My beloved brothers and sisters, insha'Allah in this episode I'm going to go into the fourth Shubha, the fourth doubt that the non-Muslims and the orientalists have moved forward regarding the preservation of the Quran. This Shubha insha'Allah is Jawaz and Qiraat of the Quran. They said that it is permissible in accordance to your tradition of Muslims that the Quran can be read based on meaning that is not a concept of the words of verbatim that they are from God like this from Allah subhanahu wa ta'ala like this the way it is but you can read the Quran based on meaning as long as the concept is passed on that's all that matters and we want to say reciting the Quran based on meaning and changing a word to another word as long as it has the same meaning is not a concept we believe in when it comes to the Quran the Quran we believe the wordings have to be left the way that the prophet recited it alaihi salatu salam it can't be changed it cannot be altered they said no we have evidence for this if you're truthful bring your evidences they said our evidence is marawahu abu dawud min hadith iubay bin qabin the hadith is found in sunan abu dawud that iubay radi allahu ta'ala anhu he said that the prophet sallallahu alaihi wasallam has said leisa minha illa shaafin kafin in qulta samia an alima azeezan hakeema ma lam takhtim ayat aadabin bi rahmatin or ayat rahmatin bi aadabin they bought this hadith this hadith talks about the aharuf that we spoke about the mode of recitation of the Quran in which it came down and in the siyaq of the hadith the context of the hadith in one of its wordings the prophet sallallahu alaihi salam he said all of those different aharuf the prophet sallallahu alaihi salam said leisa minha illa shaafin all of them are enough kafin they cure they fulfill the objective they're enough in qulta if you say this is where the shubha for them came from this is where the doubt came to them in qulta samia an alima if you say samia an alima or if you say azeezan hakeema ma lam takhtim as long as you do not conclude a verse with ayat aadabin with the punishment bi rahmatin so the ayat is talking about aadab as long as you don't conclude it with the ayat with the wording of rahma and the ayat is talking about aadab it's talking about punishment you cannot conclude with wallahu furu rahim for example or the ayat is talking about mercy you cannot conclude it with a at the ending of it that which shows wallahu shadidu l-u'aqab for example allah is in his punishment you can't the ayat is talking about mercy for example if the man steals and the woman steals allah subhanahu wa ta'ala when did he say chop their hand off now that ayat he can't he cannot finish with wallahu furu rahim because ayat is talking about a capital punishment so it's wallahu azeezan hakeem correct so they're saying look your the hadith is saying this it's saying that as long as you can finish the ayat with mercy because it was talking about mercy and as long as you can finish the ayat that was talking about punishment with a that which that which concludes the meaning of a punishment we'll say that's a misunderstanding of the hadith and we'll mention why they're also pushed forward by saying that the ahmen written in is musnad on the authority of abu huraira that the prophet sallallahu alaihi wa sallam said unzi lal quranu ala sab'ati ahruf that the quran was sent down in seven modes ali man hakeem an ghafoor al rahima ali man hakeem an ghafoor al rahima so this is look ali man hakeem an if you want you can read ghafoor al rahim if you want you can read it's your choice we're going to refute this shubha in three ways inshallah wa ta'ala the first refutation is that which ibn abdu l-bar rahima allah said ibn abdu l-bar rahima allah the great maghribi scholar he said amma qauluhu fi hadith as for the statement of the prophet sallallahu alaihi wa sallam al-mellis hadith wa he said samia an ali man ghafoor al rahima ali man hakeem an other than that he said fa inna ma arada bihi dharbu al-am fa inna ma arada bihi dharbu al-mathali li'l huruf il-lethi nazala al quran wa aliha the prophet asim was trying to give an example of the different modes in which the quran came with and that the concept that the verse will be speaking about is what the conclusion will generally be it doesn't mean you can read whatever you want the prophet is saying here that when the surah when the ayah sorry when the ayah is talking about a punishment it's going to always end with ghafoor al rahima and when it's talking about a punishment it's going to end with that which gives the meaning of that such as wallahu shadeed al aqabo something like that but if the ayah is mercy and he's talking about mercy he's going to finish with wallahu al rahima and etc. the meaning and the ayah would have the same conclusion that's what the prophet is saying here it's not saying you read as you wish and amma abdu l-bar abdu l-bar in his statement also the second refutation on this issue is that the prophet sallallahu alayhi wa sallam taught the noble companion al-barai ibn al-Azib al-du'a and the du'a that he taught him was allahu ma'a man to bi kitabika l-ladi al-zalt wa bi nabiyika l-ladi al-zalt the prophet taught this to al-barai ibn al-Azib this du'a and bar'a said faradattu ha ale nabi i repeated the du'a to the prophet so i could correct my memorization when i reached the part allahu ma'a man to bi kitabika l-ladi al-zalt instead of saying wa bi nabiyika l-ladi al-zalt bar'a ibn al-Azib changed the word wa bi nabiyika he changed it too wa rasulika l-ladi al-zalt and then the messenger sallallahu alayhi wa sallam la wa nabiyika l-ladi al-zalt the prophet said no the prophets he said wa bi nabiyika l-ladi al-zalt changed that word bring it back to what i told you the wording i told you mukhari narrated that so if qiraati al-hadith or qiraati al-adhkar bil ma'ana is not allowed then how would it be allowed for the Quran if the adhkar you can't read it based on meaning and you have to take the wording from the prophet sallallahu alayhi wa sallam then how would the Quran be then the prophet sallallahu alayhi wa sallam ibn al-Azib changed the wording from a dhikr how would he let the sahabas change sallallahu alayhi wa sallam the Quran in whatever way they want the third refutation on this is that Allah swt does not allow the prophet to change the wording of the Quran how can the prophet give permission to other people to do it Allah says in the ayah the prophet sallallahu alayhi wa sallam is saying that i am not allowed to change the wording of the Quran i am not allowed i am the prophet sallallahu alayhi wa sallam i am not allowed in attabi'u illa ma yuhay i follow the revelation i read exactly how it was given to me so if the prophet sallallahu alayhi wa sallam was not allowed and the ayah says that he is not allowed to i can't change it from my own self how can then we say that the prophet sallallahu alayhi wa sallam is giving permission to other people to read the Quran in whatever way they want whatever you want read ghafur rahim if the ayah is talking about masjid just read ghafur rahim no the wording the letters of the Quran are all the missionaries the orientalists they said this is we still got moved so they broke another shubha to argue their point they said okay what about this hadith where do you take this hadith which hadith marawahu ahmed Ghafur rahim a mahmad narrated that the prophet sallallahu alayhi wa sallam he said umar the Quran all of it is right as long as you do not