Yn yllin arweinydd, ddwy'r gael y byddai ei ddweud yn ddwy'r gweithio, ddwy'r ddwy'r gweithio, o'r drwg, ac ddwy'r gweithio'n ddwy'r iaith. Mae'n ddweud o'r cyfrifio'r cyfrifio. Yn y cyfrifio'r gweithiau sydd wedi'u ffwylo'i cyfrifio'r hwyl, Mae'r gwahydau gyda'r gweithio i'ch dyfodol, i ddysgu eu gyfnod sydd yn gyfnod i'ch gyfnod i'w ddweud. Ond o'r 1930 yma, mae'n gwneud am hynny i'ch tyfu, a'r tyfu'r ddau. Mae'n amserau sy'n gael, ddaw'i'r ffordd yn ei ffordd o gwneud o'r cyfnod sydd yn gyfnod i'r unrhyw sydd. Mae'n amserau yma i'ch cyfnod ychydig i'i gwneud o'r hollu cyrraed. Dyna i'n ddigwyddawad yng Nghymru. Gweithson i'r hollu cyrraed, ddiwylliant i ddannu Llywodraeth Cymru, i'r Hwyddol Llywodraeth, i'r Pwysig, i'r Llywodraeth, a byddai. Rydw i ddim yn gwneud ateb yn ei hollu cyrraed. Rydyn ni'n gallu'r hollwch ar y teimlo'r hollwch i'r hollwch, yn ymweld â'r ffordd yn ymdwyllulau, oherwydd mae ydy'r ffasg. Mae'r ystyried yn ymdwyllwch i weld y dyfodol i gaelio'r ffawr i dyfodol i gaelio'r cymdeithas ysgol. Yn ymgyrch yn ymdwyllai felly bywyd ac i ddiogelio yn YG20, ond YG20 efallai ymdwyllai i ddaeth eu union wedi gwirionedd ac rwy'n ymdwylliant. Mae ymdwyllai i ddweud yr hyn o'r stymulau ffysgol ar y dyfodol i gynyddiol, ac nesaf i'r llwyaf, i'r llwyffwyno i'r llwyffwyno i'r llwyffwyno i'r llwyffwyno i'r llwyffwyno. Yn ystod, mae'n meddwl gyda'r rhannu. Ond y gallwn gwahaniaethau a ddaeth ei wneud yn fawr, dyma maen nhw'n ei ffordd. Yn ystod, ymgylchedd ar gyfer y syniadau ffordd o'r cyfnodau yn ycwmio'r cyfnodau i'r eu dynol, has been found to be extremely limited, partly largely because of excessive debts. Now these debts have ar risen for different reasons in different countries. Some countries it's profligacy over a sustained period of time – one thinks of Greece, obviously. Other countries it's because of the public sector, the government's coming to the rescue of a banking sector that was in need of There's a problem of private debt levels, of course in certain member states. And there are some member states that are perhaps in a position they're not just member states- the union, but some countries that are in a position perhaps to continue with their fiscal stimulus- but do not want to do so for a number of reasons. The second problem is that we realised that we had ignored neglected during the good times a number of underlying structural problems facing our economies. It was easy to ignore them in the good times but slowly but surely the competitive position of some countries was being undermined and affected. Above all, we failed to draw the consequences of our interdependence. We are far more interdependent than we realised before the crisis. But we had not integrated our policy coordination and our instruments for policy coordination to a sufficient level to cope with that. We now know more than we ever did in the past how a housing bubble in, say, Spain can be everybody's problem. A disorderly default in Greece would have consequences right across Europe, whether you're in the eurozone or not, by the way. Maintaining a separate currency does not make you immune from this crisis. No one can escape this interdependence. So the crisis has forced us to review our procedures for economic governance. When Hermann van Rompuy took office as president of the European Council two years ago, just two years ago, he said, I found an empty toolbox. Part of what we have been doing over the last two years is building up a new toolbox. Partly, of course, short-term measures, but also long-term measures to make sure that we don't get into this situation again or make it certainly far less likely. Now, of course, this has been step by step, often criticised for being too slow, too late and always one step behind the markets. But markets move much faster than political processes. They move at the click of a mouse. Political processes, democratic processes, after all, need unavoidably more time. That's not a reason to give up on democracy, by the way, but it's a fact that they take time. And that's why it's been step by step and it's been step by step among a group of member states that haven't always initially at least agreed on the remedies. There have been divergences on the size of rescue funds and rescue mechanisms, on the principle of bonds, common debt issuance or not, on the degree of fiscal discipline that is needed. On all these things, there have been divergences among the member states. And these are issues, after all, where it is not about European Union instruments, it's about coordinating national policies. If you're talking about macroeconomic policy, the EU budget is 2% of public spending, it's almost irrelevant and it has to be unbalanced by law anyway. So we are talking about coordinating national policies. So, unavoidably, we're talking about the European Council bringing together, as it does, the leading political figures in each member state and the President of the Commission having to get to grips with the situation and finding new policy instruments. So it has been slow, been difficult. But I heard recently a speaker from India who started his talk by saying, asking people in the room, how many of you think that Japan handled the Fukushima disaster well? Two hands I think went up. How many of you think that the USA handled its deficit crisis last summer well? I think one hand went up. How many of you think the European Union has handled this crisis well? An equally small number of hands went up. But it shows that the handling of crises is not something that is easy. That's why they are called crises. They pose new challenges, challenges that you have not found before. What has been done over the last two years, before I get on to the new treaty that's being negotiated now, is that we've put in place in Europe a triptych of new instruments and pressures that did not exist before. Institutional pressure, peer pressure, and there is anyway enhanced market pressure. Institutional pressure means what we have done in law in terms of changing our procedures and the requirements that are laid down on member states. We've after all established the three financial sector supervisory bodies, such as the European Banking Authority and the overall European Systemic Risk Board, instruments and tools that we didn't have before that were lacking. We've reformed the excessive deficits procedure providing for shorter deadlines, a greater focus on debt, not just on deficit, and accompanying it set up a new macroeconomic surveillance procedure, looking at other imbalances than just debt and deficit. Debt and deficit are far from being the only issues. We've explored for the first ten years of the euro other macroeconomic imbalances like asset bubbles, current account divergences and so on. Now we will have a tool to look at those, examine them and take corrective action. We established the EFSF and the future longer term European stability mechanism to provide emergency loans to countries that need time, need help and time to turn around their situation. A tool that didn't exist before, needed national ratification everywhere. It's a slow process but it has been achieved. It doesn't mean it's the end of the story because it's the question of levels and so on. We may come back to it but that instrument is now there. We now have a legal requirement that every member state has to have independent statistics on its economic situation, that it is not just a government department that provides the statistics. Grease may have been in everyone's mind when that rule was adopted but it's important that it applies equally to all member states. The commission has strengthened the role of the relevant commissioner in this field, and now a vice president of the commission upgraded to give a greater focus to that in its work and give a face to the person dealing with it. So those are the institutional changes. Alongside that we have more peer pressure. We have more peer pressure than ever before because now every minister for a start realises that his neighbour's problems are likely to be his own problems a few months ahead and they probably didn't quite appreciate to the same degree in the first ten years of the euro. That context gives more teeth to the extra peer pressure procedures that have been set up. The European semester whereby every member state will compare their economic statistics, their assumptions on growth, inflation etc. before they draw up their national budgets. Can even comment on each other's proposals as regards national budgets. Before the national budget is submitted to the national parliament which remains sovereign and responsible at the end of the day but you will have a process of comparison that didn't exist before. We need to fine tune this a bit and make sure that documents don't turn up in other countries' parliaments before they've turned up in their own parliament but nonetheless it's important that this procedure exists. There's the euro plus pact for countries that want to work together and most countries do on working on their long-term competitiveness position in certain fields. There's the Europe 2020 strategy benchmarking those things that are important to address structural shortcomings in our economic performances and focusing taking over from the old Lisbon strategy but with a much more focused set of indicators and a tension to specific things that really matter. There is the agreements for each last October that member states will consult each other before the adoption of any major fiscal, new fiscal economic policy reform plans so that they can benefit from each other's comments and be aware of