others in the cast were Peggy Weber and Joy Terry. Say there, Sing It Again's current phantom voice is really a phantom. For the past two Saturdays, she's mystified everyone Jan Murray's called and his coast to coast Sing It Again phone. Tonight, Jan may call you. If you can name the phantom, she's worth $3,000 in cold hard cash. So stay tuned now for Sing It Again, which follows immediately on most of these same CDS stations. Joe Walters speaking, this is CDS where you laugh at Jack Benny every Sunday night at the Columbia Broadcasting System.


TFNN headline news update Good afternoon everybody. I'm Tommy O'Brien coming to you live from TFNN headquarters in St. Petersburg, Florida 1 p.m. Eastern time on Monday three hours left to go in the trading day and we got markets flirting with record territory Dow Jones up 172 points at 28,000 307 S&P's up 25 points at 31 97 Nasdaq up 95 points trading at 88 30 We get the gold contract off $1.60 at 14 79. We've got oil up 10 cents at 61 17 Notes and bonds we're getting some lower price and higher yield the 10 year negative 18 ticks at 128 14 The 30 year negative a full point and 11 ticks at 156 28 and the dollar index with some weakness down 109 ticks at 97 064 had been under 97 at one point We'll start things off and we'll start it off with the chart of the VIX Check this out as we put it even a shorter time frame right now trading at 11 91 Quite a low volatility number priced into this market, especially coming from almost 17 just on Tuesday early of last week Let's jump over to the charts. We'll start things off with the Dow As you can see just off record highs made at about 10 30 this morning 28,000 349 currently at 28 3 17 S&P's actually made above 3200 3202 you get a print for the March futures contract currently trading at 3200 on the dot as we speak Nasdaq 186 13 just off its highest levels Crude oil bouncing around a pretty tight trading range so far today currently trading at $60 and 16 cents There's your gold contract was up to 1484 You have the February gold contract trading 14 79 and the euro US dollar at one 11 44 In terms of other news stories making headlines Boeing looking to cut or halt the 737 production for a period of time That's on as they're grounding for those planes marches on into 2020 jumping over to Boeing shares this morning as you'd expect lower and Look at some volatility I was gonna say lower but off the lows of the day when Tom and I were on the air at about 10 Just after 10 it was up there approaching 337 now back near the lows of 328 Boeing down 4% on that news Stay tuned folks We're gonna man Steve Rhodes coming up live with the traders edge right now Dave White live at 2 o'clock with the power trading hour and Tom O'Brien live at 3 as we go into the quick break S&P's up 24 points Dow Jones up 168 Nasdaq Paused by 94 points stay tuned folks Steve Rhodes coming up right now


Abstract the Janus Kinasek signal transducer and activator of transcription, JAK-STAP, signaling pathway was discovered more than a quarter century ago. As a fulcrum of many vital cellular processes, the JAK-STAP pathway constitutes a rapid membrane-to-nucleus signaling module and induces the expression of various critical mediators of cancer and inflammation. Growing evidence suggests that dysregulation of the JAK-STAP pathway is associated with various cancers and autoimmune diseases. In this review, we discuss the current knowledge about the composition, activation, and regulation of the JAK-STAP pathway. Moreover, we highlight the role of the JAK-STAP pathway and its inhibitors in various diseases. This article was authored by Sherry Hu, Jing Li, Ma Rang Fu, and others.