make a ayah that's talking about punishment you do not make it into a mercy and an ayah that's talking about mercy and forgiveness you do not change it to punishment and as long as the meaning is not changed you can recite it the way you want that's what they say that's what the hadith is saying i'll call it to them and that's what they say is what is meant by it i refute them in the following way inshallah in the context of this hadith refuses refutes them which is this hadith the prophet sallallahu alayhi wa sallam has said this to umar at the conflict of him and hisham ibn hakeem umar and hisham both recited the quran in different ways and they had a conflict amongst themselves both of them came to the prophet sallallahu alayhi wa sallam to judge between them then the prophet said to umar ya umar inna qurana kullahu sallam both of you your quran all of it is right and then the prophet sallallahu alayhi wa sallam had told him that these ayats the wordings are different but the meaning is the same like it would not happen in any of the qiraat that is talking about punishment and it will conclude with the forgiveness that's what the prophet was saying to umar that both of your recitations is right and the evidence to show you that both of their recitation they took it from the prophet none of them took their recitation from themselves and both of them were saying haqadah alemanihi rasulullahi this is how the prophet told me this is how the prophet told me so the prophet was explaining to umar oh umar both of your quran are right as long as the when you read an ayah it doesn't change the ending by saying qafurul raheem an-istukhniba a'ad why did the prophet say that because he was saying that your qiraat and the qiraat of isham al-haqeem both of you do not have conflicting recitations conflicting recitation both of your recitation complements one another it has the same meaning in it or it's propagating the same concept both of them which Allah swt chose both of them have the same meaning in it and the same concepts are in there one might have extra meaning over the other one no problem there's no contradiction though then they said okay we still have more you think we haven't got enough we still got more hey what's the extra doubt that you have regarding this they said ama ma'raahu tabari wa ibn jaleel tabari narrated an-na a'adaradah so before they brought hadith from the prophet now they say the sahabahs we've got athar from the sahabahs hey yeah a'adaradah an-na a'adaradah kana yukre urajulan abu darda was reading to a man kana abu darda yaqra urajulan abu darda was reading to a man and he was reciting to him inna shajarat al-zakoum ta'am al-atheem the man recited it and he said ta'am al-yateem abu darda said say inna shajarat al-zakoumi ta'am al-fajiri he said that kul inna shajarat al-zakoum ta'am al-fajiri Imam al-Suiyuti mentioned in his kitab ad-dura tul-manthur from ibn mas'ud ibn mas'ud the same story but no abu darda rada ibn mas'ud they also used another evidence they said that an-na semnumalik as also ibn jaleel tabari narrated that an-na semnumalik recited the ayah inna nashi'at al-layli hiya ashaddu wa ta'am wa aqwamu qeelah he recited it as wa aswabu qeelah instead of wa aqwamu qeelah and some of the people that was sitting there they said to him ya aba hamsa were you talking to who? an-na semnumalik it's not aswabu qeelah it is wa aqwamu qeelah and then he said to them aqwamu wa aswabu wa ahiyah wa ahiyah all of these are the same aqwam aswab and ahiyah are all the same he said look here we find sahabas changing wordings we asked them do you have any more? he said yeah we go another one abi sirar al-ganwee he's kana yaqara he was reciting fa jasu khilal al-diyar and he recited it as what? fa hasu and then he recited him inna ma wa jasu and then he said jasu wa hasu wa ahid that's what he said al-raddu mi wujuh the refutation to this issue is in three steps inshaAllah the first one is all of this which you mentioned from the sahabas are not what it seems from the appearance why? because we have clica evidences clica from the Qur'an and the sunnah that do not allow the Qur'an to be changed i remember reciting the ayah wa idha tutl al-alim ayatuna bayilatin qaalallelina lairjuna l-iqaa al-iqaa al-iqaa al-iqaa al-iqaa al-iqaa al-iqaa al-iqaa al-iqaa we also have the prophet sallallahu alaihi wa sallam as i mentioned the itu al-barai ibn azim adhikr an idil al-ahim change the warning we also have the allah tabarru fi ta'ala said inna qur'an wa l-utaqawla alayna ba'adu l-akawil la'akhadna minhu bil yameen thumna qata'ana minhu l-wateen we have allah subhanahu wa ta'ala saint to the prophet yair rasulu balig ma'unzila ilayka marlabik muhammad convey what was sent on you not what you want to make up and add into the religion but convey what was sent to you and muhammad sallallahu alaihi wa sallam would never want to change it he would never even go forward to change again he's great and higher than that sallallahu alaihi wa sallam so those evidences divert these evidences or these doubts that you're bringing forward from its apparent point number two the second response is these recitations that you are bringing forward is maybe and most likely a recitation that they heard from the prophet lakinna ha min ma nusikhaa fil ardati l-akhirah but it was abrogated in the final version of the Quran when jibreel came the last ramadan of the prophet's life alaihi sallallahu alaihi wa sallam it was one of the verses that were abrogated the evidence for that is fajasu khilal ad-diyaar reciting as wahasu ibn abbas and talha tibnu masrafin both of them used to recite that that's important also al-imam ul-kurtubiyu he took the opinion that these recitations of abu dardaan ibn masroodan anas ibn malikin others was tafsir of the ayah when they were saying wa aqwamu kilan as wa aswabu kilan it wasn't that they were reciting the verse as a Quran like that but they were trying to explain what aqwamu means it meaning aswabu or ta'amu l-afim al-afim here means al-fajir ibn masrood was explaining the meaning and that's what al-imam ul-kurtubiyu wa rahimahullah said there's no evidence in this for these ignorant deviated people and now he'll use ibn al-harfi min al-Qur'ani bighayri that he can change the Qur'an with one word and with another word because that's what ibn masrood when he was doing that and he was reciting in the shajarat al-zakumi ta'amu l-fajiri it was to bring the meaning closer to the students wa tawtiqa tam minhu l-lahu l-ruju'il as-sawaab wa ista'malu l-haqdi wal-takallu min bil-harfi al-a'inzali l-lahi wa hikayat al-Rasulilayh sallallahu alayhi sallam sa'adilaymin al-masrood radiya Allah wa ta'ala anhu was doing that to make the people understand the meaning it was tafsir wa tawdih l-lafd al-Qur'an it was to explain the meaning in that what is it what al-afim means al-afim means al-fajir abdam al-srood is explaining it abdam al-srood was not saying that this word can be changed with this word as they have the same meaning l-ah you didn't say that insha'Allah wa ta'ala I hope this response is enough to prove that what they have brought forward is Ohamin Bayt al-Ankabut their doubts are very weak wa kam min a'ibin qawlaan s-sahiyahan wa aafatuh min al-fahmi al-zakimi how many people they criticize someone's statement they criticize the Qur'an they criticize but the problem is not with the Qur'an it's their weak understanding it's not grounded they just don't have what's needed to understand so we ask Allah to