what each other are doing. It didn't exist before. Even such a basic thing didn't exist before. All these new mechanisms of peer pressure, as I said in a context where peer pressure is likely to work more than before, reached a culmination with Eurozone summits so that the sort of things that were left to the Eurozone finance ministers will now be dealt with when necessary at the top level of the political apex in each country at the level of the head of state or government. So peer pressure, institutional pressure, all in the context where there is more market pressure than before. The market slept for the first ten years of the Euro. They rated Greek bonds at the same level as they rated German bonds simply because they were in the same currency without thinking further about it. They are not going to make that mistake again. They may now be overreacting, but they're not going to go to sleep again. That in turn affects the other procedures. Even a commission warning, even a lively peer pressure discussion could trigger a market reaction. It's the interaction of all these three things together which mean that we have made a significant change to our methods of economic governance and their likely impact. We have a toolbox that we didn't have two years ago. And now the debate is about whether we should have a further step with this new treaty, this locally called the fiscal compact treaty. As you see it's only a compliment to what has already been a very important set of reforms. But it's designed to show that we are focusing as well as much on the long term as on the short term that we are determined to put into treaty law things in some cases that may exist already in ordinary legislation but is upgraded. Somebody characterised it as the captain of the ship tying himself to the mast. You know, you've set a course, you're not changing the course, but it shows that you are determined to set that course and see it through for some aspects of this treaty. It's also important to address the long term to show public opinion and show markets that what we are doing is not just a set of sticking plaster to get us over the immediate problem and then everything will go back to the way it was before. No, we are laying down things for the long term as well. That's an important symbol. It was also important in a different way that the European Central Bank which is an independent bank, takes its own decisions by majority. Nobody can instruct it what to do, but the bank has been, as you know, intervening in markets. It has a margin of manoeuvre to do so, but it's made it very clear that it would not do so unless it was guaranteed that the national governments were moving in a way that will guarantee a degree of certainty for the future that the reforms put in place are sticking. Once agreement was reached on the 9th of December to proceed with the new treaty, almost within a few days the central bank intervened to a greater degree than it had and introduced the new measure of 1% loans to banks which have been taken up to such a large extent and which have been used among other things for banks to purchase bonds of countries issuing bonds in the last few months and helps banks make it easier in some cases for them to move towards meeting their new capital ratio requirements. It's a very significant step, but it needs to be seen in the context of, I think, I can't speak for the bank, it's independent, it takes its own decisions, but I think that this context was very important in allowing the bank to take those decisions. Now, a separate intergovernmental treaty rather than doing this through the existing treaties was not everybody's first preference. I think it's actually safe to say that a large majority of member states in the European Council meeting on the 9th of December preferred the proposal put forward by Hemann Van Rompuy to say, let's do what we can by means of amending protocol 12 of the European Union Treaty, which the European Council is already empowered to do by the Maastricht Treaty by a simple decision of the European Council without needing subsequent ratification. Some countries need parliamentary approval for it before the decision, but at least you know before the decision rather than take a decision and then wait for a long period to see whether it's ratified. However, such a decision needed unanimity and that unanimity was not forthcoming at the European Council meeting in particular due to a situation in one member state which I won't name, not very far from here. In that situation, the route of changing protocol 12 was blocked but also the route to amend the European Union treaties was blocked. You couldn't do it. And in that situation, very quickly, the mood in the meeting changed to saying, well, if we cannot do this and we cannot do that, then we accept the only way to go forward is to do it by a separate treaty, this inter-governmental treaty that is being discussed as we speak. Having a separate treaty has disadvantages, may have some advantages, but some people have said it's a very barock procedure because you're having a separate treaty which a colleague of mine said, no, no, no, it's not a barock procedure at all, it's gothic. The European Union and its treaties are like a gothic cathedral, a big solid structure. Inside that cathedral there are some chapels for the more fervent members on monetary union, on Schengen and so on, but crucially inside the cathedral. We had a bit of problems with the foundations, but one of the owners wouldn't let us carry out the necessary work to deal with those foundations. So what we are building with this new treaty is a flying buttress, supporting the structure from the outside. It's not a separate cathedral, not a separate chapel or any building, it is a means of strengthening our cathedral from the outside by providing support. That is, I think, a rather neat way. I mean, it's from my colleague Luke van Middelhaar, a Dutch philosopher and speechwriter to President van Rompuy, but I think it sums it up very neatly. But what are the specifics? What is this buttress? What does this buttress actually do? What added value does it bring? The first thing it does is address the one point that you really couldn't address without looking at dealing with it at treaty level. It's to do with how the excessive deficit procedure is triggered. If a country is not respecting the agreements it's made in terms of debt and deficit, and deficit especially, at the moment you need a qualified majority in the council to trigger the procedure. With the recent legislation, subsequent steps can be by what's called a reverse qualified majority. The commission proposal will stand a necessary majority against it. But the initial decision you needed a qualified majority to say, yes, this member state is violating the rules. And it very rarely happened. And certainly if a large country like France and Germany, 2003, 2004 were violating the rules, it was very easy for them to get a blocking minority to stop that decision because the onus was a qualified majority. Qualified majority is over 70% of the votes in the council under the current formula, so it's a high threshold. Very easy to wriggle out of it, certainly for the larger member states. To change it to a reverse qualified majority needed a treaty change because it's in the treaty. You couldn't just do it through legislation. This has been done for the subsequent steps in the procedure to implement such a decision in the recent six pack legislation as it's called. So you needed to address that at treaty level. This new treaty does that in a rather clever way. It says that the signatories of this treaty undertake always to vote in favour of a commission proposal that finds that a member state has an excessive deficit. Unless a qualified majority among them are of a different opinion. So in a backdoor way you've introduced a reverse qualified majority rule into the procedure to start off the excessive deficit procedure. This is something that you couldn't do without addressing the matter at treaty level. And in doing so you actually make it more difficult for member states to...  But when the onus was that you needed a huge majority of them to do so it didn't work. Now the onus is the other way around and it's much more likely to work. So that's the first plus that this new treaty could achieve. Other things are to agree things that have been done or could be adjusted through legislation. But by enshrining them in the treaty you're giving them extra political visibility, extra legal status and making it more difficult to reverse because you'd need to change the treaty again. That applies in particular to the so-called golden rule that member states would undertake not to have a structural deficit of more than more 0.5% of GDP unless they're under the 60% GDP debt level in which they could go higher. But for those above it you would have that rule. Now a structural deficit is measured across the economic cycle so it does have that degree of flexibility into it and there are methodological problems of how you define an economic cycle when you know your economic cycle has ended you usually only know when you're in the next one. But those are small print arguments which are being looked at. The principle is agreed by all the member states party to the negotiations which are 26 member states as things stand. Introducing that would also require member states to introduce it into their national procedures. The treaty says preferably at constitutional level but member states I think the Danes had a problem and some others about it being a requirement to put it in a