And Serious President Bashar al-Assad said the state did not give any weight to Western opinions about the validity of the presidential election taking place on Wednesday, March 26. Assad said the value of Western opinions is zero after casting his vote in Douma. Hello. Hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


Good morning, and thank you for the invitation. I think it wasn't like it was, right? I didn't sign up myself. Thank you. Well, thank you for this invitation then. I have 15 minutes to introduce you to what we're doing at one of the major German archaeology research institutions of the somewhat clumsy name Römisch-Germanisch-Zentralmuseum. I'm thinking about changing it to make it more adaptable to an international community. But, well, let's just go.  The reasons behind the Neolithic expansion has been debated for probably over a hundred, maybe more, 120 years, apparently, in the late 1980s, citations where people already debated why those farmers came in eventually, and that has been a topic in research for a century. Now, also this paper will be concerned with a minute detail of this expansion, why and how it happened. I will be focusing on the region where I always focus on Western-Central Europe. I like it here within that box. We will look at three time periods, which are determined by the archaeology itself, the early Neolithic of the famous, infamous linear pottery culture, the middle Neolithic, that's the succeeding cultures in the tradition of the early Neolithic linear pottery culture, and then the what some people call young Neolithic and German Jung Neolithic, it's a clumsy name again, but the young Neolithic characterised mainly by the Mischersberg culture. There is a major difference between the early Neolithic, while the early Neolithic populations, we know that from the genetist work, came from Hungary and moved westwards basically, they also moved eastwards, for our case, Mischersberg is now believed to have emerged somewhere in the Paris Basin, between the Paris Basin and the Ardennes or the Eiffel Mountain range, and from their expanded eastwards. So there's two counter movements of populations within that time period, and there's basically these three major archaeological entities that are of major concern here in our presentation. We have been using the adaptive cycles, again famous and infamous at the same time, they were introduced in archaeology in the early 2000s, they have made it to Germany about 10 years later, that's a usual delay, something is invented in North America, and then it gets picked up in Germany about 10 to 15 years later, it happened the same way with the adaptive cycles, and since about 2008, 2010, we've been thinking about how we could use the concept of adaptive cycles and the interlink concept of resilience in explaining the dynamics of the Neolithic expansion and these three periods that we see in the early to young Neolithic. Resilience is a major operating force, so to speak, in the adaptive cycle concept, but both adaptive cycles and resilience and probably by now most of you know have the problem that they're just intuitive metaphors. We can think about those things, but it is very difficult to find those metaphors in the archaeological record, which eventually you need to do to apply them directly and robustly. So the major question that we've asked ourselves over the years is right down there, how to define, classify and measure resilience as a major force, and as a social phenomenon in the archaeological record because the adaptive cycles, if you look at the literatures on adaptive cycles, there's a number of factors that have been used in looking for those cycles, those factors might come out of the field of economics, out of the field of population dynamics, Steven Shannon's group's work is famous for that, although he doesn't use adaptive cycles or hasn't used adaptive cycles so far. Then we have questions of land use, also very much used in that field, and we have added the component of what we call social diversity. We think that one of the major resilience factors in those cyclical fluctuations throughout history might have been a component that we call social diversity, or if archaeological resolution permits, social identity. We all know that social matters, particularly identity matters that have been debated, we all remember in the 1980s, early 1990s, and then we abandoned talking about identity, mostly ethnologists and cultural anthropologists, we abandoned talking about identity to a greater extent because it's so very difficult to find in the archaeological record. The thing is that identity is something that fluctuates within yourself, you have various levels of identity, and it fluctuates through time, identities change rather quickly, and that makes it very difficult to find identities, long-run identities in the archaeological record. But apart from things like body decoration, which reflects personal identity to some extent, and which is rarely preserved in the archaeological record, we do have occasionally good evidence, for instance, from pottery decoration. Pottery decoration might reflect certain levels of identity on a personal level and on a more group-oriented level, at least in some periods for sometimes, not always, obviously, not always, but in some periods and sometimes. So we choose, as we lack the body