guide them if He wants to guide them and if Allah doesn't may Allah show us in these people His ability and strength and destroy them and bring them to an end but if He wants to guide them subhanahu wa ta'ala and He's written for them guidance then may Allah subhanahu wa ta'ala guide them to the religion of al-Islam anything which I have said that was wrong but incorrect is from iya shaytan and Allah and His messenger both free from it assalamu alaikum warahmatullahi wabarakatuhu how can you do a two-second action right now that will give you a share of the reward of everything we're doing on this youtube channel simple like this video and click subscribe why? it will allow youtube to recommend our videos to other users and imagine the huge amount of reward that could be waiting for you on a day of judgment if you did that with a sincere intention of spreading the deen of Allah you'll be rewarded for every single person who benefits from one of our videos as a result of your like or subscribe that's an easy two-second action that you definitely don't want to miss out on do it now click like and subscribe and don't forget to make that 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Hi, my name is Elaine Ostrenner and I'm head of the Comparative Genomics Section and I'm Chief of the Cancer Genetics Branch at the National Human Genome Research Institute at the National Institutes of Health. I'm going to be talking today about comparative genomics, that is, the comparison of genomes from different organisms in order to better inform us about the 20 to 25,000 genes that have been described in the human genome. To do this kind of work, one has to take into account the genome sequence of everything from humans to small rodents to insects like flies and worms to single-celled organisms like bacteria and yeast. Comparing genomes is a lot like cryptography. You line up the DNA sequence as best as you possibly can and then you see what is similar and what is different between the genomes. This involves doing many two-way comparisons between the genome sequence of, say, species A, in this case humans, and species B, in this case mouse. You then generate a consensus document that highlights the regions that are the same and those that are different between the two organisms in question. This gives you guidance as to what portions of the genome are likely to encode genes or regulate genes that have a common and vital function in all of mammals or actually in all of the animal kingdom versus those that are diverged, that is, their function has changed or evolved over time, becoming more specialized in order to meet the needs of that organism. These are some of the vertebrate genomes that either have been sequenced or are currently being sequenced and you can see that they include everything from humans and chickens down to wallabies and puffer fish. The greater the divergence of organisms that we can sequence, the better job we can do finding genes that are well-conserved, performing functions that are both common and important in all organisms in the planet. These are some of the genomes that are actually under discussion to sequence and again you can see that they include a wide variety of species, everything from ostrich to bat. It'll be interesting to see which actually make the final shortlist. Now my own lab has largely been interested in the domestic dog. There are about 150 breeds of dog recognized in the United States by the American Kennel Club and they display an amazing amount of variation in phenotype, that is, differences in body type, in behavior, and in disease susceptibility. The comparison is very nicely made just by looking at this great Dane who's about 40 fold larger in size than this Yorkshire Terrier. Keep in mind that they're both members of the same species, Canis familiaris. Now the process of creating dog breeds was done by dog fanciers largely in the last two to three hundred years and it often involved crossing closely related individuals and as a result we see not only fixation of specific traits, body size, leg length, coat color, the curl of the coat, but we also see an excess of genetic diseases in many purebred dogs. This offers us a chance to find the genes that are important both for human health as well as for companion animal health and in my lab at NHGRI who are actually interested in both.  There are a total of 23 pairs, 22 autosomes in addition to the X and the Y. Now one of the first things that we did in my lab was to make comparative maps of the dog and the human genome. So for instance we know that canine chromosome 30 contains the same genes and largely the same order as a portion of human chromosome 15. Canine chromosome 1 contains chunks of human chromosomes 18, 6, 9 and 19 with largely the same genes and the same order in spacing. Now the dog genome sequence was recently completed and my lab had the opportunity to pick which dog was actually going to get sequence and we chose a boxer named Tasha because after scanning the DNA from hundreds of different dogs we found that Tasha had a very low level of genetic variation and that make the process of assembling her genome after the actual sequencing exercise go much better. The dog genome is actually a bit smaller than the human genome but to a first approximation it contains all the same genes. The sequence was completed very quickly taking about a year from start to finish. A very large number of people from all over the world were involved in different aspects of the project from preparing DNA to actually generating DNA to finally analyzing the data. There were even some high school students in our lab that had a chance to participate but most of the large scale data generation was actually done at the Broad Center for Genome Research at MIT and Harvard and you can see in this picture a small number of people in a very large number of robots working on the genome sequence of the dog. This data is all publicly available and it's very easy to manipulate if you go to the website shown in the slide. You can look for the sequence of your favorite gene or you can just play around with the sequence if you'd like to. Now in my lab we've been particularly interested in genetic variation. The American Kennel Club has divided the 150 or so breeds that they recognize into seven major groups. Members of a group share either a common heritage, a common phenotype or a set of appearances or a common set of behaviors. When we began the dog genome we proposed that it would allow us to find genes that were important in morphology that is the shape and the size of a dog. Here that is why to herding dogs herd, why to pointing dogs point, as well as disease susceptibility. Why are some diseases so prevalent in some breeds while they're essentially absent in other breeds? Now worldwide all of these things are going on but in the next few moments I'm only going to talk about the first. It's important to know that we obtain samples from dogs by going to dog shows and then just collecting a simple cheek swab. We don't keep any dogs on kennels and we don't breed any dogs. But we partner with people and families like yours, dog owners, dog breeders and the American Kennel Club and the AKC K9 Health Foundation in order to obtain samples from families or breeds of dogs that have particular traits or diseases that we're interested in. Now shown here are some of the students and postdoc fellows in my lab but a dog show in Seattle and you can see that they're collecting