constitution. Constitutional systems are different in different countries so it can be done by legislation. The key thing is that it has to be has to have an effect on your budgetary procedure. It's not just an exhortation if your budgetary procedure violates that rule you need to have a mechanism for rectifying it. So that would be a second benefit of this new treaty. There are a couple of other aspects I think that are worth dwelling on. One is that the separate ESM treaty which is also going through the permanent lending mechanism the bailout fund as it's often called to be eligible to receive a loan from that would in due course be conditional on the new treaty being ratified. That is without prejudice to existing loans and existing programs. It would also have a transitional period it would only come into force later on but in due course that would become a condition for receiving loans which therefore is also an important pressure on countries to stick to the rules. The final point worth mentioning is the conditions for ratifying this treaty because it's not amending the European Union treaties which would require every party to the European Union treaties to agree and to ratify because it's a treaty in its own right under international law as with most treaties in international law you set your threshold for it to come into force and the threshold that has been set is that it would come into force as soon as I think it's 12 the latest figure member states ratify it would come into force among them of course those who've ratified it. You don't need to get all 27 or 26 17 eurozone members to ratify it as soon as 12 eurozone members have ratified it would come into force among themselves. That's one advantage of an international treaty you can proceed in that way which of course changes the nature of the debate if there were any country that was reluctant to ratify that country is not faced with the choice of do we block this or go ahead it's faced with the choice are we joining in or are we staying apart which is a slightly different choice than is customary in the European Union framework and of course if we stay out what happens to our eligibility for the ESM what happens to our credit rating might be a factor that would feature in the debate on whether to join in or not. Now one criticism of course is that all this is about austerity, it's an austerity pact but I'd point out that it has no requirements to limit public spending how much you choose to spend is up to you up to each country domestically it's simply saying that you should finance such spending by taxation not by borrowing not by excessive borrowing anyway not by excessive deficits which is one of the lessons of the crisis too many Member States of the European Union had built up to high levels of debt and high levels of debt are anyway not a good thing it means that more and more of your tax revenues are being spent on servicing your debt rather than on public services or investment I recall in the early 1990s when Belgium's debt level was 132% of GDP it was spending far more on servicing its debt than it was on health or on education that is not a healthy situation for any country to be in so to characterise this as an austerity pact I think is somewhat simplistic very simplistic but the other thing to bear in mind is that this treaty as I said is addressing one part of much wider package wider package in terms of reform of economic governance of the euro but also a wider package in terms of the wider debate on where we go from here economically President Van Rompuy's hope is that the European Council on the 30th of January will not be a negotiating session on this treaty that it will have been agreed but the latest if there are still open questions now but the latest by the Finance Minister's meeting next week and that the European Council can just sign off on it and focus the debate then on growth and drops it's important that the public sees that we are not just debating fiscal austerity for the long run and doing nothing in the medium and short run about growth and drops now of course the main responsibilities and the main instruments to do something about that remain national but there are things we can do at European level I mean sorting out the debt problem is itself restoring confidence is the biggest thing you can do in the short term in itself restoring confidence is essential beyond that there is potential at European level potential to make even more than we have of the single market the digital single market, the services single market still have enormous potential a very significant precise point is to sign off by the end of this month on the patent question where there is still a dispute even after all these years holding that up on the question of the location of the patent court it's about time we sorted that it's something that could cut the cost for a European firm of registering a patent across 27 countries from over 30,000 euros to less than one tenth of that under 3,000 it's a huge difference and if you look at how much it costs a European firm to register a patent across Europe to what it costs an American firm in America it's a huge competitive disadvantage to Europe so just that point alone is significant and it would have symbolic value as well third thing that you can do at European level is look at our trade policy further we are about to embark on free trade area negotiations free trade negotiations with Japan, India and others those two offer enormous economic potential we've been too slow in moving those forward if we can speed them up that can also be an extra contribution by the EU at EU level to jobs and growth I wouldn't dwell on the fact that we currently have a lower exchange rate of the euro nobody wants to talk the euro down but it is a fact that it's not as high as it had been recently which also helps in that respect in terms of trade policy and finally there will no doubt be a discussion at the next European Council on whether those countries that do have a wider margin of manoeuvre for fiscal stimulus shouldn't actually use that margin of manoeuvre there was after all agreement on such language at the G20 summit in Cann recently and it included, I think it was very clear which European Union member states were being referred to and there I think will be renewed pressure in that respect while talking about that member states I suppose I should mention the question of whether the short term rescue mechanism the EFSF or the ESM when it becomes permanent should not have a higher level than the 500 billion currently attributed there was agreement that this would be discussed again by the European Council in March that was agreed before we knew we would have a January one I think that discussion will start already at the end of this in 10 days time from now as yet another part of this set of building blocks which I hope I've conveyed to you that we've done over the last two years it's been a slow difficult process getting political agreement across 17 or sometimes 27 sovereign countries rightly aware of their own sovereignty of their own democratic procedures that need to be respected reaching agreement on all these points step by step by step has however transformed our methods of macroeconomic governance in what is still the world's largest single market and where we've realised that our degree of interdependence whether we like it or not our degree of interdependence is such that we have no choice but to find common solutions to common problems thank you very much


Hello and welcome to the session. In this session we will discuss reflection in intersecting lines and in axis. First of all let us discuss reflection over axis. Now we have two axis that is x axis and y axis. We will contribute to each other. Now we will find what happens when we reflect a figure in y axis followed by the reflection of obtained image in x axis. Now here we have a triangle A, B, C. We have first reflected it in y axis using the transformation where the coordinates x, y are transformed to the coordinates minus x, y. So here the point A with coordinates x, y is transformed to the point A dash with coordinates minus x, y and we have obtained triangle A dash, B dash, C dash as the image of the given triangle ABC. Now again we have reflected this obtained image in x axis using transformation where the coordinates x, y are transformed to the coordinates x minus y. So here the point A dash with coordinates minus x, y is transformed to the point A double dash with coordinates minus x, minus y. And here we have got the triangle A double dash, B double dash, C double dash. And now carefully see the triangle ABC and triangle A double dash, B double dash, C double dash. And we see that triangle A double dash, B double dash, C double dash is a rotated image of triangle ABC at 180 degrees about origin because when a figure is rotated at 180 degrees about origin then we use the transformation where the coordinates x, y are transformed to the coordinates minus x, minus y. And here also coordinates of original figure are x, y and coordinates of this transformed figure are minus x, minus y which means this is a rotated image of the original figure at 180 degrees about origin. Thus we compose two reflections over each axis then the final image is the rotated image of original figure at 180 degrees about origin. And here you must note that order does not matter. We can also reflect in x-axis first followed by reflection in y-axis. So reflection in intersecting lines. Now a figure is reflected in two intersecting lines then final image is the rotation of the figure