Hello friends, Myself Sandeep Javeri, Assistant Professor of Civil Engineering from Valchand Institute of Technology Sholapur. In today's session we are going to discuss the problem on linear motion for horizontal type motion. The learning outcome at the end of this session students will be able to solve problem on linear motion. Now linear motion in this the body is in motion in a straight line it is known as linear motion. For example a car is moving on the road and a body is projected vertically upward in the air with a certain velocity. Another example is a body is falling vertically downwards. So if car is moving on a road so that motion is in horizontal plane so that is called horizontal motion. Now body is projected vertically upwards or downwards so it is a vertical motion. The linear motion how may be uniform linear motion with constant velocity or 0 acceleration since the slope is 0 we have dv by dt is equal to 0 that means acceleration is 0 and non-uniform linear motion with variable velocity or non-zero acceleration. So acceleration is variable here the third case is uniform acceleration. The linear motion may have the motion in which the body have uniform acceleration. Now let us consider the equations of motion with uniform acceleration there are three equations of motion. The first one is v is equal to u plus at second is s equals to u into 2 u into t plus half at square the third equation is v square is equal to u square plus 2 as where s is a displacement u is a initial velocity and v is a final velocity and t is a duration of a body in a particular motion. Now let us consider an example a problem on horizontal motion with uniform acceleration. Three marks a b and c are at a distance of 100 meter each are made along a straight road a car starting from rest and with uniform acceleration passes the mark a and takes 10 seconds to reach b and further 8 seconds to reach the mark c. Calculate the magnitude of the acceleration of the car the velocity of the car at a the velocity of car at b and the distance of the mark a from the starting point. So here we have to find out the four things let us find out the solution for this given problem find out the solution of the given problem. Let us consider this is a point O from where the car is started to move along a straight path. So let us consider this is a point a this is a mark b this is a mark c the distance between a to b and b to c is same that is 100 meter since the car is moving from rest at O the initial velocity here it is 0 then car passing from a then a to b then b to c that velocity at a is b a velocity at b is b b here we have to find out the velocity of a and velocity of b and also we have to find out what is the distance of the car from rest up to the mark a. So let us consider the distance is x so given the time taken by the car to move from a to b is say t 1 which is equals to time taken by car from a to b which is given as 10 second let t 2 time taken by car from b to c which is equals to 8 second let a be the acceleration of car during its motion. So let us consider motion of car from a to b using equation of horizontal motion that is s equals to ut plus half at square so here displacement is given as a to b is 100 meter so 100 equals to initial velocity of car is u a so this is initial velocity of car or velocity of car at a is u a and the time from a to b is 10 second plus half of acceleration into time is 10 bracket square so this is equation number 1 further we solve this 100 is equal to 10 u a plus 50 a this is equation number 1 so this is the equation number 1 now let us consider motion of car from a to c again using equation s equals to ut plus half at square here displacement is 200 meter and initial velocity is u a and time taken is from a to c is 18 second plus half into a into 18 square we are getting 200 is equal to 18 u a plus half into a into 18 square so by simplifying this we are getting 200 is equal to 18 u a plus 160 to a so this is equation number 2 so solving equation 1 and 2 we get acceleration is equal to 0.278 meter per second square and velocity of car at a is equal to 8.61 meter per second now let us consider motion of car from b to c so we have from b to c the distance is 100 meter velocity is u b so we have using s equals to ut plus half at square put the value of s as 100 meter that is equals to velocity of car is u b and time taken is 8 second plus half into the acceleration is 0.278 times t is 8 second so bracket square so by solving this velocity of car at b is equal to 11.38 meter per second so velocity of car at a is equal to 8.61 meter per second and velocity of car at b is equal to 11.38 meter per second acceleration of car is equal to that is a is equal to 0.278 meter per second square now let us consider distance of mark a from starting point o so consider motion o to a so we have this is o this is a so the distance is x so initial velocity of car is 0 because it is starting from rest so using v square is equal to u square plus 2 as we can find the distance so here v is nothing but velocity of car at a which is 8.61 meter per second 8.61 square is equal to initial velocity of car is 0 plus 2 times 0.278 times x so value of x will be 133.33 meter so we are getting the distance of car from rest that is from o to a is 133.33 meter to pause the video and answer this question so this is a solution car is moving with the velocity of 5 meter per second after 10 second it attains final velocity of 15 meter per second so of the car can be obtained by using the expression v minus u divided by t so final velocity is 15 initial velocity is 5 and time is 10 second so after putting this we are getting the accession of car is equal to 15 minus 5 divided by 10 that is equals to 10 by 10 that is equals to 1 meter per second square these are the references that we are using for creation of this video thank you


This is a letterboard. For many autistic people who can't speak, the letterboard is their most effective means of communication, but it's also a controversial one. The problem is that the letterboard is usually held by another person. That introduces the possibility that the assistant could unwittingly influence the individual's message by queuing them to point to certain letters. Now, a new study using eye-tracking technology suggests that the letterboard allows Virginia in communication and can be a powerful tool for some autistic individuals who struggle with speech. Researchers from the University of Virginia's Department of Psychology outfitted nine autistic individuals with eye-tracking glasses and investigated how quickly and accurately they looked at and pointed to letters when answering novel questions. Each participant had at least two years of experience using a letterboard to communicate. If individuals were receiving subtle cues from their letterboard assistant, that influence would be evident during testing. For example, one participant was asked to name something he had to wait for. He responded by spelling, waiting for my dream girl. Subtle cues are hard to detect and easily confused. So if the assistant had queued participants, the researchers would have expected participants to spell slowly, to misspell words frequently, and to look at several letters before finding the one signaled by the assistant. The researchers observed the opposite. Participants spelled quickly and accurately, pointing to about one letter every second, making only a few spelling errors, and looking at the next letter in the word about half a second after pointing to the previous letter. The researchers also identified two patterns similar to ones observed in non-autistic individuals. Participants looked at and pointed to letters within words faster than between words, and they responded to the second letter in common letter pairs faster than the second letter in less common letter pairs, e after h for instance, versus e after j. The letterboard it should be noted won't be the most effective option for all autistic individuals who struggle with speech, and further work remains to be done to explore the various settings in which the letterboard is used. Still, the study's findings offer an important response to critics of this widely used communication tool. Under certain circumstances and for certain individuals, the letterboard can enable genuine and intentional communication.


My name is Rodrigo. My name is Monson. My name is Isaac and we are in San Diego, California. The jobs that I remember the most is that being a bartender at night, but also cleaning the bars during the day, and we would always go with him to go clean the bars.  It was the funnest thing. And as we grew up, I mean, we started working and we started actually helping him clean and taught us what a what good work looks like. I was 13 when I started working with him, but you know, as I was growing up, it did bring a lot of, you know, hardship of like, you're working, you know, you're still going to school, you know, you're walking down downtown, you know, that five in the morning carrying the vacuum on your back, and you know, sometimes it would feel bad or a little bit of shame, but then I remember like carrying that vacuum on my back, and then just kind of like staring up at my dad, and he had his head high, really high, and so I was like, no, like if he has his head up high and he's proud of his work, like I don't have to, you know, be feeling these things, and so it was a process, but it really taught me to, you know, be grateful for the job that I was doing and how to work really hard and how to always try my best in any work that I do. Yeah, I feel like my dad made us feel like the kings and queens of downtown. I never really thought much about being undocumented until I got a little bit older in my teens, was when I was applying to, you know, universities, and I got accepted to 13, but, you know, I couldn't go. I didn't have financial aid. Everyone's doing, you know, Pell Grant, everyone's getting financial aid, and I was like, uh-oh, what's going to happen now? That's something that a lot of immigrants go through for a lot of immigrants that do what they have to do and get good grades and are focused and driven on to making a career out of what they love, no, and then they also, and they get to this finish line, and it's another, it's not a finish line, it's another hurdle.