cheek swabs from a number of interesting breeds. We do a lot of computational work in order to manipulate the data that we get and try and answer the questions that we've posed so everyone in my lab has to have some kind of computer skill and some facility for analyzing data. Shown here are results of an interesting experiment that demonstrates that the DNA of different dog breeds is really distinct. So if we examine a set of markers that span the genome we find that computer programs can very easily distinguish the five dogs in this experiment that were doxons from the DNA of the five that were golden retrievers, from the five that were Newfoundland, the five that were Pekinese and so on and so forth. We can also make statements about how related dog breeds are one to another. So we know for instance that the Asian breeds, the Akita, the Chow, the Pekinese, the Chiba Inu are all very close to related one to another and they're also pretty close related to wolves. We also know that the Mastiff-like breeds are also pretty close to related. So the Boxer and the Mastiff and the Bulldog, those breeds of dog. And finally we know that the herding dogs all share a common heritage as well. We can even take a cheek swab and now with better than 99% accuracy if it's a purebred dog we can tell you what breed of dog it actually is. Now here on the slide is an analysis that involves 414 dogs and just using cheek swab DNA, the computer correctly identified the breed of 400 of those dogs. So we're currently working on computer programs and computer algorithms to get that 99% up to 99.999%. Now this kind of work is actually important because it means that we can group dogs together that have similar diseases and in doing so we can really increase our statistical power even though they may be representing different breeds of dog. So dogs present with the same diseases that humans do and cancer, epilepsy, allergy, heart disease, eye diseases are all problems that are common to human health and biology as well as companion animal health. Cancer is really at the top of the list something like one in three dogs will get cancer at some point in their life compared to one in four humans. For that reason cancer has been a major focus of the work going on in my lab as well as that of my colleague Dr. Chan Khanna at the National Cancer Institute who's a veterinary oncologist. We've been for instance interested in a disease called this abbreviated RCND and it causes a type of kidney cancer in German shepherds. We've worked with colleagues at the Norwegian School of Veterinary Medicine to identify the gene that's responsible for RCND and found that the same gene is responsible for a very similar human cancer syndrome. In dogs the disease is caused by a mutation in a gene coding a protein called folliculin. Mutations in the same gene cause a disease in humans called Burt-Hogged Bay syndrome. When we compare the sequence of the folliculin protein from dozens of organisms everything from dogs and humans down to flies and worms and beasts we find that there's a very invariant region of the protein that when mutated is what causes the disease in dogs. So that's telling us that this must be a very important region of the protein for carrying out whatever its assigned function is. Dr. Khanna's lab works on osteosarcoma and this is a disease of the bone that's common in Rottweilers, Irish Wolfhounds, and Scottish Deerhounds. But it's also very prevalent in young people, more often males than females and it affects the long bones of the arm and of the leg. This is a picture of some bone cancer cells and Dr. Khanna's lab is interested in how different genes are turned on and turned off in cancer cells. When a gene is turned on researchers say the gene is being expressed. Shown here is a microarray and that helps us understand the different expression patterns that we see in cancer cells versus normal cells. And that's really key to understanding what proteins and genes we need to target in order to develop effective therapies for targeting various kinds of tumors. So there are lots of take home messages from this presentation. But the most important is that in thinking about how to design and experiment, try not to be limited by what those around you have been doing or how they think about the problem. Choose an interesting question and consider the smorgasbord of variation that nature has to offer in choosing the models that you're going to be working on for tackling whatever question it is that most interests you. Now my own lab has worked on everything from dogs to elephants to wolves to mink and ermine and sea otters. Try to think about something that's really interesting to you and then consider the array of choices that nature has to offer for how you're going to tackle that question and understand really at a deep level the genetics and the genomics of that question. You're sure to learn something interesting, not just about the biological system of choice, but about what biology and nature as a whole has to offer. By the way, for the cat lovers in the audience, sequencing of the cat genome is just beginning now. This is actually Cinnamon, the lucky cat whose DNA is being sequenced. So cats will soon be able to take their rightful place in comparative genomics right next to the dog. So in summary, comparative genomics is a powerful tool for understanding the human genome, and dogs are really a strategic part of that effort. Availability of the dog genome sequence is opening new avenues of research. Population genetics of dogs facilitates discovery of canine and human disease genes, including those involved in cancer. And the study of dog genomics is informative for understanding basic principles in biology. So thank you very much for listening, and thanks also to the many dog owners, breeders, and our colleagues, and especially the dogs who've been willing to share their DNA with us. Now I think I'll go get a cup of coffee. I just pulled.


And my presentation is called Agente Costura, Instant Improvised Interventions. So Agente Costura in Portuguese has a triple anterior. Costura means soy, and Agente translates into the people, and it's also a colloquial term for us, the collective. And Agente translates into agent, a force or substance that causes the change. So we are a soy agent. The video in the background is footage from my latest performance, Fashion Orchestra, from a camera that I wear around my neck. Fashion Orchestra was a very intense learning experience. It was my biggest performance today, and my aim was to involve all the artists that have invited me into their shows. I was the artistic director and my stroke to coordinate everybody. The idea for the show is mine, but all of the collaborators helped in shaping the show. I designed the structure, and then all of the 30 people involved all had their own individual input into the work. In the article, one place after another, Miwan Juan points to an aesthetic of administration explaining that the situation now demands a different set of verbs to negotiate, to coordinate, to compromise, to research, to promote, to organize, which can all be seen as aspects of my role in Fashion Orchestra. I'm proud of all of that. I was also performing in the show. My practice began in 2003 in Curitiba, Brazil, with the exhibitions in progress. I would set up a sewing machine in unexpected places, such as coffee shops, restaurants, and nightclubs, inviting the public to experience and engage with