about the point of intersection of the two lines between the intersecting lines. Now suppose we have any two intersecting lines and now we draw a quadrilateral A, B, C, D on the side of one of the lines say M just reflect the quadrilateral in the line M and then we draw a perpendicular from the points A, B, C and D reflection. So we mark the image point A dash such that of reflection M to mark these points we have C dash and since we get a quadrilateral A dash, B dash, C dash, D dash this quadrilateral is the image of the quadrilateral A, B, C, D about the line. Now the second line now taking M as line of reflection we plot the image points of A dash, B dash, C dash and D dash in the similar way double dash, B double dash and D double dash thus is quadrilateral A double dash, B double dash, C double dash, D double dash. Now if we see the original figure and final image we see that final image is rotation of the original image about the point of in all with the help of protector v-nasir the angle of intersection at point B and here 90 degrees the angle between the two images for this we will take our original vertex now here let us take our original vertex B and its image point which is B double dash that is the final image point now from these two points meeting at point B. Now using protector let us measure the angle B, P, B double dash 180 degrees that is angle B, P, B double dash is 180 degrees so here angle B, P, B double dash is 180 degrees which means angle of rotation of the image is 180 degrees at point B is 90 degrees this means angle of rotation of the image is twice the angle that is the angle at the point affecting lines now if degrees then into it now we can easily find which is equal to two into angle of intersection that is 30 degrees and this is equal to 60 degrees. So in this session we have discussed reflection in intersecting line of view all have enjoyed the session


and I think it was the only chance that the decision was to leave after that. That's not a big deal. That's not anti-American. It's just a counter. Should we say, you can't have it? Should we say, you can't have it? Or, I don't know, what was I doing? So, Ashley's working on the way to wrap. She's working on the way to wrap. She's working on the way to wrap. We're just going to do a part of this. She's working on the way to wrap. Is that the guy that she's messing with? Is that the guy that she's messing with? Is that the guy that she's messing with? Can we ooh. I'm I'm I'm I'm No, I go live everywhere. LinkedIn, YouTube, Facebook. Hi. Hi. LinkedIn. Okay. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. LinkedIn. No, I didn't, I was into the contract, I didn't expect it to happen.


He's coming now There he is. Oh, yeah. Oh, yeah, it's a staver That's another teenager almost 40. Yep Awesome fish, this is my biggest one of the year almost my personal best through the ice.


There are 23 old Mystery Gift Pokemon events that you can still get right now in your copy of Pokemon Black and White. To access, grab your DS and go into your internet settings and change settings. Scroll across to DNS and say no to auto-obtain then click into detailed setup. Change the primary DNS to the following <IP_ADDRESS>. Click ok, save your settings and boot into Pokemon Black or White. At the title screen go into Mystery Gift, Received Gift and Choose Get via Nintendo WFC. Once you have done this you will receive one of the 23 possible old mystery gifts at random. A full list of the events will be in the description. After this go into game and visit any Pokemon Center, speak to this NPC and collect your prize. You can then move these gift Pokemon into scholar and violet through Pokemon Home by trading them up using Pokemon Transporter and buying to show off some of these exclusive shiny event Pokemon from over 10 years ago.


In this episode, you're going to learn about the big power you have as a service designer and the important responsibility that comes along with that. You'll also learn about how you can become a better designer by building bridges and finally what it means to shape service design, to shape the future of service design in an intentional way. Here's the guest for this episode. Let the show begin. I'm Yoko. This is the Service Design Show episode number 98. Hi, I'm Mark and welcome to the Service Design Show. This show is all about helping you to design organizations that put people at the heart of their business. The guest in this episode is the general co-chair of the Service Desk 2020 conference. She is the co-founder of the Service Design Melbourne Meetup. Her name is Yoko Akama. The reason I'm so excited to have Yoko on the show is that she challenges some of the dominant forces within service design and strongly argues for a more diverse and inclusive practice. So at the end of this episode, you'll probably have learned about some of your own biases and how those impact the work you do as a designer. Before we dive into the chat with Yoko, don't forget that we post at least one new video a week here on this channel to help to level up your service design skills. So if you haven't done so already, click that subscribe button and the bell icon to be notified when new videos come out. So that's all for the intro and now let's quickly jump into the chat with Yoko Akama. Welcome to the show, Yoko. Hi, Mark. Thanks for having me on your show. Well, happy to have you on all. You're literally at the other side of the world because you're in Melbourne right now, right? Yes. Yeah. And Melbourne's at the bottom of Australia. Yeah. And I think if you would just dig a hole straight through the earth, I would end up somewhere in Australia. Quite possibly. Yeah, quite possibly. Yoko, for the people who don't know who you are, could you give a brief introduction? Okay. Hello. My name is Yoko Akama. I'm a design researcher from the School of Design at Aramite University in Melbourne, Australia. Cool. And in the introduction, I already said something about the service desk conference. What's the current state of that? Yeah. So because of the global pandemic, we had to postpone the conference from being scheduled. It was scheduled for July 6th to 9th, but we're looking at a future date at the current time. And it would be the first additional service that's going outside of Europe, right? Yeah. It's the first time Asia-Pacific is hosting it. So we're very excited. Let's hope it happens. Yeah, me too. Yeah. A lot of thoughts going into it already. I can imagine. Yeah. Yoko, it was quite interesting when I approached you or got connected to you for the show. You had some reservations. You said, I'm not sure if I'm actually the right person to talk about service design. I have a different perspective on it. And then I said to you different perspectives on more than welcome. And we'll talk about that later. But I'm, first of all, interested in, do you remember the first moment that you sort of got in touch with the term of service design? When did you start learning, thinking, and speaking about service design? I think it was when I was doing my PhD. So that was so, you can see my gray hair was so long ago. And it might have been when I bumped into Lucy Kimball at a conference in Europe. And we met because she came to our presentation, something on human-centered design. I can't remember what it was about. And she said, I should meet with Ben Reason at Live Work and interview him for my PhD. And so I think that was 2005, no, 2006. I can't remember something like that. The early days of service design. At least the modern early days of service design. Cool. Yeah, definitely. Like I just said, you have a different perspective on service design, which is really good. And I would love to dig into that with you through our interview jazz format. So are you ready to do it? Yes. All right. We're going to talk about a topic. We're going to start with a topic that's been discussed often in the past few episodes, which is really good. And I'm really curious to hear your thoughts about ethics. Do you have a question starter? And can you show it up? Why? Why ethics? Maybe you can sort of frame this a little bit for us. That's a really big question. But what is ethics in relationship to design slash service design for you? Okay. So I think ethics comes up for me. As you said, for many of your guests who you had on your show. And I would imagine I would like to think for everybody who is designing, because I'm really worried about how design tends to, well, it's really good at telling itself to affirm its own values to businesses and society. You know, so who says no to good design. But I think design expresses certain social priorities and it carries cultural values. And often these values are invisible, but they become inscribed or hard-baked into the design process as an outcome. So I worry about what when design is assumed automatically as being good or it's useful. And whether it's a method or a process or system or product, what it's actually doing. And that's why the question of ethics is always about the why for me. Yeah, yeah. So we had the conversations usually are around that designers are quite positive people. They tend to look at the positive aspects of the design process. And now that the questions and that the topic of ethics is being raised, it's sort of like invites designers to take a step back and also think about maybe the not the downsides, but the side effects of their work. Is that also like the way you're thinking about ethics? Yeah, definitely. I think my worry is partly because service design has become so powerful through its effectiveness. And it's