Hi, my name is Roland Barcia. I work at Amazon AWS. I am the worldwide specialist director for containers, serverless, and integration. So I have a bunch of solution architects worldwide that report to me, and Rosa is one of our container services in AWS. It's a native service. I'm going to talk a little bit about our partnership with Red Hat, some of the things that we're doing on managed Rosa for AWS. So let's do that. So first and foremost, Red Hat and AWS has had a partnership for quite a while. If you look at the statistics, I don't like these podiums because I'm short, and they're always taller than me, like all the time. And so we have over 60,000 of AWS customers use Red Hat software in a way. It started over 10 years ago with REL, a lot of software that runs on REL, and OpenShift has been running on AWS for a while with dedicated or different permutations. And so a couple of years ago, one of the pain points for our customers is that we're doing OpenShift on AWS was different billing. You had to either work in an account that Red Hat owned, or you had to pay separate subscription costs and separate AWS bill. And so with Rosa, we've launched a fully managed service on AWS. That's a native service. No AMIs to maintain. We have some SLAs 395, and it runs OpenShift. It's a fully, it's a full compliant OpenShift latest version. We keep up with the latest versions all the time. And there's a lot of advantages to that, right? One is the console. So you can kind of very easily spin up a cluster either with a CLI, using AWS console or the Red Hat console, or you can use scripts like Terraform or Ansible, any types of scripts. You can just launch a cluster and you get one bill, right? Your Red Hat costs for the control plane, as well as your consumption all in one bill. You get unified support. You just call and you get support from an AWS or Red Hat person, single support organization. And we've built some integrations. An original version of this before they told me was just 20 minutes. I have demos. So if you come to the AWS booth at KubeCon, you want to see some of the demos that I have. You'll see it and I'll talk about which ones I have that you can see in the booth. And so we have a lot of ways at AWS to write cloud native applications. It's an internal joke that says, how many ways can you write a cloud native app? And Kubernetes is hard if you look at the CNCF landscape, you're going to hear all day about the value of OpenShift, so I'm not going to go into it. But it gives you a validated stack of CNCF choices that work well together. Everything from a service mesh based on Istio, OpenShift GitOps based on Argo. Everything's based on an upstream project, right? So you get a full stack. You get the operator catalog and OLM, which lets you spin up and partners spin up software packages. We use OLM to put some AWS capabilities. I'll show a couple examples of that in a few minutes. But you get this full stack. So I'm not going to get into it. I'm going to talk a little bit more about what does it mean to run in AWS? And so one, what does the workflow look like? Basically, spin up a Rosa cluster. It's one click, spin it up. You add different worker nodes. We'll talk about something called machine pools, which is the way in Rosa, which you kind of match machine types at AWS. Then you launch add-ons. There's add-ons provided by Red Hat or partners that you can launch as well. Things like the OpenShift data, science capabilities, for example. And then you launch your workloads. A very simple workflow. So a couple of things from an integration perspective. One, when you add, so we talked about provisioning worker nodes. So there's this notion of machine pools. If you've worked at AWS, we have hundreds and hundreds of machine types.  And so everything from general purpose, compute optimized, memory optimized.  And you could actually use things in AWS like Spot. So Spot is a way to use AWS spare capacity at a up to 70% discounted cost. So there's less SLAs based on that, and you can switch to on-demand or reserved instances if you need the workload. But Spot is something that our customers use for great savings, and Rosa can take advantage of Spot instances. So that's one of the integrations we've built. Red Hat has storage options, but we've also built integrations with Red Hat with our EBS and EFS. So you can use the various storage options, and you can actually provision them in a Kubernetes native way with something called Controllers, which I'll talk about in a moment. Architecture options, and I have diagrams I could show at the booth if you want to see it, but we have single AZ public clusters and multi-AZ. So when multi-AZ, the masters are distributed across three availability zones in a region. You have infrastructure nodes, and then you can have two worker nodes or more running within there. And then we also have private clusters. So this way the Red Hat control plane communicates privately to the clusters to do that management. And then you can use egress options as well to talk to services outside the cluster. And so these are capabilities we've built. And then we've just launched as well Rosa in local zones. So if you're familiar with kind of local zones, edge capabilities in various locations, we can run Rosa in some local zones as well. So these are different architecture options with Rosa in AWS. URSA is our IAM role service architecture that allows you to use a webhook to basically if you create a cluster using STS, which is the AWS token service, to integrate IAM into Rosa clusters, you could then use that same capability to kind of match your service role out to an identity, an AWS identity and call other services like S3, RDS, DynamoDB, call other services like Lambda, and you can do that as well. Now, OpenShift has an observability and logging stack, but we've built integrations because OpenShift is extensible. We've built integrations to our own native CloudWatch, very like out of the box, very simple, infrastructure audit logs and application logs go right to CloudWatch. You can go to third parties like Splunk, and so we've built that integration to make it simple. A lot of AWS customers use CloudWatch for one reason or another combined with other observability tools. So that's one. Another integration we've built is after some time customers are running an observability stack with Prometheus and Grafana. They don't want to manage that. They don't want to pay for workloads. So we have direct integration with Rosa and manage Grafana and manage Prometheus. So the actual Prometheus gateway will push out to manage Prometheus and Grafana if you want to use a managed version of that service. You can. Some customers that run various different technologies together with Rosa might want a unified managed stack, so we've built an integration as well with that. So once you get kind of your security, your resiliency built out, your observability built out, there's various ways to move workloads, right? One of the things that we want to enable customers that are moving to Cloud and they use OpenShift, they might be on legacy versions of OpenShift. The migration tools available with OpenShift work right to Rosa. As an example of a blog right on Red Hat site that shows you how to use their migration toolkits directly to Rosa. So you could one step migration over to Cloud with legacy or existing OpenShift on-prem to Cloud if that's what you desire. And there's various also migration tools, some OpenSource, some from Red Hat, also third party partners like IBM, right? There's tools available in the operator catalog right in Rosa where you can use the migration toolkit we just talked about for containers and for runtimes like languages like Java, et cetera. And you can use OpenSource conveyor project as well. So conveyor has a bunch of tools to kind of move maybe legacy Cloud Foundry applications or Docker applications to Kubernetes. You can run that in Rosa as well. And there's various other flavors of migration tools that you can use. So another integration we built is this notion of, you know, once you're in Rosa, you might want to still use native services such as API Gateway or EventBridge or DynamoDB. You might want to use infrastructure capabilities like FFX, EFS, private link route 53, integrate with VPCs. So we've built this notion of AWS controllers, ACK by Kubernetes. This is main OpenSource project supported by AWS.  So you can use tools like OpenShift GitOps based on Argo to provision YAML and create AWS native services. And so, oops, I pressed the wrong button. There we go. So if you go to Operator Hub, you'll actually see individual controllers. So for example, you can spin up CloudTrail. You can spin up other Kubernetes environments like EKS or EC2 instances with a controller. Some of our customers are maybe building with Kubernetes or with OpenShift, a control plane cluster that has its GitOps tools like OpenShift GitOps, and they want to provision cloud native resources in different clusters and different clouds. This gives you these capabilities to do that as well. And this is supported by AWS. You can use third-party things like cross-plane as well. So some of our customers, as a matter of fact, some pieces of cross-plane use these controllers under the cover to generate that as well. But these are kind of options that are supported as well. Some of the more recent launches are HIPAA compliance, new regions like Osaka, Jakarta, Red Hat GUI provisioning, some new enhancements with Council, local zones, FIPS mode, bring your own keys, encryption with AWS KMS. So very brief talk. I know it's a lightning talk, but you could take some pictures here and get some deep dive videos and hands-on examples. We have a hands-on Rosa workshop as well. So if you click there, you could actually go and provision a Rosa cluster and talk about these capabilities, set up networking, a cluster, set up your identity providers, the nodes and storage options. We talked about different workloads, set up your CICD and observability. So we've built kind of some labs for you to get hands-on. If you want to pass by the AWS booth, I know the Red Hat booth will probably show some Rosa as well. Come by, I'll ask some questions. And with that, I'll talk a little bit with pricing. Right, you have the Rosa service fee, you have the infrastructure free, and you'll pay as you go or reserved instances, the standard AWS models as well. So with that, I'll open it up for any questions with the time I have left. Now you can come by the booth, check out some demos. Yeah, so the operators right now we validate it on Rosa. You know, you could probably make them work outside, but I think the key thing is the integration with IM, so being able to do the security is kind of part of that as well. So in Rosa is kind of the default model. They run in different Kubernetes providers in AWS as well.