the transformation of clothing. In 2009, I opened the doors to the garage, my artist studio and shop, where I work as an upcycler. In the garage, I also began promoting art shows, fashion shows, and music shows. This is where musical sewing was born, out of the interactions with other artists. At first, I was invited by musicians to collaborate on their shows, and after starting in this program, I began creating my own performances, for example at Instant Coffee, Last Summer Intensive, and Fashion Orchestra. This is the practice that I brought into the program. To use the sewing machine as a musical instrument in collaborative performances, altering clothes to the beat of the music. My work can be defined within two instances, the studio work and the offstage work. The offstage performance is a semi-scripted version of what happens in the studio. In the garage, I have created a space where the viewer becomes participant, by bringing their clothing to be transformed. This is done through a process of trying on the garments and having a dialogue as to why that particular garment does not suit them anymore. I will then come up with alternatives in shaping that garment. This creates an intimate, interhuman relation. I am aiming to define my practice within the history of performance art. Starting with the dotties, and the convertible terror, which was a space for artists to come together and perform. A lot of the times, pushing the limits of the audience, they were really interested in shocking and anti-art in order to discuss the social-political context at the turn of the 20th century. This in turn influenced New York-based artists in the 1960s. For example, Al Capro and the Odeo of Happenings in his aim of the blurring of art and life. Brazilian artist Eru and Sica was in New York at the time and he brought these ideas back into the Brazilian context in his works of the Parabolaes, where there were textile sculptures that were meant to be worn and he was working with carnal artists in Sao Paulo in a very huge and little context. Within contemporary art discourse, I have focused my research on Nicolas Burrio's theory on relational aesthetics to try and stitch all of this into my practice. Burrio mentions more contemporary artists working in the 1990s in this idea of relational art. For example, Fedex Gonzales Torres, where he would set up a room full of candies, people would come in and take that candy, the candy, and regret, Terevanya would just set up a social space with a fridge full of drinks and invite the viewers in the gallery to just have a dialogue. So, Burrio writes, the role of the artwork is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real. The artist dwells in the circumstances the present offers him, so as to turn the settings of his life, his links with the physical and conceptual world into a lasting world. So, in entering the program, I began to explore my work more critically and I created a diagram to explain the performance work using my instrument, the sewage. I will use this mechanism to explain the aspects of my current practice. So, the school of thread represents the audience, as they encounter the work, and they are threaded through the machine, each point representing an aspect of my work. So, as well as learning about my methodology, you will all learn how to thread a sewing machine. So, it goes here. The first thread guide is the venue. So, this brings up a discussion on site specificity. And as quadrants, locations contribute a specific identity to the shows staged by jetty to the experience, the uniqueness of the place. So, whether in a gallery or a traditional theater or out on the street in front of my studio, the work will take on a different format. But ultimately, I'm trying to get the experience from the studio to relate to the place where it is to really inhabit that space, which is the next thread guide. In fashion orchestra, I explored the idea of tying elastic bands around the space. They were tied around the structures of the theater, and the performance were tied under the performance as part of the actions to create a work-like structure around and over the stage and around the audience. The elastics relate to the idea of rhizome in reference to Duluth and Qatari. And these authors emphasize how knowledge construction is not linear, but it intersects and grows in this rhizomatic idea. And the elastics might also be interpreted as a physical link to the concept of these internal relations that I am proposing. Then we go through this little tunnel there, which is the concept of upcycling. So, the political aspect of my work discusses our current consumption habits, most especially in the critique of the fashion industry. So, I can't say this for certain in Canada, but most people in Brazil, when they buy garments, they aren't really thinking about where the garments came from, how it was constructed, and at what cost. They think about this even less when they dispose of garments every new season, just to be in fashion. The industry leads the public to consume more and more by making products of very little quality that basically disintegrate within a few washes. And then they change the colors that are in season or the lengths of the skirts just to get people to buy more. So, the book, Cradle to Cradle, Willi McDonnell and Michael Brungard explain how there's a crucial difference between recycling and upcycling. Recycling means to break down the materials from a product to make other products. Often, new products are of lesser quality than the original. Upcycling is a refashioning of the same materials, achieving a product of the same quality or better. Within the context of the fashion industry today, upcycling comes as an alternative to the fast fashion industry. According to James LaVaire, fast fashion has been coined to describe low price, fashion-forward clothes sold on the high street. In Britain, it has been estimated that in 2011, the average woman has around four times as many clothes as her counterpart owned in 1980. This result is that more and more energy materials and labor resources are being expended and the landfills are being over. So, if you look, it looks like it's all a lot of fun. It's not just about having fun. Which brings us to the tension discs that represent the performative actions of the performances and each sewing machine has a different tension disc which controls the right tension from the thread to go through the machine and produce the stitch. So, this is very important in getting a stitch. If there's not the right tension, you will get the right result. Which also, in the performances, in a way, each performance has different performers for each different occasion. So, at first, I was interested only in the actions of myself as a seamstress, like cutting and pinning and sewing. But then in the fashion orchestra, we started exploring some different of these performative actions, like cutting hair and layering these performative actions. So, a musician would be playing the flute and she would be getting her hair done and the idea is really to just bring onstage everything that's normally backstage to get ready for the show during the show. This is really like the actual tension part of the performance, because I'm really exploring the idea of real time. Breaking with the tradition of theater where everything is staged and the viewer is supposed to forget himself and put it into somebody else's position. This is all happening live in real