coincided with that shifts in economies from manufacturing to services and the rise of this, the cheaper and the faster accessible digital technologies. So service design has become so much more powerful because it can kind of then span geographies and social cultural boundaries, its accessibility. And so it penetrates into our lives much more deeply. And we might I don't think we quite know the impacts of how far and how deep those values penetrate until many years down the track. And that's what I think we, for me at least, we need to sort of build a culture that allows us to question a lot more of these things before and during our designing. My question would be like that. I think I hope a lot of people listening and watching would agree with that. There's a but they run into practicalities. Like if you're running, if you're doing commercial projects, there's usually it feels like there's little time to deliberate around these topics. Like what have you found? Is that the biggest barrier or is it just lack of knowledge? And how do we cope with that? Yeah, I understand. And I think what seems to be happening, and what you say Mark about the pragmatics being a big barrier, I guess. I think maybe the form of the dominant designing that we have inherited still carries that legacy from the time where quicker was better when and I think when you were mass producing objects, perhaps certain things could have been done that way, in a sort of very sort of cookie cutter way. But I think given that service line now reaches into people's behaviours, how people imagine, experience things, that then requires all of us to slow down to do due diligence in not just the research, but to actually also talk with enough people who may potentially be implicated in the delivery and impact of certain circumstances. And those things take time and those things are additional skills and capacities that the traditional disciplines of design didn't really have before. So we're now starting to see that and the methods and the processes that are coming in to support that. And I think FX is a string that ties it all together actually. So it's always in accompaniment of the actions that we were doing. But in order for us to sort of think about the actions who we speak with, whose values are privileged over others, how we negotiate them, they are very complex. So they're not quite like choosing between materials, the traditional design needs to be, these things are quite invisible and very nebulous. So I think that that demands a different kind of sensitivities for designers moving forward into this space. What I feel that is emerging is that working with ethics and in embedding the ethical discussion in your design process is a fundamental responsibility of a designer. And we're sort of starting to address that now that it's just like if you don't consider your values, your morals, like how you make choices, you're basically not doing good design, which is I think a very positive way forward. And the other thing is that I think a lot of designers struggle around ethics because it's not part of the education. Like we talk a lot about the design process, the methods, but not a lot of designers I think maybe including myself probably have taken the effort to make their values and norms explicit and use that in their design process. So if you don't know what your values are, like how you make choices, it's really hard to do something around ethics. Yeah, no, you're absolutely right. And I think what also adds a further complication is that if you belong to either the dominant culture or you're designing for a specific group of people. And as I said, service design tends to perhaps go beyond those initially intended users, as we know, because services and digital technology evolve through its use. And so values tend to be highlighted when it encounters difference. So you know certain things matter to you when there is a difference in those values. So it's actually quite difficult to notice what your values are if you're within a dominant culture where everybody sort of shares those things and only start to recognize what those values you hold and even what values matter to you until those things are not sort of quite in a sort of antagonistic way, but in composition of many others. And I think this shift into a diversity or understanding different value systems and being able to accommodate that I think is another challenge that again being brought on by globalization but also how yeah and how and this goes back to the question of ethics that I think personally design the dominant form of design tends to privilege certain kinds of values actually. So things that are bigger, things that are more convenient, you know, cheaper. I would be curious and I'm inviting the people from the community to comment on this. Maybe there are some smart design methods and tools that help us to make our values explicit. Like you said, probably we don't fully see them when we're in the dominant culture. Maybe somebody, probably somebody already has a method in place which helps us to make it more explicit. And if there is, please leave a comment. For now, I'd like to sort of wrap up the conversation about ethics and move into the second topic. Are you okay with that? Yeah, of course. Okay. Because this will be an interesting one as well. It's the topic of bridges. And I see you searching for a good question starter. So let's give it a go. Oh, so Mark, is this like a wild card? Yes, it is. Three dots. It's absolutely a wild card. Okay. So my wild card was a question to you. And you sort of mentioned how you had 98 people on your show. Yes. You probably interviewed more than that, but the ones that's been published would have been 98. I like to know how many people of diverse cultures and backgrounds were on your show. That's interesting. It doesn't happen to me that often that the guests actually start asking me questions, but I'll do my best to to play along. So I think we have to sort of think about what is the, you said, non-dominant culture, right? So people from non-Europe, non-US and preferably non-male, right? That would be like the dominant design culture. I think if I would have to give a number, it may, it's probably between 25 and 35. So let's say a third of the guests were probably maybe a bit more, but 30%, 30 to 40%. And how many of them were from regions outside of Europe and US? Yeah. So that would be for me like the 32 to 40%. Oh, okay. Right. Yeah. Yeah. So I'm curious about, so the question, well, the question, the thing was around bridges. Yes. One of the things that I'm quite passionate about is how design can, when we talked about this in ethics around accommodating or embracing diversity. And it comes from the premise that I have, but also, I guess, discussions in particular, actually, not in service design, though, but in other fields, where design and many other fields are recognised as being dominated by a certain particular worldview, usually they're called Western, you know, sort of, even though Western culture in itself is very diverse. But I think it's a convenient shorthand that speaks to how certain norms are put into the centre of a particular field. And design is definitely one of them. So I didn't say myself in my introduction, but I am Japanese. And I have, I'm a product of a family who migrated quite frequently, actually, every five years, owing to my father's work situation. And so the reason why I speak the way I do and I now live in Australia is partly because of this quite a mixed bag of experiences while growing up, even though, for me, I very strongly still identify as being Japanese and I think I still associate with a certain social, cultural and spiritual dimensions of Japanese people. Anyway, so what that has provided me with is a teaching that I didn't actually receive in my Western education around the kinds of designing that Japanese cultures have been doing for a lot longer than the short history of the industrial period that are shaped by certain kinds of materialities, well views, beliefs, histories, to become and to be made relevant to that local context and situations. So I am always embodying this identity as I speak to people like yourselves. And my role in my life has been a lot around building those bridges between, it could even be simply around communication. So it's not by accident that you and I had to learn English and its proficiency. It's also not by accident that we had to learn certain other cultural norms in order for us to conduct professional things in international or whatever contexts. And so I am really starting to wonder and I guess advocate and this also ties to the service 2020 which we were hoping to host and we were still hoping to host is how much is still invisible or lacking recognition of design and also service and practices that are not from a particular place. Yeah. Yeah. So I think that's that is a topic that's definitely on my mind when inviting guests and creating a show to be a mirror of the global community which the service design community is. It's when I started doing the show, a whole world opened up for me and I really realized that the community is much bigger, much more diverse and colorful than you might see when you look at books that you can buy on Amazon around this topic. So it's definitely something on my mind. And I don't know who mentioned it, but what I like a phrase that I like is that there are different flavors of service design. Like there's a Brazilian flavor and there's probably a Chinese flavor of service design and putting that forward and sharing that story is I think really