So, this is where actually lysiometric studies become very useful or the pore solution sampling becomes very useful. A bit more about the lysiometric studies, they will simulate the effect of percolating rainfall on the release of contaminants from the waste forms. Waste forms are nothing but different types of waste which are either stored on the ground or dumped in the soil mass. These studies will provide insight in understanding the site as well as validating water balance studies and radionuclide magnation in the unsaturated zones. This is where our profession matches very well with hydrogeologists, they also do the same thing, but then their perception is mostly on ground water flow, our perception is mostly on the what is happening to the soil mass alright. So, these are two different perceptions for the same problem, for us porous media becomes more important, for them flowing water becomes more important. So, data obtained from this study provide a link between the laboratory and fuel conditions and thus aid in predicting radionuclide migration from shallow land disposal facilities. I have used the word radionuclide migration, it could be any hazardous toxic waste for that matter. So, lysimeters are nothing but pore solution collection devices, zero tension lysimeters they collect pore solutions from saturated soils. So, there is no suction pressure in the soil mass. This is a typical conceptual figure which shows what is meant by a lysimeter. Now, this is a control volume which has been created in the Nc2 conditions.  So, again this is the same thing you can you can check the concentration at the source itself and downstream is this the what you are asking in which in this one ok, I think yeah I will try to answer your point here. So, first thing is you install a control volume in the ground and then you insert something which is pervious, it could be a sand layer, it could be gravel mixed with sand, it could be a perforated pipe, it could be a gypsum block or whatever and then you refill the native soil clear, but what has happened in the process of refilling we have destroyed the matrix of the soil. So, that is one of the limitations of these studies. Second thing is there could be preferential flow from the sides of the control volume the same thing as it happens in your falling head test, there is a preferential flow between the sample and the container. Now, coming back to your point either I can dump the waste over here or I can bury the waste over in the soil mass ok and then you start saturating it that means percolating water. So, if the waste is lying on this system the moment it come in contact with water the leachate will be moving into the soil mass and they will be collected from this pervious fill to a collection bottle, is this correct? Even if you bury it inside what is going to happen this percolating water will subsequently percolate into the soil mass first then it will interact with the waste whatever leachates leachates out leachates are they will be collected into pervious fill and this fill can be used to suck out the sample, is this part clear to your question this is what you are asking. Then you should understand one thing we are civil engineers we always talk in terms of factor of safety of 2 and 3 what is the meaning of this? We always want to get an answer within 30 percent limits clear. So, these are very indicative test and again the bottom line is something is better than nothing, but yes you can get an answer to a real life problem within a bracket of uncertainty. So, the biggest question is even if you get some answer within some uncertainty limits there is no harm and you can define it further. So, subsequently you will see that there are methodologies which have been developed which will cater to your needs very well and you need not to disturb the soil mass. So, it is very good that you have raised this issue all these lysimeters you know they have been in practice since 1940s, but over the years what has happened is because of good electronics because of more sophisticated instrumentation the practices has improved a lot. And now we are in a situation or in a stage where the best possible sampling can be done I will take you through these three line you know you may realize that this is the development which is happening. So, conceptually is this part clear that how a lysimeter will work.  Now, this is another good example of a field lysimeter which was developed incidentally you design your landfill liners like this have you ever seen a landfill liner cross section some of you must be working on landfill liners design is it not when you are working yes. So, your emotions can tell me that you are associated with these studies and this reminds you that you have to start to study your topic. So, anyway look at this you have the gravel at the bottom most point followed by again a thick gravel followed by again a gravel layer followed by a sand layer followed by percolating water and then this is where you can dump the waste material. So, essentially what is this doing is a reverse filter. So, everything which filters out of this gets collected over here you can provide two suction chambers at the bottom and you can put a motor over here or a pump over here. So, that you can pump the leachers on to the ground depending upon the depth of the lysimeter. So, there are few lysimeters which are instrumented so well that you have pumps submersible pumps also at the bottom of the lysimeters so that you can pump out the leachers quite easily. So, this is another design of a lysimeter this is ok, but again you cannot stop potential flow taking place from this lysimeter. Another thing is if you want to study how many collides what fraction of collides is passing out of the mines this is a good technique. So, influence of mobile collides on contaminant mobility sometimes extra organic materials in the soil can reduce the collide migration because of the cohesion between the particles. So, fines may not move out. These type of studies will be very good for identifying the materials which should be the best candidate materials for designing a lysimeter system so that under hydraulic overhead the fines should not get washed out from the soil mass. I have been talking about this situation earlier where because of contamination the fines from the soil may get washed out because of eating up of cementing materials. Now, this is also a typical design of a lysimeter where you have a sand cushion below the soil sample though it is written that this is undisturbed soil core what normally you have to do is you have to go to the field cut out a thick slab of the soil and then place it on the sand bed and below the sand bed there is a cavity and what this cavity does everything percolates into this there is a sloping bottom and then the whole idea of providing the sloping bottom is so that you can collect the leeches easily from this end and then you have a air inlet and a pore solution extraction alright. You can design your own lysimeter for that matter depending upon your requirement the basic idea is it should be able to collect the pore solution continuously this is a very interesting liner system particularly when you use them below the clay liners. You have a clay liner and there is a glenual backfill in which a pipe perforated pipe is buried what the perforated pipe does this pipe will simply collect whatever leaching out you attach the system to a pump and you can drain out all the leeches from the land cells. So, this is nothing but a integral part of landfill leecher collection system alright. So, as I said this is basically used for detection of leakage underneath the clay liners. You can devise an electronic circuitry and put that electronic system somewhere here. So, the moment heavy concentration of leeches comes and touches this immediately the circuitry will go completed and this becomes a automatic leecher collection indicator or alarm. So, this type of instrumentation can be done the biggest question is how would you do that? So, these systems are developed for testing your design philosophy. So, the whole clay liner philosophy can be tested it is a sort of a performance test. So, you load it with water and then see what type of contaminants are going to percolate through this ok. These systems can also be used for determining in-situ hydraulic conductivity of the liners to demonstrate proper functioning of the clay liner whether the clay liners are intact or not whether the fractures have taken place whether the concentration of ions is passing through it or not. So, all in short the basic philosophy is like this that you have a upper layer which is the fill material here you can put lot of sensors moisture sensor temperature sensors humidity sensors ok PS sensors salinity sensors and so on. And then there will be a lower compartment which is going to collect leeches. So, this is the basic design philosophy how good a design would be depends upon how best possible way you can do it. So, basically these type of philosophies are used for performance assessment of solidified radioactive waste units or toxic waste units and to study the attenuation properties of the soils. I think Vinil you are asking this that I have embedded now here a waste body ok. Now, the rain it starts interacting with the rain. So, what happens the leeches will come out alright. So, you can collect now leeches because of the influence of the rain water or the ground water even suppose there could be a ground water. So, because of the fluctuation of the water ground water the leaching may start and whatever leeches you are collecting you can find out their concentration to again validate the theoretical models and you can make a mathematical model for leaching material data. So, this is the basic idea about these type of studies is this clear no any doubts yes please. Yeah. Actually I am unable to follow what is the meaning of giving waste just let him let him complete. See whenever somebody asks a question you let him complete let him discuss ok. It is not a very good way to you know dissect somebody and start talking yes please external substance means some waste yes yeah I mean like your question is basically what I could follow is either this unit will be sitting over here or this unit could be inside the soil mass and slowly and slowly it is going to interact with the water is this your question now you explain what is that you have followed. We are not giving any contaminant we are not giving any contaminant the idea is your waste is either sitting inside the soil mass here like this or this unit could be piled up over here. Now slowly and slowly this unit will interact with the rain water or the ground water and then what happens this unit will leach out something and that leachate is going to percolate into the soil mass. So, how you are going to capture it how you are going to tap it. So, this is where you are going to collect the leachate and once you have collected here you can take it out from here by pump or by suction or whatever you can analyze it and you can find out how much is leaching out of this arrangement is this part clear now ok. Let us talk a bit about tension lysimeters so by now you know that these are the lysimeters which are used for collecting pore solutions from unsaturated soils. This is a simple suction lysimeter or a tension lysimeter which you may call as there is a PVC tube and there is a porous disc at the bottom of this PVC tube insert this in the ground and then apply some vacuum. So, because of this application of vacuum what will happen the leachate will rush towards the porous disc and then it gets filled up into the PVC pipe. You can lift it up with the with the help of a pump collect it in a sample bottle and do the analysis this I had shown you when you had visited my lab some of the slides I will show you today again to reiterate it this is ok. So, this is one advancement you may say since 1940 1930s all