decoration, well, we do have some in the early Neolithic, we look at pottery time series in order to see whether we can use them for understanding fluctuations in social diversity or social identity. We use, apply, the theory promoted by Touchfield and Turner, social psychologists that have established a complex theory about how identity works on the personal level and moves from that personal level to the group level. I could lecture about this for hours, I can't, obviously, so I go on to the next slide. The problem is to adapt this theory to the archaeological record and we came up with just being published, they understand I have the final proofs on my little cell phone. We have established, sort of what we're trying to establish a methodology of how to find these concepts of social diversity or if archaeological resolution permits social identity in the archaeological record and we found that we can work better for most periods with the concept of social diversity. However, you need to keep in mind that this is an aggregate parameter, it is composed of various levels, so it is something that we might not be able to really find on the ground, but that's something more on an abstract... I don't know, that's my wife. Sorry, I need to... Yeah, it's an aggregate parameter that is somewhat... many people have, German colleagues have problems with it, to reach that level of abstraction from the archaeological record. It is nothing that you can really find on the ground, but something that we need to look at from a more loftier level, I should say, but the archaeological data just becomes denser at this level. So, let's look at the case studies. We have the earliest linear pottery culture, which has been researched for, again, 120 years. These are simple farming, lineage-based societies with dispersed settlements and they don't have any marked hierarchies. At least we haven't found any so far. They cover most of Central Europe and we look at the most western part of it there. We look at the state of Baden-Württemberg, boxed right there at the border to the French... to the French phenomenon of the early Neolithic. And we look at the pottery explicitly and we were able, particularly my colleague Christoph Striehm was able to come up with a robust, really, we think robust database saying that parts of the motives in the pottery actually reflect sort of lineage association of those that have made the pots. We think that women mostly have made the pots, so it is basically women lineage identity that is reflected in these motives and then we have the larger band motives, which characterize the linear pottery culture and this reflects something that we cannot understand immediately on the ground, but we think that this reflects somewhat social diversity. And we can see from those curves, it's blurred from here. Is it also blurred from far away? It's good? All right. You can see the curve number B, that's the individual, they are lineage emphasis, thus this high A-Baden-Württemberg at the beginning of the LPK and then it drops down all of a sudden without no apparent reason. We don't understand why it drops there, whereas what we call the social diversity is low at the beginning, then it rises and then it drops again and this drop is sort of enforced by a major drop at the end of the fifth millennium. These are those grey shades and down there are the climate proxies. So we see that the social mechanisms within these simple farming societies apparently work on their own. There's nothing external that would explain this drop right there in the middle, nor the rise. We have climate fluctuations, but they can't be really linked with our high chronological scheme. So all we see is that this major drop, and it was a major drop, that this major drop had enforced really these social processes and at the same time that we see sort of a return to societies becoming more rigid. That's the explanation. We took that from Iroquo research that societies become more rigid. At the same time we see the population curve rise. Apparently the increase in societal rigidity was favorable for the population curve, which then again means that those general templates that we always use for adaptive cycle or any cycle theory can be taken down into individual cycles which have individual tipping points which are time-length. So we stopped with this model which was published in 2017. We were forced by the reviewers to publish it. I was a bit hesitant, but we've stopped with it right there. So we see that there's a social diversity dynamic which would probably precede population dynamics in simple farming societies. We will research that in other examples in the near future. And we've taken from Peter Turchin the basic template of integrative and less integrative cycles where this is actually published with Peter together. So we've used some of his terminology and adapted it to our terminology with the adaptive cycle and came up with this combined template. Our point is that social dynamics are time-lagged to population dynamics which means population dynamics doesn't tell you everything. Usually population dynamics are total. Relation to population is important, obviously, but those extremely difficult to graph social dynamics might be the actual critical interest. That's our idea. Next example, 500 to 1,000 years later, middle neolithic, again, simple