enriching. Yes, absolutely. Yeah. And I might even go so far as saying how there is a lot more. I personally am learning from being exposed to and learning from not just practitioners, but academics, philosophers around what these diverse practices or approaches can teach us. So when I, I guess I'm sort of pushing back a little bit on the flavor notion of it being, you know, like a rainbow color thing. For example, the current condition of the unsustainable consumption that we're in is design cannot deny its role in that. And I also have learned that there are economies that had flourished by actually not taking the land or the resources as a human ownership. And so there's quite different worldviews in which humans see their relationship to each other and to its environment. And again, because design expresses and prioritizes certain values, certain values from a certain place that sees nature as their resource accelerates that it makes it more powerful. And that's what we see through industrialization. Whereas there's other forms of designing that had always has also flourished and created very sustainable economies of trade without that being a result. And Australia is a great example of that. It's 65,000 years of a sustainable and flourishing civilization of indigenous nations. So this is where I feel that there is a lot that regions that where I'm in and living in can even, I would dare to say, lead the way that design can go and enable us all to learn and re-inscribe the way, I guess the dominant design has been talked to us through textbooks. Sure. And what we can then start to shift not just mindsets but our entire relationships to one another and the whole ecology and in looking to shape futures. Shaping futures. And I like your pledge for building bridges and adopting and learning about different world views, which is, I think, really enriching for the design practice. But you said something about shaping our future. So and that's a really good leadway, lead in to the final and third topic, which is called shaping our practice. Do you have a question starter around that one? Yeah, I think you might be one. So I guess it'll be in sort of in this time and for viewers who might be watching this, I don't know, a year later or something, I just want to say how we're actually in a very unprecedented time where the whole world is in the midst of this coronavirus pandemic. And this is, I've never experienced this in my lifetime. And the cultural memory of people having lived through this have mostly gone. So it's teaching. So we can't not think about this basically, that's what I'm trying to say, in terms of futures, right? And I'm trying to think about not not seeing this as, you know, like a really bad thing, even though it's terrible in terms of the number of cases and deaths. But I think it's also a teaching moment or something for us to learn from, in a sense of how it sort of touches on the two things we talked about around ethics and about worldviews is how it's I think we've arrived at this moment because the dominant industries have disrupted ecosystems through mining and clearing urbanizations, the population growth, unsustainable economic development. And it's brought the humans in contact with these species where these viruses had come from. And and there's reports about how, you know, because of the travel bans and people not driving to work anymore, that there's the quality of the air is improving in major cities like the UK and China. And maybe it's not peer reviewed yet, but perhaps this might be a way to think about how we might reduce carbon emissions in the future. And even though I don't think it's totally sustainable for us to all stop traveling. I think it's a question for Service Design to think about because Service Design champions, supposedly, holistic and systemic changes. So what are we learning from this accidental and fearful public experiment? So we can put the insights we learn from this experience back into how we redesign organizations like systems of governance, systems of commerce, flows of information. So we are able to work with key decision makers in each of these fields that we collaborate with so that we don't just go back to business as usual. That's what I like to think about as a what if. And there's no answer, obviously, maybe by the time we revisit this six years, six months or a year down the track, there might be a possibility. But that's something that I think we could we could collectively think about. So are you hoping or expecting that this will be like an incremental change? Or do you hope that it will be a more fundamental change to our practice? I'm going to be erring towards a fundamental change, partly because the disruption has been so significant. And a lot of the norms and the business as usual have been questioned. I can't I can't really imagine people slotting back to how things used to be because how things used to be is not the way we want things to be anymore. We don't want the pressures on the health care system that collapses in this way. And vulnerable people not being able to be supported. You know, these are these are questions that are universal now because of our single common united problem. Yeah, yeah. Yeah, I'm curious, like when we were preparing this interview, you mentioned something about rising above like the individual and thinking about the practice as a whole as a community. I'm trying to imagine what that might be. And of course, that's like the what if question. But where do you hope this what is the compass for our field? What is the direction? That's the million dollar question. I know. But yeah, you're God's feeling. It's like, yeah. Yeah. Yeah. Well, what yeah, what if so what if let's see, I'm I'm part because of my experience and part because I'm Japanese. I'm, you know, I'm biased towards the power of the collective in a sense that I think collectives can make quite wise decisions. And I don't really know whether service line as a community globally talk about this in a kind of a UN style. I don't even know UN as an organization, the system is also very fraught as well. But it could be ways in which people like ourselves step out of our normal jobs and the boundaries in which we are operating within to think about a collaboration across scale in this sense. I don't know whether that's possible. I also think we could try and prototype a lot of ideas that we generate in our own communities and local organizations and start to share them. But again, you know, there are conferences and having been sort of busy organizing one conferences themselves are quite political as well. So I don't know what platform would be most suitable for for this sort of sharing. Maybe you might need to be something that's online access to all. Yeah. Yeah. And maybe I don't know, like I said, one would be it kind of goes back to the sort of questions we had at the beginning about how do we know what we're doing is the way we should be going is in ethics. And the frame of references we have, again, is sort of bound up by the immediacy of the needs and the requirements of our jobs or and I wonder what it is that we can do to help one another loosen some of those boundaries to have almost like a friend who can advocate with you on certain things for change for really important changes to be made. I don't know how we can lend our support and expertise and influences that way. I don't know. This is me just thinking on this. Yeah. And there are a lot of people listening and watching right now. So I hope some of them are inspired to join you in this thinking, because I think these are interesting and really important topics as well. What do you think, Mark? Well, I feel like I'm in a privileged situation to talk to people like you who are thinking about these things and sort of pick your brain. And then what happens for me is that I start to recognize patterns. I start to recognize patterns among people from various backgrounds, various expertise, various parts of the world. And when those people individually start talking about a specific thing like ethics, then that's a really clear indicator for me that our field is heading into that direction. So I, yeah, like I said, ethics is, for instance, one of the things that has been coming up lately quite often and the importance of maybe having a manifesto or something like taking your responsibility as a designer, bringing that into our field is definitely something that's on the agenda. But there are more. And I hope that people listening, again, will sort of be able to extrapolate their own patterns from these conversations, because I'm watching and listening to this from my own lens and my own background, but I'm sure that if you would listen to 10 conversations, you would see other things. So that's a long answer to your question. Yeah, yeah. And I think I'd like to see whether, because I think you have a lot of influence, Mark, partly through the popularity of the show you mentioned, like 2000 people might be watching it or something. So I like to try and see whether we can calibrate the balance between the 30% becoming maybe 50% or 60% and how partly because it's so easy to fall back to listening to the same people again. And the people I'm inspired by don't often get that opportunity, partly by the positioning that they're in and partly all sorts of reasons. And I would really love to see whether that's possible so that your platform then becomes a place where we would all then be able to learn and have a mutual dialogue around shared concerns. And I would like to extend your call as a call to the community because I'm