time and the participants are also invited to physically interact with what's going on. So, as Kwan writes, a dominant drive of sight-oriented practice today is the pursuit of a more intense engagement with the outside world and everyday life. After we go through the tension, there is this little lever here that goes up and down and makes the needle go up and down. So, we go through here and this represents the music part of the musical song. So, it really is the score to the performances. The music is such a rich example of creating these social relationships. I've been experimenting with the sounds of the sewing machine, the sounds that you make in a percussive sense. So, I'm adding other elements like bells and things to the machine that are activated as I'm sewing. So, in a way, we can say that I've actually upcycled the sewing machine by reconstructing, re-contextualizing it. John Cage is a very big influence in my work as he uses objects that are normally not seen as in a musical way. And also, in the improvisational characteristics of his work and improvisation is our next thread guide. And all of these little guys are very, very important to make the sewing machine actually produce a stage. If anything is not really in place, then it's just simply more. So, improvisation, basically I'm improvising and uploading what the machine would improvise on notes. There's no way to previously rehearse our clothing, so what I do in terms of these alterations are really improvised. Once I cut the fabric, there's no way back. In my previous shows, I would sell out the garments that would go through these transformations previously, but in fashion orchestra, the performance were actually the ones that chose the garments from a pile of clothing that was on stage so that their choices actually dictated my improvisation. There's also an aspect of improvisation in this documentation. There are no cuts. I've put the camera on my neck and there's no way to know how it's going to feel. There's no choice on what it's going to feel. It's just going on. And then the last thread guide to the needle is the idea of participation. So Bourdieu discusses the production of relations. He writes that artistic practice is now focused upon the sphere of interhuman relations. So the artist sets his sight more and more clearly on the relations that his work will create among his public and on the intention of models of sociability. So in the studio, participation is a very intimate between the public and myself. The work happens due to this participation. On stage, we have been experimenting with audience participation. So in fashion orchestra, we actually invited the public to come up on stage and dress up from that same pile of clothing that was part of the set. This experiment was successful in engaging with the audience. However, a question of control became really apparent. Suddenly, an audience member began to throw clothes around and then all of a sudden a lot of people were throwing clothes all the way up in the air and I became really, really nervous because of fire hazards and clothes are very flammable and their lights scattered around the floor. So this question of control, like how can you really, there are quite an audience to come up on stage and there's really no way to know what's going to happen. So at first we were afraid that nobody was actually going to come up on stage and then it just became chaos. So Clarke Bishop writes, the creative energy of participatory practices re-humanize or at least de-alienate the society rendered numb and fragmented by the repressive instrumentality of capitalism. So for the show at Grant's Gallery that you all got invited for I have put together the two instances of my practice, the studio work and the onstage performance in a full day happening. During the afternoon, the public is invited to bring their own garments and in the evening I will present semi-scripted music piece where the public is also invited to try on garments and become a performer. So to fully thread a sewing machine then you must go through the needle which is really hard to do when you're nervous. The needle is myself. So I feel like I'm stitching the social fabric by bringing different people together musicians, artists and just non-artists, just people that I want to participate and notice how most people want to talk to about my practice they go, oh I have something in my closet that I haven't been wearing but it's just sitting there I don't know why I don't just get rid of it and then finally they're like yeah, let's do something with that so you can do it when you're nervous. So Mewang Kong art is that contemporary artists can be defined as a cultural artistic service provider rather than a producer of aesthetic options. It is now the performative aspect of an artist's characteristic mode of operation even when working in collaboration that is repeated and circulated as a new art commodity with the artist herself functioning as the primary vehicle for its verification, repetition and circulation. So in the past 10 years I have created a patchwork in Curitiba of these interactions. In the fall I will be relocating to Germany where I will intern at a project space called Garment Bodies with artist Brandon LaBelle to research about cultural production in completely different contexts than the one that I'm familiar with. I'm distancing myself from the fixed studio and I feel like I'm going full circle back to the exhibitions in progress where I will engage with different communities in Europe. No, yeah, well there it is. So, yeah, that's how Toronto was so huge. It is backwards for me so that's why it's kind of weird to do this, but... So the floor is open for questions. The video will distract the audience. It's Andres. Thanks for the presentation. I like it very much and I'm especially intrigued by the performative nature that you do in something performative that is usually seen as a quiet and withdrawn activity that takes a long time. And that leads me to the question about the artifact and I'm sure the rapid speed of this performance triggers a lot of decisions and ideas that would be possible otherwise. And then, so what happens to the dress afterwards? Are they, you know, do people actually hit them with them as they are and can they wear them or does it do ideas arise that they from are carried out more carefully and with more care about them? Yeah, well, I'm wearing one of the dresses from a rehearsal for the show tomorrow. This used to be a skirt that I turned into a dress. So these lines are really sort of I guess I would call them the score for the musical song because as I'm singing like to the beat of the music, this is all going on. So it is wearable. The performers, most of the time get the clothes as part of their collaboration in the shows because they're usually there isn't very much money involved so it's all very just for the love of art. So they at least get something from being in the show which is normally the clothes but sometimes I do have to finish the garment because it is done very fast and some of them are not wearable sometimes because the person can't really even get out of it without having to cut it up because it's not stitching so there's like a really some of them I keep as my personal sort of archive and use them in other exhibitions some of them are sold in my studio that's right Thank you so much I have to say it's great to see also how you're you mentioned your influence from Way to Seek