farmers, clear-sight therapies, status markers, elites at least in some areas and marked social therapies. There are some objections to this, but in general. Let's just take it as in general. We've adapted the same methodology. You see the early neolithic cycles right there. Unfortunately, the middle neolithic dataset does not allow us without an enormous amount of time investment which we haven't been able to to come to population calculation. So we've just taken the diversity motive, diversity curve again, and this is the curve that we came up with. And again, you see the stylistic diversity rises with the beginning of the neolithic then comes to a tipping point and then drops again. So we suggest the same social mechanisms are in operation. We have rigid societies at the beginning. Then those societies become more diverse in their social thinking as I said is an aggregate component and then those societies towards the end become rigid again. We were all surprised that this corresponds well to the precipitation curve in the area, but we don't have any explanation for it right now. We need to adjust the chronology a bit to see what is actually behind it. So, all right. We see that these, if I can now, I'm almost there. We see that the social diversity curve is a force operating in itself and here it is again somewhat linked to the precipitation curve something we cannot really describe right now. It may just be that, you know, the drop periods were infavorable for these super farming societies and the more it rained until it rained too much those societies were able to grow in a way and then it became drier again and the societies turned to rigidity. We'll have to see. All right. The next level as I said emerged in the perispacing to our dens and then moved westward or eastward. These were agri-pastoralists. They have clear-sighted hierarchies status-markers, elites at least for the early periods, and marked social hierarchies, particularly evident from the genetic work right now. This is the simple curve that we came up for this period because unfortunately, Michel Spurg is all young eolithic pottery in central Germany. It's very simple. There's almost no decoration. It's just form variation and we cannot come up with a high motive resolution as we have for the previous 2000 years. So we're stopped really simply with a coarse pottery chronology but it also follows basically the same template that we've seen before. We have an early simple pottery tradition then it becomes more diverse with forms and then it drops again to a very simple, just a few starts at the very end and then combined with the site number count sort of population proxy. It's not the same, unfortunately, the same methodology as we applied for the previous 2000 years cannot be applied here anymore but we see the same general dynamics happen and they also can be linked to the same final proxy and through it gets all the way prior and the final point is just like with the LBK is linked to a brief draw period. So we come up with this three cycle model and we propose that social dynamics out of the data, hard data that went from the LBK, that social dynamics really are the forcing agent for the entire three cycle early to young Neolithic data that we have in central Europe. Thank you very much. I must, I'm not through yet. The second part of our talk how much really can be calculated to social components in general is being presented by my colleague Kai Wilts in session 140. I don't want to instruct you obviously I just thought I'll let you know in room CCCB 11a there Kai comes up he uses a different data set but the same cycles and came up with an idea of how to calculate the percentage of the social component in those cyclical movements.


Hi! Welcome back! I have to show you my back first. Why? Because today we're going to take a look at the art of the Mandalorian season one. And already turning this around, come on. Very cool. But before I page through the book, I'm an SGD and I do interviews like these. I do animation analysis clips, I do acting analysis clips, I do lectures and animation news and feedback clips from my workshops. All kinds of stuff. You know the pitch. Just go through the channel, something that you like. You can take a look at it. You can subscribe. We don't miss anything. You have to subscribe. It helps my channel grow though. So if you do, thank you so much. That is the pitch. At the beginning, like and subscribe. You know that it's YouTube. Massive fan of the Mandalorian. I was very lucky to have worked on season one previous for the first couple episodes. And when they announced the art of the book, you know I had to get it. So that is the front. That is the back. And that is the cover that you can take off. And you can see here. Let's open this up. Voila! There's a ton of stuff in there. I say this as I open on the black page. Oh, yes. All right. This is going to be bananas. So much awesomeness to look at. The Razorcraft. You got here title. Lots of artwork. Contents here. You can see introduction. Who's who. The pitch. The Mandalorian. I have spoken. And so on. These are from the episode. So you got it forward by Doc Chang. Awesome art as always. I mean this whole book is just packed with awesome art. Lots of iconic imagery at this point. You can see who's who. Everybody involved. Actually not mentioned there as I could see. Paul