partially dependent on the people who sort of are brought to my attention. And the more people from diverse backgrounds are brought to my attention that will be reflected in the show. So people, please help me out to make this show even more diverse. So let's see what happens. Well, I've got 30 people I can recommend. Let's go. We're almost approaching episode 100. So after that, we're going to continue for the next 100 as well. Joko, we're entering the final stage of this chat, but I, and I'm really curious, do you have a, you already posed a few questions, but do you have a question for us, the people listening and watching to the show that we can think upon next to the questions that you already asked us? No, but I'd like to sort of, I guess, call attention to the conference we're organizing. Well, the date still hasn't been set, served as 2020. And the, and the theme that we've selected is tensions, paradoxes and plurality. And the reason why those themes were nominated was partly in recognition for the times that we're living and the, and also the acknowledgement and perhaps some of the worry about services are not stepping into these spaces enough to not neatly bound things too much and to sort of expose the, yeah, the tensions, paradox and plurality of in accompaniment that comes with the work we do. If you're watching, we are still trying to aim for a hybrid conference. So if the travel ban continues, we'd really like people, if you're watching this wherever you are to participate via online, we haven't quite worked out the details yet. But the peer reviewed papers are fantastic. And we also had prepared, I mean, in fact, Mark, the people I was thinking of for you to speak to are already on our panel conference. Yeah, so that could be another great way to sort of give another introduction to what their appetite, you know, of what might follow through a conference. And they're really inspiring speakers and practitioners. So I'd love to invite you to participate as and when you can in a dialogue that we're hoping to have. I'll make sure, yeah, I'll make sure to put all the relevant links either on the screen somewhere or down below in the video show notes or the episode show notes. So yeah, if people want to continue this conversation with you specifically, what's the best way to get in touch? I guess email. I'll make sure it's somewhere in there. Yeah. Yeah. We also have a like a Slack service design network thing. Specifically for Melbourne or the general services network Slack? Oh, so the one that we run is a service, a school service on Melbourne, but we've got like 3000 members, which I'm sure is not more. And there's different channels in there that talks about ethics and public sector stuff and whatnot. The link to the Slack channel will be on the screen here as well. So if people are invited. So yeah, somewhere over there. I think we have to wrap this up. Yoko, thanks for sharing really valuable and important topics that I hope that we can keep addressing here on the show. So thank you for making the time. And good luck with the conferences here. Great. Thank you. So if you'd like to be part of SerfDesk 2020, make sure you check out the links that are down below in the video show notes, the episode show notes. If you enjoyed this episode with Yoko and found the topics that we've discussed interesting and important, make sure to grab the link and share it with just one other person today who might enjoy it as well. That way you'll help to grow the service design show community. And that helps me to invite more interesting and inspiring guests like Yoko for you here on the show. If you want to continue, we can do that. Check out this video because that's the next video that will help to level up your service design skills. So click over here and I'll see you over there.


What's going on guys welcome back to the channel critical overload here's into my scream six in this video here again today So I need to give a huge shout out to craving something scary over on YouTube your channel I'll leave a link to his channel down in the description This was during a live stream over on Killjoy Jake's channel though where he was basically going ham on Some evidence to support scream six taking place at a college setting and that's of course what we're getting into in this video So big shout out to you because that that honestly blew my mind I know I was chiming in in that live stream and giving you some more weight behind what you were presenting us all which while again, it's not confirmed This is all still just us theorizing and Latching on the stuff that we will say is evidence until proven not to be It looks like scream six will be getting filmed on a college campus and it will be set at a college setting in scream six So the reasoning for that first and foremost as you see on your screen There's this image from the production weekly page Which confirmed to us yesterday that scream six will shoot from June 6th to August 10th but if you look here you see the address for the for the production office of Blackmore a Business front out in Montreal, which again, we know is just again just a front for scream six you see the address there on it if you Google this address you will come across a Indication on Google Maps if you zoom in that they are across from a university This university that they're across from has also been home to a lot of other projects in the past The most prominent one I saw on the list was an X-Men move I believe it was X-Men apocalypse if you actually go to the page Which I'm going to show a screenshot of that in a second It gives you instructions and kind of just is like a little bragging a little bit about how they're the perfect place for Having your or the ideal set to have your film shot at the college in question is McGill University McGill University is right across From the production office front for screen six now that doesn't necessarily mean that it's going to be shot there of course But the fact of the matter is this also look on your screen now. This is from Bizapedia.com This is clearly indicating that screen six has been actively In development and being planned even prior to screen five being released If you look up at the top of the company name It says exactly what you see on the production weekly pages blackmore CAD productions LTD and going down to where it says filing dates filing dates is January 12th of 2022 screen five wasn't even out yet. So that alone tells me there was a lot of confidence about screen five being a financial success critical success which it did both of those tremendously well and now They're going in full head on their plans that they had set up for screen six going as far to already have something listed with the production title days before screen five came out So knowing that And now I also was Responsible for a video a few months ago not a few months, but a few weeks ago where I disclosed black war would be the working title prior to it showing up in the production weekly pages, etc And I told you that pre-production will be starting in March Which is now the last month. So when considering that that makes me think that With them being across the street from McGill University, there's no doubt in my mind that they were scouting locations there They again could not have been but it just seems all way too coincidental You had a filing already days before screen five was released Scouting locations and pre-production started in March So all of that stuff combined makes me think that McGill University will be our college campus setting for screen six It doesn't mean it's gonna be set there, of course this movie could be taking place in New York with Gale Weathers as the Focus or having a lot of involvement and that's the her way of getting tied into this when Chad, Mindy, Sam and Tara and Whatever goes on at this campus in New York Causes them to go out to Gale Weathers for help Or how however she ends up getting involved which then will ultimately the Sydney press got getting involved And it'll be something that is paying homage to scream to and hopefully not just recreating scream to all together So I think McGill University has a strong chance of being a filming location in screen six No doubt in my mind. I think this is like just evidence of that again It could not be but let's just say it is so going into the other thing again I was going to show you what this page that they have for McGill University on their website I'll leave a link to all this in the description. So this page says McGill is the idle set for your films remarkable shoot locations and onset Professionals so again, that's just so telling to me your production offices across from the across from a college campus Yes, it could be coincidental But this is coming from a franchise which has already had a college campus So I mean many people might not be liking that idea of all we're just going back to college As long as it's not recreating scream to to a T I think we're good. I think we're good. The other thing I want to just throw out here really quickly is that I actually found out From someone who is involved with the production I try to be as transparent with them as I could because I didn't want to put up a disguise and say hey I'm trying to audition for the movie and you know, I'm looking to see how I can you know get involved I was very Transparent with them So I found out that they have not finished finalizing anything casting wise. They haven't even casted anyone yet I think this is mostly just pertaining to the new characters Courtney Cox Neve Campbell I think most of the returning stars they're