right. So, here the disturbance to the soil masses minimal not minimal minimal very less this another type of a system which was designed quite in back in street 1940s I suppose very preliminary design the same thing here only difference is they used to keep a bottle in a ditch and then there used to be a perforated plate below the soil mass, but again you are disturbing the entire soil. So, conceptually this is from where people started working on you know tension lysimeters, but then the state of the art has improved a lot and you need not to do this type of studies. So, whatever soil sample is leaching can be collected in a porous plate which goes into the bottle and ultimately you can lift from the bottle with the help of a vacuum pump. Soil salinity sensors these are used for in situ measurements of soil salinity, but this is a very blind term I hope you will appreciate salinity is a very blind term because you cannot be specific of the species of ions which are present we agree Benin you got this point. So, you can always say yes there is some thing leaching out of the facility, but you cannot be sure what is the species of the contaminant which is leaching out. So, there you have to go for pore sampling and then check the species of the cations with the help of ICP, MS, ICP or atomic absorption. Absorption techniques some sort of a spawn material can be used as an absorbent for sampling the pore solution is a very primitive way and it requires large surface area of this point which will improve the efficiency, but then the biggest problem is not a fully harness method it is not a very well developed method of course, some people tried in the earlier days. Now, let me move on to the pore solution extraction by centrifugation this is a laboratory technique centrifuge the sample and with the help of the centrifugal force you can display some amount of pore fluid if that is not sufficient enough then what you should do. Soil is mixed with CCl4 what is CCl4 carbon tetrachloride or chloroform and then you centrifuge it in a tube sorry this is the carbon tetrachloride somebody said chloroform I said yes CCl, so carbon tetrachloride. So, when you mix it with the CCl4 and then centrifuge it then what happens CCl4 will displace the pore fluid. So, CCl4 goes into the soil mass and the pore solution comes out you can collect it and you can analyze and you can find out what is the concentration of decontamination. The best technique for even doing with the dry soils because the pores get filled out with the carbon tetrachloride and whatever pore solution comes out this can be the concentration of the pores. However, the biggest limitation of this technique is that the type of solution which is coming out will depend upon the soil type alright. So, it is very difficult to centrifuge clays it is very difficult to remove pore solution from the clays by this method. However, if you have sandy salty type of soils it is very easy and that is the reason that the results which you obtain from centrifuge cannot be generalized because there is an effect of the external forces which are acting. Now, this is where I will try to give you some more idea about the lysiometric studies till now I think you must be clear about what is meant by lysimeter, a device which creates a control volume of the soil for studying various contaminant transport mechanisms under Nc2 conditions. Now, when you do field studies unfortunately you do not have any control on the boundary conditions and they are very expensive both in terms of financially as well as time wise. If you match them with laboratory studies you will notice that laboratory studies cannot simulate feeding conditions, special variability cannot be taken into account and this is where lysiometric studies become very important. So, this is the intermittent approach between the field test and the and the laboratory test and what I mean to say by intermittent approaches that this simulates the Nc2 conditions with better control on boundary conditions. And this technique has been identified as one of the best techniques to study the interaction and migration of contaminants in the NGO environment. I will show you the efforts which were made by my group in installing a lysimeter at one of the sites at waste disposal sites at BARC for the real radioactive waste. So, this is the facility which was installed you have a ring of stainless steel 1.2 meter diameter which was embedded into the ground and then we embedded two tubes for measuring the moisture content volumetric moisture content with the help of TDR probes time domain refractometry probes. You can see S1, S2, S3, S4 as the suction samplers which were embedded at different depths below the ground surface. So, what we are speculating here is that we are trying to find out how contaminant migrates if a layer of dosed soil is placed on a natural soil. So, this is how we are again simulating a lysimeter. The top layer happens to be a contaminant is spiked soil and when you recharge it with water either manually or because of the environmental conditions, these contaminants have a tendency to migrate into the soil mass. So, we are trying to find out concentration as a function of Z depth and time. So, the moment a concentration front reaches over here the sample gets collected in S3, the moment it reaches over here the sample gets collected in S2 and similarly S1 and S4. Now, these TDR basically give you the value of moisture variation along the depth over a prolonged duration. These experiments are done for 3 to 4 years regularly and what we did is that this layer we spiked with cesium, cobalt and tritium which are the radioisotopes and groundwater table can also fluctuate within the control volume outside the control volume and so on. Now, this is how the whole setup looks like that these are the TDR probes 1, 2, 3 and 4 points are the suction samplers and these are the excess tubes which can be used for measuring the moisture content of 1.2 meter, 1.5 meter soil column which is lying below this. This top collar which you are seeing the soil was excavated and this was refilled with spiked material spiked sand. Now, when you are drilling these holes for installing the TDR tubes there will be a cavity form between the native soil and the TDR tube. So, you have to fill it up with the help of a slurry of the soil so that there is no preferential flow again taking place between the suction sampler and the TDR tubes. Now, this is a close view of how suction samplers can be installed and how can you take out a pore solution from the well alright. So, this is the well which is connected to the suction sampler. There is a caution because right now you do not find any contaminant over here, but once it has this spiked with radioactive contaminants it was a health hazard to go to near to this place and collect a sample, but then everybody has a limit of exposition for the radioactivity you know. So, the moment that limit is over the second person has to go for collecting the samples you cannot continue collecting samples like this. So, you learn a lot when you are dealing with these type of problems. This is a typical suction sampler which goes inside the ground this is connected to a collection sampler then you can apply vacuum to collect it in the sample the training is done in this type of a CBR mold. Now, this is how the instrumented instrumented site looks like you can see a lot of wires coming out of the units this is the installation of the TDR probes and the suction samplers and this is how the dosing is been done you can see the statuary notice over here that this is not a place for everybody to come close to the vicinity and then this is how the sampling is dosing is being done of the sand with the radioactive material and then is a strontium which is crimson in color is being spread on the entire soil mass. So, you have to take some safety measures for doing this. These studies were done by my PhD scholar Dr. Ravi Ranjan Rakesh who is a BRC stalwart right now. Just to show you what type of TDR results you will get if you do the analysis over depth versus volumetric moisture content and you can notice from here that every month we used to take the samples and this was the famous deluge of Bombay you know 26 July which occurred in between and we lost the instrumentation we could not continue these experiments we have to replace them. So, incidentally what it gives you is the function of the volumetric moisture content up to 2 meter depth. So, this is where we can simulate you know saturated and saturated flow conditions and those of you are interested you can check it out this work is published in geotechnical and geological engineering 2009 very recent publication. Now, this is a peculiar graph which you can notice I think you were there you were talking about how activities can be or the concentration can be you know monitored. If you look on the y axis this is the treasome activity in bacharyl per milliliter and on the x axis you have time. So, as time increases you will notice there is a spike and after which this spike fades away. So, this is the maximum activity place where the sample was taken it is something like the front of contaminant is moving and the moment it crosses over a certain depth of lysimeter there is no sample available to enter into the lysometric tube and hence you can get only one spike all right. Now, you will appreciate this point that over 500 days how these activity is changing with respect to depth. So, what we established here is that cesium and cobalt sorry there their sorption capacities are very high. So, they get solved within the top layer of the soil they will not reach even after 500 days beyond 20 centimeters. So, is this something good or bad it is good yes that means, even if you dispose of something on the ground even after almost more than a year you will not find any trace of this activity in the bottom surface. So, you need not to be worried about most of the activities which are being taken up by nuclear scientists. So, this was a very good study which tells you how to plan the activities and you need not to spend more money designing barrier system and containment system and so on. The nature takes care of itself you know it is a good example. Yes let us talk about pressure membrane extractor which is a laboratory method. This unit you must have seen in the laboratory where we have a pressure membrane extractor chamber which is connected to a compressor unit air compressor unit and a retainer unit. What happens essentially is that this retainer and compressor unit pushes in compressed air into the chamber and details of the chamber you can see that looks like this type of arrangement where you have pressure gauge connected to read what is the pressure inside and what is the air inlet. Keep several disks on a typical membrane which is known as cellulose state membrane. This experiment you will be shown when you come to our lab for doing experimental geotechnics and then because of this application if these containers are having slurries water will come out and then you can check what is the concentration of the contaminant will be draining of water. So, this is connected to the sampling bottle at the bottom of the pressure membrane extractor unit. Now, these several studies we have utilized for two purpose. We have differentiated first of all whether a soil is contaminated or not simply by doing the pore analysis, pore selection analysis with the help of AIS or ICT and then second is you can find out the metric suction of the soil also because in literal terms what you are doing?  So, the amount of pressure which you are reading in the pressure gauge happens to be the suction pressure. So, this way and if you can measure the moisture content repeatedly alright. So, you can get the soil water characteristic. Now, this work is further being continued by SEMA. So, whenever you get time you can attend seminars and you can see what he is doing.