Kavanaugh. Animation supervisor at the beginning. Here's the pitch. I love it. I love seeing stuff like that. Where it translates from early sketches. But anyway, there's a lot to go through. Let me page through. This is so cool. Like this is. Sorry, I got to stop already. I love seeing this. It goes into different process pitches and early sketches. Different creatures. Look at that. The Mandalorian. You got to focus on a Mando. Early stages without the cape. I remember when that was pitched and, you know, pitched not to me. But you hear this as you work on things and then you go, really? No cape. Come on. You need a cape. You need that flowy stuff. I'm glad they kept the cape. That's cool. See. Cool to see too. Progression here of the whole suit. The Razorcraft. Spoiler. Not going to talk about what happened to the Razorcraft. Let me just page through. Look at that. That is so cool.  Two-page full art. You got the beginning, the entrance, how the door is supposed to work. Lots of cool details. More lambs, bit more art. Then you got your cyber characters. Yes. Mr. Herzog. Look at that. Love these. I love seeing variation of Mandalorians and Stormtroopers. Biker Scout Helmets. So cool. Environment. Art. Also really cool tech with Stagecraft. This is going to probably be a longer clip because every page is awesome. I have spoken. Yes. Look at that. Love seeing stuff like this. Henschman. Oh! And we're getting to Baby Yoda. Actually, not Baby Yoda, but Rogue. And we're still calling him Baby Yoda. It is Rogue though. Super cute. Look at that. How cute is that? Then we got the planes as they were hopping around. Actually doing previous for that. Remember how the size of these kind of tricky to previous how they were hop around. Like how big are those gaps? Not that I was the deciding factor at all. But it was a lot of fun to work on that. To kind of determine that. That's the stuff that I worked on. It's kind of the early staging and previous development of exactly that. Where are they? Where are they shooting? What are they looking at? Direction and everything. It's very cool. That's cool too. Look at that. Love these. Trandoshens. Oh! Jarvis. It was also awesome. And if you haven't seen the show, obviously this is full of spoilers. That I thought was really cool. The animation on the mud horn was absolutely fantastic. Love the look. Love the messiness and the sliding and some of the like the hitting of the head into the ground. Very, very cool. Really hot soft. Anybody who animated that. Again, spoilers. The scene going forward with more episodes. Yeah, yeah. Very cool. Look at that. This gets into almost Iron Man territory. Also very cool. Love all these. All those little these costumes and insignias. So cool. That's interesting because it was not quite like that in the final episode as they were flying in more Iron Man style. Although the salute was kind of weird there I say. Ooh, Sanctuary. Yes. Also very cool. Classics. I love these. These when they walk in the episode. The animation of that. Integration to live action play. It's very cool.  But I have to say, it was very cool. These are great. I'm still very tempted to get the LEGO set. I filled that with my little one. Love that. He loved that the eyes were glowing because his question was, oh, wait, wait. Is someone in there? Is that a robot? How does this work? Cool action. Look at that. That's super cool. The gunslinger. Yeah, look at that. This is why I'm here. I love stuff like this. Helmet variations, color variations, different designs. I love seeing actually pre-cool stuff redone better renders just up to date. Very cool. These are great too. How they were, if you look at the making of how they're sitting on this and how it kind of balances, it has that kind of floaty feel to it. I thought it was really well done as well. Disney Plus has a really cool documentary. For season two, it's a longer, it's a one hour documentary. For season one, it's multiple episodes going through all kinds of things with the directors talking about their process and their experiences. Also really cool. Love her. We just finished a couple months ago. Last year, well, for sure last year, not 2021. In ER, that's where I know her from the first time, ER, but her costume is great. I think her character is great. She's great in it. Yes, I know everything is great. I do love it too. I do love season one and season two. These are great too. The X-Fingers go in there and demolish everything at the end. That was a bit of a question mark for me. Holy moly, you just shoot everything. Great too. The voices, that whole thing, that whole episode, I thought was great. I know, again, here's the work great. I really thought it was a nice switch of tone, kind of cat and mouse thing. The music was really, really neat. The set design also cool. Whenever there's something that's something like that.  