locked in but at this time Auditions seem to be still going on and again I found that out by reaching out to someone who's involved with the production process and They this they disclosed that to me and had to not tell me anything else due to strict NDAs that they are Signed to so I respected that but yeah casting is still underway auditions are still taking place And I think all this stuff regarding McGill University just acts as proof That we are going back to college in scream 6. It's not going to be at McGill University I don't think I don't think that's what they're gonna call the college of course This movie most likely will be set in New York close to Gale Weathers and we'll get to see Some developments from Gale Weathers Hopefully that are things that she's always wanted for herself like winning a particular prize having a book for Dewey's life out there published and it's something that's drawing a lot of attention to your morning show and Just whatever goes on with Sam Tara Chad Mindy and whatever new friends are present and actively involved in this Their close proximity to Gale will be why they go to Gale Which who then goes to Sydney which who then based off of whatever happens in the film if it happens at the beginning or the Middle I just think Sydney should be attacked by a ghost-faced killer or her house should be targeted that will you at least give a Prominent reason for her to get involved again Coming back for Gale is fine I just think you can do a lot stronger than that and that strong thing I think would be having ghost face attacks in these house, but Let me know what you guys think about all these possibilities down the comment section below What do you think about all this quote-unquote evidence again? None of this is confirmed speculation Let me know down the comment section below if you haven't already of course make sure you subscribe turn on Proposification and there's a video in the description. I have links to my social media accounts on Facebook Twitter and Instagram You can message me there of course, and then when there's any movies news or views like me to cover in the future and with all that in mind Guys, I will see you in the next video


Hey everybody it's Sam at Mixed Up Craft thank you for watching today. I just wanted to come in and just share some of the stuff that I've received this week from Every Crafts a Pound. Now what I've decided to do is every week I'm going to do a combined of very short video these won't be long just showing you what I've purchased so I don't want them to be haul videos because personally I don't mind watching haul videos I have watched a few but I prefer watching the video and then seeing what they're going to make with the stuff if that makes sense so you see a lot of haul videos and you think yeah that's great but I want to be inspired by what you're actually going to create with it so you know that in all my tutorials I always link all the product and I always pretty much use everything I buy so I want you to know that this is what I've purchased this is what I'll be doing with and then when we get to that tutorial you know you've already got it or you know where to go and get it so yeah what I'm going to do is every week just like I said a short video just showing you what I've got this week so it's not necessarily what I've purchased because I received design team product and a lot of the design team product that I receive sometimes by the time I get to the tutorial it's already selling out or it's limited stock so I think by doing it this way you can then decide oh my gosh yes I need chipboard or I need you know a fairy paper pack or something get it while it's there because like I said sometimes I'm not saying I influence these just you know rush sales but I know for example the opal polishes they are selling out so so fast and so many of you have emailed me saying I can't get all the colors or you know this one's the only one that's available and so on and so forth but yeah so see how this goes pop in the description box whether you like this or not this isn't going to have any interference with any of my other tutorials there will still be my three you know week tutorials and then my scrapbook layout on a sunday this is just going to be something extra that I'll throw in throughout you know the day I'll probably do it actually on a Thursday because I don't upload usually so if you don't know about every Crafts of Pound it's a company in in the UK who pretty much just sell all of the older craft supplies so stuff that's backdated stuff that maybe hasn't sold so well I guess maybe some stuff might be ever so slightly faulty in terms of packaging or some of like the corners on something might be a bit ruffled so they've managed to get it cheaper just it's a really good sight I do love their stuff and some of the prices are ridiculous so check it out I will share the link directly below here I'm not doing blog posts either for any of this so sorry for the rambling on this is the first video I'm doing but then one's going forward would just be straight in done dusted okay so I've got these embellishments here these are just called blue skies by dovecraft I don't have any blue I have very very little blues so I've got light blues dark blues and yeah in between and some silver these ones here are a veck partnership by design never heard of it but I quite like these little flowers so I've got them and again the colors that's more of an orangey color which I don't have I've got nice red there and then you've got real kind of light dusky pink into a more pinky pink so they're a pound each and then the main thing I got was my chipboard which I brought before but I brought two lots of this what you get so I need to break this in half so you know so that's you get four of this size here which is six by six so you get four of them then you get three of the eight by eight yeah eight by eight and then you get three of the a four this might be letter paper size no it's not as a four it's eight and a quarter by yeah standard a four then three of them and then you get two 12 by 12 so that's why I've got them so in each pack that's what it contains two 12 by 12 three a four three eight by eight and then four four by four so what I done is I got two packs so that I have because you only get three of the a four if you buy two packs then you end up getting six of the a four which means I can create three albums because you have six pieces and again that works the same for the the eight by eight here you only get three so I brought thought if I buy two packs then I've got six again allowing me to do eight albums or something else but I'm thinking I might do some really nice big albums with these I haven't made one for a while so these are 250 a pack so I've got two so five pound for all this chipboard it's really really strong this particular one here is one two it's about three mil just in between two and a half it's more yeah it's more towards three mil and it is solid so it's going to make some beautiful albums and also storage because I do I have a really good idea for some fab desk storage so this is going to be what is going to be predominantly used so again you know if I show you now head on over although every cross of pound they seem to stock this all the time I actually think they cut this possibly themselves because it just arrived loose like this in the box so I think it's cut by them and it is it's fantastic so that's all of that and then I brought this this is a scrapbook album and lots of you asked me how I store my scrapbook album my scrapbook layouts I brought this one when it was three pound on every cross of pound and I just got one and I had an email come through to say that more discounts and stuff had been added so had a look and they reduce them down to a pound now these are usually 20 pound between 15 and 20 pound each and they are the proper scrapbook albums so inside here you get your all your kind of binding clip which you can expand so as you're putting in more and more scrapbook layouts and if they're bulky this will expand with it and you can see there on the back so you can just take off this plastic coating you don't need that on I take them off now they are just black and white it's the only ones they've got available but I thought for a pound they can all be you can see that how they're going to sit and with the other one I'll have five and as they grow and get bigger to be honest I'll probably end up filling all of these with the ones I've got now but it would be you know nice just to have it kind of all matching along the the binds there so yeah a pound each so I picked up five so everything I just showed you there came to 19 pound 50 including delivery so delivery was six pound 50 so the delivery is high I guess maybe I don't know I didn't see on the box actually how much it was it comes by private courier so yeah anyway I still think 19 pound 50 for all of this is a bargain but if you live near every cross of pound you can just pop into the shop so that's even perfect which is in West Yorkshire in Czech Heaton so yeah so that was it so like I said I don't want these to be haul videos it's not really my thing um it's just to kind of show you that this is what I've purchased and what I plan to do with it and like I said that chipboard's going to feature a lot and these are just handy yeah so that's everything so I will be back again next week and like I said it might be design team stuff that I've received um or more things that I've purchased and I'll explain to you what I will be doing with it all so there you go thanks for watching bye