Throughout West Sussex, people are leading happier, healthier lives thanks to help from their local wellbeing service. Each district and borough counselling West Sussex has its own service running partnership with West Sussex County Council and local partners. Encouraging people to take more exercise is one of the key elements of the service. The Weight Off Workshops GP Referral Scheme for adults for ages 18 and over. There's a certain criteria to meet which would be to be in my body mass index of 30 or over. It's been running about four years and it's proved very successful. We have a lot of success stories as well. One lady, she's lost seven stone and she's done exceedingly well and she's still coming to us just to help to maintain that weight loss and have healthier lifestyle. While exercise is important, so is healthy eating. Which is the reason these sessions are held to help people cook and eat so they can follow a more sensible diet. We cook and meal together, usually a vegetarian and a meat option. We share the food and we do it around the eat well plate. So we try to encourage them to start cooking for themselves and eating and a lot of them have. When I first started running the group here, one of the guys was only eating chicken nuggets. Now he's progressed to spaghetti bolognese and those kind of things. For us to do our job right, it's about making that choice the easy choice for people. So that it feels natural and they feel that they're going to make a success of that. So they feel supported and confident that if they want to lose weight, they want to stop smoking. They want to get a bit fitter, that they can do that and then they're going to be successful at doing that. Some have problems that require more personal advice and one-to-one attention. This can also be provided by the Wellbeing Service. Get a menu of different exercises.  The Wellbeing Service is still in its infancy, but already there have been many satisfied customers. I shall never look back and be always grateful. And it's free. You know, what else do you want? It's all for you. It's there on a plate for you. As more people become aware of the service, its workload throughout West Sussex is expected to increase. But as it does, so should the number of people throughout the county who will live healthier lives thanks to the lessons they have learned and the information they have been given while making use of their local Wellbeing Service.


All right, we're live. Hey, I guess I'm starting. All right. Hi, everyone. Hi, super amigos. Love being in this space with you as strange as it is. We're gonna start with, I just have a few thoughts to share, just to activate imagination. And then we're gonna get to writing. A little, what I'm calling three portals, but they're basically prompts. And then we'll get into sharing and Q and A. Sound good? Okay. So I'm gonna start with this roomy quote that I love. Do not be satisfied with the stories that come before you unfold your own myth. And first time I read that, it just struck very deeply in my soul. And a lot of the work that I do centers around engaging with the mythic, activating the mythic, seeking the mythic. And I know nowadays people use the word myth as this is a falsehood. And I reject that definition, falsehood are falsehoods, but the mythic is actually the great truths, right? That's our stories and our myths are about sharing great truths. I believe there are ancestors giving us guidance, warnings, inspiration, trying to understand our world, our existence, giving us pathways for that. And also great wisdom and healing. So that's something I'm really constantly searching both as a writer, an actor, a teacher is getting deep into the mythic, you know? And I believe wherever we come from, we come from great stories. And if we ever needed that now, if we ever needed that guidance, if we ever needed that wisdom, it's in this moment. So I'm gonna bring into the space two deities that I like to open up to. One is Itzamana, my own God of writing and healing. He's often depicted as this old guy who really loves to listen and he has a gourd and Mineh Mosini, who is the Greek goddess of the arts and of memory. And I think it's so important that both of these gods, they're connected to the arts but they're also connected to healing, right? So when we write, we are activating healing through Itzamana, when we are creating, we're also remembering, right? It's our job as artists to remember the things that the culture wants to pour concrete over, wants to forget, right? So I open us up to both Itzamana and Mineh Mosini and I'm gonna offer these three portals for us to write. Let me just copy and put this in the, it's not letting me paste. So the first one, I'll read it out because some people may not be able to access the chat but I put the questions in the chat and just see which one of these stirs your soul. Maybe all of them, right? Or maybe Itzamana and or Mineh Mosini open something up for you and you wanna work from there but you'll just put pen to page and just let yourself, right, and I'll time us. So the first is think of a childhood song or story that captured your imagination has stayed with you. Think of a childhood song or story that captured your imagination has stayed with you. Number two is what people were talked about in your home growing up, who did you hear about over and over again and were curious about? What people were talked about in your home growing up, who did you hear about over and over again and were curious about? And the third is did you have a secret hiding place as a child, a place of refuge where you found comfort, make believe? Did you have a secret hiding place as a child, a place of refuge where you found comfort, make believe? Okay, anybody have any questions? Okay, then we can just start. What is this a 15 minute writing time? Yes, this is a 15 minute writing time. Yes, Rose, you can choose one or whatever your impulse is. Maybe you wanna do a combination or maybe it's a mano or mnemocini, stirred something up and you follow whatever that impulse is. Okay, so we can start to finish up and maybe come together. I prefer a gallery view. So you're able to see hands or if someone wants to, okay. Yeah, absolutely. For ease today, you can unmute yourself if I don't get to you quickly enough, but I think if everybody can raise your hand if you'd like to share or ask a question, that'll keep us organized. Does anybody wanna share or ask a question about this or have a thought about this exercise? I have a thought. This is Rose, can you guys hear me? Yes, I can hear you. Okay, so Rose from Seattle. I had a thought that my mind was always wrestling. I mean, this is something maybe particular to me. What do I choose, right? Oh, what do I choose? Where do I start? Once I pick an idea, I have to go down that pathway. What if I change? And so my mind starts struggling for a structure. And so the structure, I was remembering a lot of songs from that my mom used to sing to us and I've used them before in other plays, but I was thinking how present they are. So I started just jotting down. I thought I can't spend the whole time writing down lyrics to songs because that's not the exercise. And then I put lines and then I started writing in what seemed to jog my memory from that song just as a way of a fake structure even, just something to be a container. So between verses of different songs, I just started plopping in little bits of memory.  So that was something I noticed. Oh, great. Yeah, and it's interesting how what you needed, you gave yourself. Right. Like, oh, I need this. And then something responded. I love that. I love the way in which, again, it's like the body leads us to what we need. I can't wait to see it. I also, there is something about, it's so hard. I find this happens with me all the time. Like I resist the ability to just generate and generate and not worry about structure, right? Just to allow whatever's working inside me to be released. And then later on, I can take a look at that and see what I wanna pull from that or where a section may lead me to. But there's something, it just has to do with how practical our culture is, right? That actually take time for something that is impractical. Like, I know I feel it all the time. Like I can't do that.  And we don't, we don't. We can find circular ways. You know, it doesn't have to just be a direct line. We can find circular ways to our truth, you know, to whatever is really needing to speak with us or to us right now. Thank you, Rose. You're welcome. And I'm happy to share if no one else wants to share, but I don't wanna take up too much time. Why do you go for it? It looks like, it looks like people are still wrapping up a little bit. Okay. Let's see. So I started. Tengo una muñeca de vestido azul con zapatos blancos y velo de tul. La llevé a la plaza se me costipó. La llevé al médico me receto. Una pastillita de aceite castor y la tengo en cama con un gran dolor. My tío Fernando, my dad's older brother, he owned a record renting business with my Aulito Mariano and my dad, renting 78s and 33 LPs and a record player. They called a pickup. The business was called Music Hall. They were the first DJs of the Americas. My tío Fernando loved the parties, the music, the dancing. He came to the US, but was sent back. He was not well. He was taken away in a white straight jacket as we watched from the window. He went back to Peru. My dad said, from pure boredom one day, he slid his own throat. Una chica de mi barrio que Rosita se llamaba. Muy alegre siempre estaba. Caminaba muy formal. Con sus libros bajo el brazo. My mom talked about her grandma, Aulita Magdalena, who lived in Arequipa. She had my mom, Rosa, with an aristocratic gentleman and an Italiano named Toranso. She sent Rosa to live with him for a better education. Mom says, my Aulita Rosa always resented her mom for giving her away. Los ojos moros de mi morena. Y una tarde yo la vi caminando por la noche, lo coló, colaseguí.  