It's very neat. The reckoning, yes. Moff Giddy in the house. That was super cheesy. But hey, I'm actually my little one watching stuff on YouTube where it always talks about the beat and Moff Giddy. Super cute. Poor guy. Not going to say what happens. Spoiler. I love all these. Sometimes I wish that. The concept stuff is usually very dramatic in terms of the lighting. It always gets kind of lost in the actual shooting where it's not as bold in its light and shadow play. Sometimes I wish it would go a bit further. Almost like Empire Strikes Back. The ending fight really into darkness and bold colors. What's happening here too? Spoilers. Grogu. Yes. These are great. Coming back from the old Kenner toy, I believe. I remember my nerdyness throughout the show. Yes. It was a shot of this tie fighter landing. I believe animated by Andy Wong. Shout out to Andy Wong. Love this. Love that costume. Look at that. Yes. So cool. Redemption. Also that whole fight. Very cool. We have access to some of these things to look at during the production and there I say some of the witness cam stuff and things how they shot that. I saw that super early on but I wasn't putting the pieces quite together. This was the end. I guess I didn't want to really know it was the end. But it was super cool seeing some of those production photos and concepts early on. There I say we have access to all of that. Spoiler. Spoiler. Also love when he takes it off. It's all messy. Love that it's all messy under the helmet. Very cool. It gets the backpack. Awesome. Awesome voice to speaking of which the dubbing is awesome. The French version of the mandolin is great. I don't know if it's going really quite but it is really, really great. The French and the German version of the French especially where we did the casting for those voices. Fantastic. That's a crazy combination of the art to enjoy there. Walking into the Mize IG. Very cool. Love all this and fights. And that's it. Here's your index. Acknowledgements. Last ish. Piece of art. Here's another one. Can't wait to get season two. Yes. Yes. Yes. It was also very cool. Look at that. We have an end on this. Into darkness. There we go. That is that. The last page. Here's the back as we show before. That again is the front. So as you can see a lot of artwork. It's very heavy on images. Nuts are super heavy on text. You got some of these you know synopses and kind of explaining what's going on. But it's not massive, massive on kind of like a making of behind the scenes document like the Rinsler books. But that is okay because it is an art of book. That's the concentration and that's why I love it. I have spoken indeed. And when I say Rinsler I mean let me show the books. Heavy stuff here. The making of Star Wars. You can see there's a huge. It's been a while. There you go. You got the making of Star Wars. You can see. I mean not that I don't have any photos but you can see there's a lot more text. There's a lot more behind the scenes information and they actually have really cool ipad versions where you have the same thing but then also video clips and deleted scenes is actually really cool. The digital version. This is the making of Star Wars. The making of Empire Strikes Back. Also dusty and pretty big. And the making of Return of the Jedi. More dust. It's been a while since I opened these but there we go. There's the back and again all of these. Let's go back in there. Lots of awesome photos. Lots of text. Really goes into detail into what happened. Really need a highly highly recommend the books for sure. The digital version is actually really neat. And Rinsler. Back there. Still have to open that. The alien. The making of alien. Want to go through that. It's gonna take me up somewhere. Actually do read it. Not just go through but I can do a page through. Show you what's in there. They're super cool. Anyway let's put this back. That is that. For the Mandalorian. The art of book is fantastic. Link in description where you can order it. Find it all kinds of bookstores and where you can find it. I highly recommend it. If you're a fan you can put great stuff in it as you saw. And that is that. Thank you for watching until the very end. I know these are not short. So thank you for your patience and watching this until the very end. That's it for me. If you like this as always here's the page. If you like this you don't want to miss any of these. Feel free to subscribe. Hit that bell button. You don't miss any of those uploads. But do upload a lot.  If you won't of course you don't have to. It helps my channel grow though. So thank you if you do. And that is that. Thank you for watching. And I will see you in my next clip.


What's up everyone? It's your girl Kinsey here from Leighton Sports Cards and I'm ripping a personal here for Jeremy Z We've got three boxes of the 2022 Bowman University football hobbies Again, just a reminder Jeremy that regular paper base does not ship everything else will ship Thanks again for hop it in see we can get you Super frackin time Oh 18 out of 25 on the Invicta Show Yeah, just a couple cases left, I think Got first refractor Connor Baszler Rich walks in the room in a chat. It's like, hey rich. Hey rich. Hey rich He's the I'm the I'm the grumpy old guy That's all I am the grumpy old guy They let me out of my cage every once in a while. I'm not too often Got refractor first Xavier worthy. He's here to make sure Cortes checks her tiktoks Yeah Out of 99 nice little to a that's what I call them will to a little to a mini to a mini to a on the prime Signatures that is 19 out of 50 Yeah, Jeremy to Louie. Is it Talia? Yeah, where's the emphasis that I don't know Like the end of his career was like player manager Fractor first auto Casey Thompson That's that's pretty much it Yeah, this isn't a licensed product, so that's why the the logos on the helmets are not there What's up Jonathan