and you've also mentioned another artist to me and also see how you and Ricardo Vosbaum are like the next generations of Brazilian artists sort of working in the tradition of let's say Ligit Clark and Way to Seek but then really attaching it to I think re-imaginings of consumption and capitalism as well because here looking at this performance it's really different to see the video of the performance than just you writing about it in our class so I have to say great to see this documentation and the camera attached to you it's really a different experience it's so live and fresh that I think it's really important to keep that live element as much as possible so that's one aspect but then also to think through you and Vosbaum dealing with objects specifically and how the relationship between viewers or consumers and the objects is very important so it's just fun to watch how something like Paris-Golais which is like those fabric pieces that declare space and a space of freedom for the Sama dancers changes into let's release ourselves from the fashion industry or how Vosbaum makes an object that doesn't have any clear use so that people can re-imagine you so anyway I just think that's interesting that both of you are Brazilian dealing specifically with objects of consumption and how there is a kind of legacy and tradition that I can see how it's transformed over time so this is the comment I've actually seen a few lectures from Vosbaum I think that I told you about so he is a really big influence not only he is a Brazilian artist but also his research and as a professor I'm quite intrigued by the device you use to present today using the sewing machine and its elements it's parts that sort of a metaphor for the various parts of your practice that produce the experience for an audience and part of it I was wondering while you were speaking that this machining machining metaphor seems like it should be inherently limiting and it's in a way it's leaning towards the opposite effect of a very free experimental result that's happening how is this possible why is this working but then I realized well if we take the part of the venue for example I forget which part this is the third guy the third guy so I imagine there's a lot of different shapes of thread guides probably but the only ones that are thread guides are the tension discs and the lever all the elements are just to really just lead the thread through the tension disc and the lever I'm curious about with the example of the venue this is a particular kind of venue is that you I now recognize that you can use this as a means to explore all sorts of different variables and it's not limiting the machine in a certain way so I'm curious what sort of venues do you see this potentially transforming to inserting well I mean I think tomorrow Grant will be sort of a new experiment because a lot that used to be gallery space or even this was this very traditional theater very well known theater festival and I think the only reason they let me do this I don't even know why they let me do this but I guess it's because I do have a tradition in Curitiba and people know about my work and they want to see it they're curious about it so I really just see this working in all sorts of venues from when I first started like even just taking the sewing machine to a nightclub and just setting up and just this idea of you walking into a place and all of a sudden there's a girl the sewing machine would really just look back and be like this is actually here and I've had people take off their clothes and be like please so was on me so I think there's really no limit and I would like to explore other I guess when I get to Germany I'm going to find out these limits because in a way in Brazil because there aren't that many rules or like people don't really follow the rules but we're coming along to just do these kinds of things and I I think in Germany these are not like that but I'm really thinking about trains actually as my next sort of idea because take the sewing machine on the train and just do the traveling and actually having the machine as part of that is just my my buddy to travel really good you don't have to get a battery or yeah for deploying computers great presentation really exciting and actually inspirational really cool I'm allowed to say that I've been sort of working along some parallel threads and I really admire your way of grappling with translating the conditions of musical improvisation into I guess you would call it a medium that's kind of counter to what we would think of as live musical improvisation in my point of view you've been hugely successful and in my reading on musical improvisation and in readings on improvisation as social practice which is kind of an emerging field of study something I keep coming across is this notion that in order for improvisation really to exist it has to have a performative aspect and engagement aspect with an audience for a lack of a better term which makes it problematic when you're working in a medium that's normally done in a solitary environment with no one watching and I've found that difficult to grapple with working frame by frame picture making by myself it's kind of the opposite of a live music situation can you explain a little bit how you make that link between the live performance which seems to have really obvious links to musical improvisation how you make that link back to your studio practice which I would assume is kind of solitary not dependent on real time decision making and is kind of counter to what is normally thought of as conditions for true improvisation good question but I think my studio is actually a storefront so I'm constantly being watched so I guess that really plays a big part in this whole performative and being on stage and having that sort of flowing with doing my work and not even thinking that like I don't notice that people are walking by and looking like I'm so into a sewing machine and making stuff but I notice how other people notice when they come to my studio and they feel a little bit like you know there's just a creary of kind of because it's just like a last door and it's a pretty busy road and I think in the beginning when I started wanting to take the sewing machine out was a way to connect with people I was moving to Curitiba I didn't know anybody and I wanted to socialize and I wanted people to know that they can have their clothes upside down like they have this option and I started noticing how people are really intrigued by this machine and by the act of sewing and just stare like I really want to watch as these garments are being made and even like cutting and making something like physically making something so I started to develop that idea and to really get the skills to do it really fast and to do it in 5 minutes I can transfer it to a dress so I am a very fast seamstress even when I'm not performing so I just I guess one thing is very connected to the other like I'm not normally like even though sometimes I'm alone in the studio sewing like I don't really feel that it is a solitary practice that's your question Yeah I think so I mean for me it just always meets back to then what are you what activity are you engaged in if no one is observing you not really so much what activity but are you doing the same thing when there's no longer another participant would you do the same type of work I think I do because normally I always try everything on even if I'm doing it for somebody else so I'm always doing that performative like putting on looking in the mirror seeing if it fits it's like the person is bigger than me sometimes I'll put on like lots of clothes and then put that on top so or if the person is smaller I'll be like you may just need to make this tight and just having these skills as a seamstress and trying things out and really fitting into the body I can always look at a person that I know what size it's going to fit like I know exactly what kind of clothing will fit on that person by just experiencing it on myself so even though it is sometimes solitary I do still feel that performing Maybe with this new the effect of the age of prison will always be watched yeah okay great thank you very much