I have big sideburns too, which I always hated, even now when they want, even now when they want to turn gray and wild. They met going to the wine festival in Surco, La Bendimia, when Lima still had vineyards in the city. A la cata, cata, que parió la gata, cuatro morronguitos y una garrapata. Aulita told me that the seven big scars on her chest were from her husband that used to hit her hard. I'm glad he wasn't my grandpa. Ernestina, Tina, she came to our house when I was five. I knew she came to Seattle this day. I knew she was Armando's sister, but not the same mother. That was always the case. It seemed in my big extended family, there was a different mother or father, de parte de mamá or de parte de papa, but there was never half. We never said half. That's the end. Oh my God, Rose. That's so powerful. Monika shared something that is so true, that tension between the innocence of the songs and the life accounts. Oh, thank you, Monika. That's very true. Thank you very much. Very powerful. It's very interesting how often, because I work with, I realize I didn't introduce myself, but one of the things I've done is a solo show that has traveled around a lot for many years, and when I work with artists on solo performance, and especially that first song, that first question, grandparent, either a grandmother, more often than not a grandmother or grandfather, and then they become the pathway for the whole piece. Grandmother, grandfather. You know, again, it's like, it's just, it is mythic. Thank you, Rose. Thank you. Giselle, I see your hand is up. Do you want to share next? Yeah. I'm excited and also nervous to share because it means that I'm being transparent with my messiness. But here we go. Okay. Yeah. Sleep, little one, or the cuckoo will come for you. Mommy is at the farm and daddy is at work.  If you don't sleep, a creature will come for you. Your mom and dad are not home. You are alone. You have no protection.   Sleep is sacred. We shouldn't be scared into it. It's a place and time of rest and recuperation. Your body takes this time to process and rebuild and reinvigorate. Don't start this process from place of fear. In sleep, you can have a personal and private dialogue with yourself. In my own sleep, I see David often, which is a note from myself telling me it is safe to let go of him and the anger I feel towards him. He is a weed in my dreamscape that I can pull out. There are flowers burgeoning anyway. And one of them is named Lucas. Another named Writing. Another, my mother, my father, my best friend. All my family and friends in the Bay Area in LA and Brazil, in North Carolina and in New York. During my sleeping hours, I am shown this person I no longer need to hold in my present. He is of the past. I release the pain and anger. I keep the lessons and the love. In sleep, I get stories. I get content to write with. Here's something I received the other night. Africa, West Africa during the slave trade of 400 years. Not sure what century, but it's a long time ago. I know it's a while ago, but the characters feel contemporary. They're not vintage. Their struggles are our own struggles today, unfortunately. Her name is Sayada. Her name means goodness, shadow, beauty of nature. It also means car in Arabic, which feels important and deliciously anachronistic. Thank you, Giselle. Thank you so much. Thank you. God for you, beautiful. Both you and Rose, Herbert said something really important. I want to acknowledge how natural and beautiful Roscano's bilingualism is, yours too, Giselle. The way in which we use languages. I know it came up on Friday with Diana, with her super amigo playwriting event. And I was thinking about something that Juno Diaz wrote, which is like people in Lord of the Rings, they talk elven throughout and nobody has a problem with that. But somehow when we put Spanish or Portuguese or our indigenous languages, it's very threatening for some reason, right? But put it in, share it, let this open up. That's gorgeous. Who else? We have Alex Hernandez. Hi, everyone. So I did the first prompt of a person I've heard about my whole life, especially when I was younger. So that person was my paternal great-grandmother. Actually, I couldn't remember her name. I have to ask my dad, but I do know that she was kidnapped during the revolution, the Mexican Revolution. She had a family and she had kids, and that still didn't stop the revolutionaries from kidnapping her. So for two years, she was missing and her mother didn't know where she was. And somehow her mother was able to locate her and manage to sneak her out of the camp dressed as a man. I've never met her, but I've always been curious about what her life was like in the revolution. How that affected her as a person. Did she have other señoras that she felt guilty about leaving? Did she find anything about the revolution that she did like compared to her home life? What was her re-entry life?  Is there anything that she left behind that she missed? Oh, that's so great. You have a piece there, Alex. Follow. You said great-grandmother? Yes. Follow that great-grandmother. She has things to share. I mean, she really does. She showed up and she wants to take you somewhere. Yeah. Thank you. Kingmas, who else? Francine Torres. Hey there. When I was about five or so, we were driving around Golden Gate Park in my dad's cherry red Buick Skylark. The interior was black leather. It was hot and it smelled like cow, but he loved that thing. My dad worked in a factory and was a classic Chicano macho provider, but he also had a sensitive side too. He took me and my sisters up to Hippie Hill and Golden Gate Park to watch protests or Hare Krishna's or listen to music. I think that he was thrust into responsibility too soon and indulging his secrets, screw the man attitude on his days off. On the radio, war's spill the wine song came on, a long monologue that was sort of spoken word with a seductive, heady riff on top. I listened hard to the lyrics. Usually I didn't, but I was amazed by the way he was singing. He was so compelling was the voice over his tinny 1970s radio. In it, this dude talks about falling asleep in the grass on a summer's day. A jazzy flute overlays as he describes being in a Hollywood movie and brought naked to a mountain top. An assortment of naked women are presented before him, short ones, tall ones, thin ones, brand one. You get the picture. The girl. Then again to spill the aforementioned wine and then take that pearl. In my child's brain, I didn't realize that the pearl refers to kind of lingus, but I knew that something about that song stirred in my body. Places that I never thought about.  I thought about the naked man, the assortment of women. I knew vaguely that these were things that I didn't know about, but my body inherently did. I thought about my dad's Santana Abraxas album that he kept meticulously displayed in the front of his album file. And how this song made me feel like the large beautiful black woman reclining in that image. There was another naked angel woman who pointed up towards heaven, I thought. Heaven must be a place where wine and nakedness flowed. This was my baptism to sexuality. Man. You have such a specific voice and tone. You really took us there. I love all those details. I want more. All of these. There's something that Rose wrote that I just want to open up and hear anybody's thoughts about it. Let me see if I can find it. About history. Like we're so attracted to history. We're so attracted to history and historical events. Anybody. As, as, as writers as, as artists. Anybody want to reflect on that or share anything on that? I just, yeah, but I wrote the comment. Yeah, we're so attracted to. History and historical events. As writers. And I was responding to the great grandma or grandma being abducted in the Mexican revolution. And I was like, I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. Sam Tam as age of gold, even that's history now. So yeah, I just wanted to, there's something about the nostalgia of history. That I think really. As Latinos, Latinx. Really moves us. Yeah. And also the stories that we don't hear, you know, I'm working on something now that. Came out of. The TV shows and stuff that. Took place in the 60s and there are no people of color in professional jobs. And that's, I grew up then. I, you know, people, there were people. I had friends, you know, my family, you know, they're, they're, there's a whole way in which our stories or these time periods and how important it is for us to share our history, what we remember, what we know, right. Thank you so much, Francine. Anyone else. Yeah, I am. I, I, my name is Sophia. Hi. I wanted to sort of piggyback off of what you said about how our stories, like our history is told without us because I also think that's something that's really powerful about looking at history and telling sometimes fictional or non fictional stories is that often history, the way that it's taught becomes sort of like this bigger thing that is not tied to any individuals. And so the people within the history and the lessons within the history, I feel like gets lost in the generalness and the desire for objectivity because nothing is objective. And whatever history we hear in school is just the winner's perspective, you know, and so I think that being able to tell our stories and trying to see history from a individual perspective from the stories of the people who are actually there as they've been passed down to us, there's so, so much power in that, that just the objectivity of history cannot, I think, provide the same way. So it's very powerful. Absolutely. Thank you, Sophia. Alexis. I worked off of the prompt. People were talked about in your home growing up. Did you hear about Gloria? Gloria. Yes, Gloria. Gloria. Her mother smokes on the porch every night. Her father nowhere to be found. Yes, that Gloria. What about Gloria? She's pregnant. Pregnant. No. Yes. From who? That boy she was always walking around the drug store with. Her mother should have known better than to let her out with that boy. He's no good. You can tell that on site. She lives with her grandma. Mother had no idea. I will goes to show. She would always wear those shirts that were too low. Shorts that were too short. Earrings that were too big makeup. That was too old. Eyeliner too dark for a 16 year old. What about your niece? Did I tell you about my niece? Your niece? Yes, my niece. No, is she okay? What about your niece? She just had her baby. Her baby. Yes, her baby. A healthy baby boy. Of course we were worried with her being so young, but she's working, wants to go back to school. And the baby's dad works two jobs to support them. They're living with me until they can afford a place of their own. Oh, how lovely. I love her. I love her. I love her. I love her. I love her. I really think they're going to be a real family. A real family. He's going to marry her. She picked a good one. My niece won't be an unwed mother. No, no, no. He loves her. He really does. They live with me. So I know. That's great to hear. She sounds happy. She is happy. And that's all that matters. Thank you. Beautiful. I love those characters already. I love them. I love the way they're. I know not everybody can read the. The chat, especially if they're on the phone. But. About history in particular to these are all really important. Sophia and. Diana, if you want to share. I just wanted, I just want to say from my perspective, thing you think is always what