Yeah, we're on about a 30 minute queue and I don't want to wait right now again that can change very quickly We've got another Bajon Robinson on the Invicta What's up sin sin in chat Everyone Nebraska got first refractor Derek Stingley jr. Here we go now a Texan Y'all say hi to Kayla new LSE member Part of the squad now. Yeah, it's official To be fair she is totally not Said that you want to work here yet, but we can totally force her into it if we just make it J.J. McCarty Initiation yeah, but we should totally clean the skin first I was gone that one day guys He was letting his brand heal I had to escape from the hospital. I wouldn't let me come break. It's like Yellowstone ranch It's not official Dear it came not numbered on the purple We got farce top-learning tonight. We're pretty sure he has no idea what he's doing But your cards come like Down He meant every card so far. All right, that'll do for the first box there Jeremy Shipping for the one day of person's is more than the other three weeks of the month Sick everything That's how you get out of doing something be bad at it one time and they don't ask you again We've got yellow first auto of Tanner McKee 11 of 75 Colby woollen first reactor Kenzie Milton wasn't Paper Nice color auto so far for you Jeremy Invicta, what's up? Any more personal boxes filled with coins for you think I got refractor first auto of DeMarvin leal Marvin Stealer, right? I think so. Yeah It was I don't know if you got cut or not first refractor of quorum I'm just messing with you sin just messing with you Got blue out of 199 Kenneth Walker the third nice one there Paper haven't seen any more of your your cards posted in the discord.  It's always something I know you're definitely in in the discord at one point in time Mom we will it's Kenny Victor of Nick Starkle.   I thought it was twitching you to Got purple first Nick Starkle Not numbered on those purples refractor first deuce Vaughn paper paper Can everyone more break starting tomorrow with magic mad at 10 a.m. Over on the LSE baseball channel We've got a Victor refractor of DJ Oogadeli remember the first time I read this guy's name, and I definitely didn't say panic We've got shimmer for a Skyler Thompson Chris a lava paper Oh D plus for your draft grade last night depending on where you're drafted. That's probably a good thing Some of these sites have insane rankings. I I got ranked first again in mine last night But I'm so mad because I want to take my dog downstairs and left my phone for getting that I was in the middle not even middle beginning of the draft so it auto drafted my two My second and third round pick I picked Echler Second overall and I put my phone down to go take my dog out for some reason and then it auto drafted Devontae Williams, which is fine and then it drafted me James Connor First refractor auto of Graham Mertz Nice one there. So literally my first three picks were all running backs. I Would not have picked James Connor dude's trash We've got first refractor Graham Mertz If you can stay healthy, you might be decent, you know, there's no other running backs really in the Zona right now, I don't know but still ended up and And ranked first Kyle Hamilton out of 75 on the yellow Oh was it Wednesday, I'm sorry I looked at the schedule and just assumed it was yesterday or tomorrow We've got orange shimmer first to 25 Brian Robinson. Nice orange to 25 Yeah, again, all right, so I'll fix that Thank you for that Brian Robinson first refractor. It will be Wednesday and again that is museum collection baseball release day Fun one there beautiful looking products. Love the booklets out of museum Yeah front of commanders Glad he's doing okay Crazy Extremities, which you know if it was his legs and stuff that could be dangerous, but if it just grazed them Could have been very bad So excited It's like finally but it's also like already. Yeah already a football season first refractor a seed is strong Like I'm gonna miss all these fun ones got Invicta of Grammert What It's supposed to be the end of September Just the end of September that was another one that was kind of like beginning of August or something It would have been fun if they came out when it was supposed to it's Almost to the finals now. We've got green shimmer first out of 99 Kyle Hamilton You know, it's crazy when score football is coming out at the end of September.  Yeah first refractor is a flowers Solid boxes here. Yeah, a lot of quarterback first autos coming out soon And Victor little tool again, you know, put that next to the auto little tool. That's what he's gonna be referred to shimmer of a John Robinson Last back here for you Jeremy Paper alrighty that will do it for your boxes. Jeremy. Thanks again for hopping in as always do appreciate all your support And we'll get these right out to you