is crystal from crystals didn't garden aka crystals did and last summer I had my first ever big garden and while it was super successful and super fun I definitely made a lot of mistakes along the way so today I wanted to talk to you about five mistakes that I made as a beginner gardener and give you some tips to help you not make those same mistakes as well so the first mistake I made was just being disorganized and not having much of a plan I knew I bought seeds and I bought and I knew I had I had pallets and I knew I wanted to grow in that but that was really the extent of my like planning and so it kind of became overwhelming and I was doing a lot of like learning along the way failing along the way all of that so a tip I want to give you is to just ask yourself you know certain questions that you have an idea of what you're working with and how you want to get your garden started stuff like where what are you going to grow where will your garden be located how much space do you have to work with for your garden especially how much space do you have for your for any of the type of crops that you're growing when will you have time to garden and also just like why is the location that you hit that you chose a really good one kind of asking yourself these questions will really kind of help you not feel so overwhelmed as you go into you know the growing season having a journal is very helpful to as well as maybe making like a photo diagram just like the space you're working with and kind of like drawing out and placing where you want to put your different veggies and fruits on there that's something I'm utilizing this year and it has definitely been way more helpful my second mistake that I made was not providing my crops with adequate lighting the plate the those places that I had put certain fruits and certain vegetables that they weren't getting enough sun a quick anecdote I had my tomatoes in my east flower bed and that flower bank it sprinkles of sun in the morning then shade and then sprinkles of sun later so it doesn't get that full sun most crops need six to eight hours of sun a day tomatoes included so once I moved them to my backyard which gets sun all day they thrive and I got tomatoes all summer so I say all that to say is you know I put the I put those tomatoes there because I thought they would be aesthetically pleasing you know I was like oh this is gonna be really cute right here this is what I want but you know especially when gardening it's not about what we want especially when we think about placement it's about what's going to be good for the crop and how it's going up and putting it in a place where they're going to be able to grow abundantly and efficiently so just make sure that anything you're growing pay attention to the line requirements if it needs full sun give it that full sun it needs less then pay attention to that as well the thermostat I made also has to do with plant placement that was just planting things too close to each other when I had my transplants from seeds I had seeds I had cultivated or just transplants I bought I would you know kind of bunch them up I did that with my tomatoes I did that with my squash and I just kind of have them all kind of close together when you read the packets and a lot of these that they say they need like three feet apart but because everything was so small I just wasn't thinking about you know the end goal of like this stuff is going to grow so it needs room and especially viney vegetables like squash pumpkins and watermelon they are going to vine out they can go up to like 30 feet I've heard so I say I'll just say make sure you're paying attention to the the placements of your your plants your seeds whenever even when you're planting a small or big that placement will determine how well everything is going to grow and it will also make sure that you know the plants aren't fighting for nutrients fighting for space fighting for resources so make sure you give them that room so that they can grow abundantly and you know just grow really well so the fourth mistake I made was not keeping up with weeds or just like grass maintenance I had put down cardboard put my pellets on top of the cardboard put the dirt in there and then that's where I put in my plants but you know once the cardboard broke down it allowed new the grass and the weeds to kind of grow up even around the perimeter of the garden I had put cardboard in a little bit of mulch I didn't put enough and there was just it just got really overwhelming and just it grew kind of wild weeds coming up with the beds grass on the perimeter very hard to maintain especially when it gets to that point so this year something I'm going to be doing with in all my beds and around the perimeter of my gardening is adding mulch mulch is so good not only for keeping moisture in the soil whenever you water but it's also good for like keeping weeds away if you can pile it up to like four or five inches or even higher then no weeds or grass or anything will be able to grow up grow up through it so I'm going to be mulching this year and mulch is definitely going to be a really great remedy to help you keep those weeds and grass down in your garden um also just having a raised bed like off the ground that was very helpful too and then the fifth mistake that I made was just not being patient I was very impatient at times especially when I was making seedlings if they didn't sprout I would maybe throw the dirt in another container only to see it sprouted later you know or just watering when I didn't need to water or picking tomatoes that were not ready but you know they that weren't fully ready they they were you know they weren't ripe or anything so different things like that and as someone who struggles with patience already like gardening has definitely given me the space to really like become more patient and you know let things like go just like trust you know just let things grow and just trust in the process so I just want to encourage you to to just really like be patient with yourself and with the garden this year most crops even take about 90 to 100 days to even fully mature so that means that they need time to be able to grow and develop we did our part as you know planting and giving them you know nutrients and giving them a good space to grow um now it's time for them to do their part so be patient trust the process it'll all go well all right y'all thank you so much for um watching this video I hope this really helped you think of you know things to avoid or just even maybe things that you hadn't thought about as a beginner gardener um thank you again for watching again I'm Crystal from Crystal's Den in Garden aka Crystal's Den and I can't wait to talk to you again next time