you were inculcated in in school and then you have to really make an effort to make the second thing you think the thing that the thing that is the what you want to change about yourself you know it's uh it's really has to be a conscious effort because we are taught a singular vision and a singular um history that has really almost nothing to do with the truth. Yeah absolutely um uh I love uh Walter Benjamin who was a incredible he has a great essay called the um thesis on the philosophy of history and he talks about history being written by the victors you know um I know I I did a piece um there in 2008 when um oh I'm totally blanking on this bill was that the TV he used to be on Fox news you know who I'm talking about I was like blocked him out of my mind but he was after the election he was like saying well it's the end of traditional America right and I remember like having this moment going what's traditional America you know and I'm in yes Bill O'Reilly thank you so much Shandra and Esther and Rose um and uh you know I'm in I'm in Los Angeles and we have this incredible history that we don't know about you know in terms of who were the founding families of the city of Los Angeles you know of the 44 men women and children who founded the city two were white Spaniards and everyone else were people of color and that's not a story that we hear right and not and I wanted to share it we did we did a play about that called the LA founding families so that that thing of um what are these histories that are inside of us that need to be told that we need to hear right is a something I'm encourage us all you know what's missing and and you know from our particular perspective that's right not just the general but really particular perspective even at the perspective of a great grandmother you know anyone else want to share um so I wrote about my I did the prompt the people that you always were talked about and I was kind of along the same lines of what we're kind of talking about about this history these stories that we've passed the elders the ones who came before us the stories are passed from generation to generation never a picture is shown rarely do we see a face we hear a story a song a laugh a cry when their name is said we cook a food and the smell wafts and reminds us of what has been passed a life blood of people passed from mouth to mouth food stories that is our people that is how we live on I never knew what anyone ever looked like I never knew the color of their eyes what clothes they used to wear what shoes they found to be comfortable the color of their skin I knew their name and I knew their stories it's funny how saying a name can change things telling a story brings new life to a person who may be long gone there's a belief in life after death and we do our part by saying their name those we've lost those we've hated those we loved those who always made the best basole those who no matter what showed up with crown royal those who mattered to us we say their name to remember we tell their stories so they're never forgotten the smell of food the virhanita in the corner the blanket that became hers because the eye was always cold or the shows that came on right around 2 p.m because abuela never missed her shows the crown royal bag that sits on the fridge filled with quarters or beans for lotaria because no family gathering was complete without at least one game I wondered what their hair smelled looked like what cigarettes they smoked what the touch of their skin was like how they made their cafe in the morning I always wondered if they would have liked me what songs we'd sing together what dancing would have happened what recipes I could have learned what the smell of their perfume was like what I could have known about their lives the countless theas and primas and primos from other places I might have known and their lives passed down in stories never in pictures we say their names to remember and we tell their stories to know who we are oh my god that's so moving there's so much longing in there so much longing that I really relate to really speaks to me and this thing about saying a name right placing this happened they exist right sharing their stories there's something very interesting you know the in order to be original we have to be connected to the origins right there's a reason origin is in that word original like I we have to like connect to our roots in order to even understand how we're here you know thank you Solana who else anyone else that was mnemosini at work it sounds like right for you Solana maybe yeah that I mean and there is something so terrifying about the idea that things won't be remembered particularly moments in history that tried to be you know like I said earlier concrete poured over it right thank you who else well we have a little bit of time left and if everyone is done sharing any anybody have any questions it can be even to each other Rose is asking what's under the concrete I think something like that that history I think very few people know let's say for example the history of the LA founding families and who actually founded the city and what this part of traditional America is right and of course the indigenous culture that was here long before then right that's what the con that's what's over the underneath the concrete to me any other questions thoughts Marissa Herbert here just as a just as a practical educator to educator I just want to get your take on why you ask those questions what was it just more of a portal for us to write or I just wanted to get your your take on on the on the three questions and why I guess um I to me like there's so much gold in um in getting away from the practical so that means playful and childhood to me you know um it's worked for me personally and I've seen how I've seen when I've worked with students who um and in particular who are working on so low performance pieces how they can get very stuck with well I'm supposed to do this or you know it's supposed to and then I feel like that's a trap so if we can kind of just let ourselves like activate our imaginations really also allow for something to come in that may be not part of the plan and that kind of assembly line thing like okay first you do this then you do that and then and and all those structures are important um but I think especially initially you want to just say what's what's here what's going to show up that maybe I haven't paid attention to right um so that's uh and in terms of solo performance there's um there are often these I mean of several people what a great opening the song was for for several people right um the thing about who was talked about that you're curious often a lot of the students I work with or artists I work with will have um somebody in their background in their family history that they never really asked about and then that becomes the portal for their entire piece you know um and the third one is more about um when in a way it's about connecting to that calling that initial creative calling um what are some of the things that showed up that made yourself so awakened that made you want to perform so that's that's where those three came from um just adding to that um Marissa and Herbert I was thinking that prompt of what stories did you hear most growing up that in itself is a retelling so I think storytelling is re-storytelling and that's where the history part comes in because that's the way it's handed down so what stories or who was most talked about growing up you know we hear these stories that could be from this country or another country but we're already retelling it so you're like you can invoke the character of that storyteller because that story was filtered through their point of view and they're telling a story about someone else there's something like a never-ending mirror back and forth back and forth that I think is the um attractive thing about that prompt it involves retelling and retelling so that maybe for some of us um accessing childhood isn't a necessarily happy thing and so it maybe brings up some interesting feelings that that you can just start writing about you know I think that that's what I really I love these prompts because I I thought some really interesting things came out of them for me because I would I sort of dug into some things that I that I'm reluctant to dig into so um and I think it's okay to be messy with that you know and it's okay to let that be and not share it but live with it a little bit and see what stories that generates for later you know I really like that I'm so glad you said that because I almost left the third one out because it makes me nervous right and in a way that is that's such a big part of our work is our work as human beings especially right now being uncomfortable right um but I also wanted to put there a place of refuge and make believe like we always have no matter how deep the pain or what that evokes that there are places of refuge for us you know um that there are our our nets our stories to help sustain us I honestly believe that's what we do and and why we're needed I'm trying to read I just have a question um I'm an actor that's only starting to write in quarantine I've like I've written poetry for a while but uh playwriting is new to me so I'm just curious to how being an actor has impacted your playwriting and vice versa uh I'm definitely an actor first and I um avoided writing for a long time because it made me nervous and then I I really had a story I mean I really had in particular a great grandmother that wouldn't let me sleep until I started writing my first piece um and uh you know actors naturally understand story and structure and dialogue I mean you you have everything you need to make this piece you have everything you need there's nothing there's no like magic system or you know um somebody I know uh Kalyan um who's incredible um actor and she created a solo performance and you know when I when she was asked recently how how did you how did you do that how did it start she goes well I lit a candle I asked my ancestors for help and then there's the beginning I mean can be very simple but it's amazing how as soon as you open the door and you've probably already felt that he said like that things just start appearing like you're you're gonna you're gonna have like aids help you tell the story and you have everything you need to tell it thank you yeah Diana says how many Latinx writers are actors first I mean oh yeah how many of us a bunch I have a question yes um okay hi hey um yeah just following up on Isis's question I'm so grateful she asked that because I was thinking that but then I was like oh my god I'm the only actor here obviously that's not true um what like I