in charge of duty as a question in any subject, any time, anywhere, for free. Can you go there and see next time? Why do you spend hours writing papers if charge of duty can write them in seconds? What is worth learning and how will you do it? Meanwhile another AI applied improv is trying us. How do students thrive in volatile certain complex and ambiguous situations? What if we teach without giving lectures, sitting chairs, and taking notes? What if we play, laugh, and then learn? Most professors go, say what? It's unclear which AI is more unsettling. Artificial intelligence or applied improv? This way this question occurred to me. Can chat GPD play improv games? I got very excited. I went online, created an account, and started my first chat to find out. I typed in my prompt. You play the improv game with me. Instantaneously it spooked out much more than I expected. There's a voice over that, but it's not, but it's okay. So can you see the instructions? So it not only answered, yes, I'll be happy to play the improv game with you. What if that suggests an initiator gave us to play word and time story? So we will start by saying one word at a time to create a story. The first person will start with one word, the next person will continue with another, and so on. So we will continue until we reach a satisfying conclusion, or with a lot of ideas. So for example, I'll start with the word once, and then you can say upon, and then I say uh, and so on, until we create a full sentence or story. Are you ready to give me the try? We saw GPD, by the way. And so I say, okay, we'll start with the word one. So instead of me telling you how my game went, you learn to experience it yourself. So you're going to find a partner, and the 12th person will be GPD, the shorter person will be a human being, you. Two of you will play word and time story for about 30 seconds, and then we'll see how it goes. Is it clear, we're about to do, I know you have drinks and food, and you have backpacks on the chairs, so if you put your skin out gently without knocking anything off the tables, and find a partner, the total person will be GPD, the shorter person will be a human being, two of you will play word and time story. GPD will start with the word one. You have 30 seconds, the chat GPD will share what it's like to be GPD in this game. In a few words, how did you feel? Next slide please. The partner, what is the experience of being GPD? The human being will share what it's like to play word and time story for this chat GPD. In also in a few words. Discover what it means to be human during the game if you notice anything, so you can exchange your thoughts. She can have a seat. First that you discover what are unique human qualities or skills, characteristics, whatever. Laughter. Laughter. Sound of voice. Sensitivity. Emotion. Yes, thank you. So next. And chat GPD is self-compassing things to me. It cannot remind. It does not understand or experience emotions like human beings. It has no desires or goals. So here are my thoughts for us to contemplate on from my encounter with chat GPD. Next please. We embody life. AI does not. We embody this most evolved form of life on this planet. And yet, most have not learned how to lead this life to its highest possibilities. In Chinese, student is written as two words. 学生, which means learn life. Technology has advanced exponentially. Yet our students' life skills have not. She will be surprised that students are strengthened with stress, anxiety, and depression to know life. So AI will teach students how to make a living, but cannot teach students how to blossom as life. To know life is to be playful. I quote Saku-lo Jackie Valsume, a yogi mistake, mistake and visionary. He reminds us that quote, if you're alive, you're playful. If you're serious, you're conducting death. The most responsible way to live is that you're playful with life. Unquote. In the West, the worldwide icon Charlie Chapman also inspires by saying quote, life is like a play that does not allow testing. So sing, cry, dance, laugh, and live intensely. So before the curtain closes, and the peace ends with no applause. Unquote. Applied improv explores or embraces uncertainty in life. And it facilitates learning through laughter rather than the dead serious long faces. So next, inclusive intelligence. Saku-lo Jackie further reveals that quote, the essential nature of life is all-inclusive. And we can only know life by inclusion, non-intellect, unquote. So sitting here, we breathe in and breathe out. The body does not discriminate. Whatever others exhale, we inhale. And that's how we got COVID. It's like an angle that is to breathe right now is all-inclusive. Human beings have the potential to consciously access this different kind of intelligence that is naturally unifying. Saku-lo further says that now the AI does not replace intelligence. It replaces only human intellect. So Saku-lo further says that the nature of intellect is like the mind. It can dissect and include and exclude, but it cannot ignite and include. So the overuse of the intellect in education has led us more divisive than inclusive. Applied improv explores other areas of intelligence that go beyond simply processing information and thinking logically. Finally, what is the right education? Jay Krishnamurti says, Warners, quote, the man knows how to split the atom, but has no love in his heart, becomes a monster, unquote. AI knows how to split the atom, but has no heart. It has no heart. So splitting atom, and we, applied improvisers, we do not know how to break the atoms, but we know how to build communities that intensify learning and living through joy, love, and compassion. Splitting atom is impressive. Why now in love is profound? What is your choice? How do we learn life and love through artificial intelligence or through applied improv? It is a phase up in higher education. Do you see which AI is most worthwhile? Thank you.