don't know like I have this story that's been tumbling in my head and in my body to the point where like I got a tattoo of something and I'm like I know I know this is like a solo show like I know it is and I guess like what is your advice for someone who like poetry comes out of me when like my body is literally begging me to write and I'm such a physical actor so I'm wondering like what's your advice for like I don't know someone who feels like they literally struggle with like words or like that's not like their first thing but you're saying that you have poetry that you do that poetry comes out of your your movement right yes it's very random though trust the random keep keep writing and keep moving don't stop moving and there are many solo performers I think I might have put my email at the very top of the chat um I can put it again but I can also direct you to there are many solo performers who focus on the physical and they are incredible uh creators of solo performance right it your your solo performance doesn't show doesn't have to follow any anybody else's model yeah very physical with poetry right and the important thing is to just keep keep yourself open to where your body your body is clearly leading you wants to take you keep generating the work writing the poems listen to your body you can trust your body thank you very welcome Alex I see you have your hand hang in um I wanted to kind of revisit writing about um relatives or like ancestors and one of the things so I also write poetry but one of the things that I'm always hesitant about writing especially like with living family is um writing about family you know it's really hard and especially I think specifically with this with this you know this relative like we have the facts and here is the timeline um and I guess I worry about embellishing like my questions are about like feeling and like what were you feeling like what did you miss did you enjoy it I mean I'm sure there are aspects of it that are traumatic so like what is a way to I guess respectfully do that yeah thank you so much for that question that is very important and I know exactly I I had very similar feelings when I started working on my solo show like especially when it came to interviewing my father about a some very very painful stuff and what you will find is that more often than not people want to share their story and particularly if it's painful and that it is very healing for them um so the you may be at first a little nervous about approaching but if you approach with an open heart right and really say I really want to I want to write about this and um I think you may be surprised how willing people are to share their stories that's happened to me over and over again as a writer whether it's a my solo play or other plays that I've written where I've had to interview people and their stories were in the play um that they want to share their stories in in this form maybe more than sharing it with a therapist or anything like that there's something about what we have to offer right in terms of a kind of alchemy that is that people respond to and you know um a lot of people you know you can also email me because there are a lot of people that have written different um ways of addressing those interviews um and I have a solo performance chapter in a book I've I've just written called Mythic Imagination and the Actor and I have a couple of like guided guidelines and I can just send that to you if you like but um I just want to assure you I understand that that it's scary but there's actually you may be welcomed right it may be welcomed and and more important needed yeah thank you you if I could add on that Alex that's such a great question and I'm always worried about writing about family because I love them and they're so beautiful and I I want to share those stories because I think that they're what make me who I am and also as an artist I asked one of my teachers and they've always taught me that there's a truth and there's what you can embellish in favor of good drama and a good story and one of the things that I think make characters so interesting are their flaws and what makes us root for them the most are their flaws but I don't want to write my family's flaws so it's like having stories that are and characters that are inspired by real people and that's what makes them honest and rooted and then also finding places to embellish for the purpose of a story a theme a message that I'm trying to to get across so I think that that ultimately depends on on how you feel as an artist and your intention with story because I know my grandma my grandma's very very private there are things that she doesn't like shared and then there's my mom who wants me to write a character like her in all of my works so it just depends on how how you develop and think is important and necessary to your story as a writer that's fantastic there's also for things that are very difficult there's a metaphor you know you can you can find ways of telling the painful story and moving away from the factual into a metaphorical kind of tale I mean one of my favorite films is get out and it's totally a metaphor right so um I put my email if anybody has any questions they want to send me because we're we're at time and I I so appreciate your wisdom and your beautiful words and your energy and feel very fortunate to be part of this Komuni that thank you all and anybody wants to be in touch with me uh again mgbasek call arts oh dot edu I forgot to put thank you Marissa great thank you thank you so much bye everyone we wonder who hi everyone we'll see you on Friday sometimes in place and I'll be sure to save the chat who was it right in case anybody needs it oh who is it I should know this off the top of my head but I will get it all of the uh live streams are saved and recorded and announced on howl around and on Friday we will have some second page of our coming stuff uh Brian Kehada all right I'm gonna go ahead and save the chat and we'll see you all next week


Alrighty, so we have a really interesting construction update today for Yukon Stryker I have some other hidden information that I'm trying to hide in this video I'm gonna make a video on it tomorrow if you have a keen eye You might be able to pick up on it before I make the video tomorrow But just for now So as you can see no new pieces in the store shot like I said I think all the pieces are here the vertical loop is starting to be shipped off into that area You can see it on the flatbeds and this is why the second drop or the drop out of the MCBR is complete And boy did the animation underwhelm that drop. So a lot of people were commenting because of the animation Wow, this is weird for a dive coaster to not have close to an 80 degree drop Out of an MCBR the second drop on a dive coaster And it looks like the animation was just kind of underplaying it or it wasn't designed perfectly in the animation The drop definitely looks so much better now that I've seen it It's definitely like close to 80 maybe 75 to 80 degrees Of a drop very steep very close to the ground much bigger in person than it looked in the animation So it is totally awesome to see this in person and As you can see the zero G roll has started to go inverted you can actually see down on the ground Next to the drop out of the MCBR the final bit of the zero G roll So they'll probably put that in tomorrow They put the support structure up for the zero G roll today the vertical loop is being shipped into the park So we'll probably see the vertical loop done next week Fingers crossed it's gonna be absolutely insane again. This coaster is probably at the 60 percent mark for 60 65 percent mark in terms of completion keen eyes cough cough If you look close to the station, they are working really hard on getting that pathway or River whatever it's going to be. I believe it's a pathway underneath the turnout of the station heading towards the Transferter shed or storage shed So they're working there. You can see the excavator there not much else going on I'm just checking out minebuster for no particular reason But yeah, this is looking amazing I'm absolutely loving the look of Yukon Straker the more I see it completed Totally awesome. I can't wait to start seeing Frontier Canada stuff But I can't like damn I cannot get over how much better that second drop out of the MCBR looks This actually calms me down a bit for that kind of really weak second half I can tell we're gonna definitely pick up some good momentum there And kind of have a much better end to the ride than we typically thought as we go into that photogenic part where you Can look up and watch riders turning into the break run.  How have you already know that though? I'm trying to think of this anything else to talk about because I've just been so excited if you can't tell by that second drop I'm really pleased with how it turned out But yeah, so again, just to go over it quickly You have vertical loop pieces sitting in the storage lot on flatbed So it'll probably be brought in tomorrow the zero G roll pieces are all connected together And we'll be installed all at once so they'll go from that piece right there You see that's almost inverted and go all the way to the support beams That's a lot of pieces all connected together and that's why you see that second crane down there next to the yellow crane Just unfolded Or sorry fold it up not unfolded fold it up. So you'll probably have the both of them lift that into place tomorrow So that'd be awesome And then the vertical loop it going into the vertical loop will be put in place You can see all the supports laying down there underneath the lift hill and With the little cherry picker down there Or I think that's actually a mini crane that'll install those those are probably the vertical loop Support columns that they'll start building. I've noticed that they Start building those and have them set up and ready to go I also I'm noticing a lot of white tarps on the brake run and lift hill area So I'm not sure what that is, but I'm noticing some white tarps over there It's probably covering up electrical so that that's pretty cool probably lots of work going on there But yeah, no sign of Frontier Canada anything yet. We'll see keep checking each day for that But yeah, that's all for my update today. Hope you guys really enjoyed that smash that like button Share the video for others to enjoy and comment down below how excited you are for you con striker Thanks so much for watching guys. Have a good one. Bye


That's gonna be Heather Heather II with the Derek Rose for the Grizzly's one-on-one Black prism. Let's go Heather. Anyone guess Derek Rose? Congrats Heather. That's 250 in break credit coming your way