e in 90s. There was a recession going on, so there really wasn't much happening. And I lived in small town Connecticut. And I was very immature, so I used that as an opportunity to grow my hair out and play in rock bands and stuff and sell pot and work in a video store. And stuff like that. And I regret none of that, by the way. Would you have worked at a newspaper if you could have?  They don't want someone who's come in winning journalism awards and stuff like that. They don't want you around. I got lucky in the sense that I'm not a very good writer. Like, I don't know the, you know, I'm not smart. Articulate. Yeah, I think that's the word you were searching for. Yeah, I think senile is the word. So I got lucky that the magazines kind of changed when I got out of school, I got out of school four years earlier, and that they, I would never have been able to write for a magazine like U.S. World of News reported or The Times or something like that, but then publications like Maxim kind of dumbed it down. They were conversational. Yeah, I was able to write like I talk, and that made all the difference. I would never have been able to write because I don't know whether I told you this, but one time this girl had me write for Backstage West Magazine because she knew I wrote for Maxim, and she wanted me to interview this guy who I'd seen in this Broadway show and said nobody in LA knows about Broadway. I was the perfect guy to do it. So it was just a Q&A, but the first three paragraphs were supposed to be written like a journalist. She must have sent it back to me four or five times. And she's like, I don't understand how you got a job at Maxim because I didn't have... Yeah, that news sort of... What, where, when, why, how in the first paragraph. Yeah, it was very obvious. That all helped me a lot when I went into advertising writing, and I know advertising writing helped me with comedy because way before Twitter, I would have someone say you only have a certain number of letters in this headline to compel somebody to do something. And I worked on a little ad agency. We had boring, boring products, industrial stuff, writing brochures for like the thing that went into the machine that made the plastic for a pen and that helped me because you learned word economy and things like that. That's the one thing that drives me nuts about new comics is you just listen to them blathering on. And it's like no one stops them. No one takes them aside and tells them, no, you're not a storyteller.  Go on. I'm serious. Go on. It drives me nuts because it's so self-indulgent. And I don't know if it still goes on, but I remember a couple of years ago, there was a big phase where everyone was like, come see my one-person show.  You mean I'm going to watch you for an hour with not even trying punchlines? Right. It's not going to happen. Yeah, plus a lot of the newcomers, like you said, they see Louie and they're like, yeah, I just do all new material every month. I throw it out because that's what Louie does. And they're not Louie at all. I agree with their throwing that material out part, but I'd rather they did it before we had to hear it. It's bad in that sense. Okay, I find this interesting because I run with the 20-somethings. I've noticed something. And I think it's pre... I always filtered through politics and the anxieties of influence, as they call it. I don't think you can look at what's going on without understanding the anxieties of influence. That's not my term. It's an old term, but we do things because of the air we're breathing. I think during the Obama administration, we had a very generous, forgiving country. And these comics who I was running with, they were doing open mics, trying new material. And I said, that bit worked. Why aren't you doing that again? It's old, kind of like what you're just saying. I said, don't you want to build an act? No, I don't need an act. I just want to keep building an act. And yeah, it's not like that anymore. I don't think it's... I remember it used to take... When we first started, when all of us first started, like it used to take seven years to be good. And now you can be good in like six months or whatever you consider good to go to the next level. It's completely different, let alone the... But it's better. The little... It is better. The little... The girls, the really pretty girls that think they're comics now that are younger, they're so interesting because they know how to work social media. So it makes it look like they are complete. I'm like, well, that girl's doing really well. They're like, no, she's not doing well. She just... It just looks like she's doing well on social media. She knows how to work it.  So they'll be like, yeah, I'm working with, instead of saying opening or whatever, they know how to work it just the right way. Here's the danger you're running into. You're like the second chair violinist at the New York Philharmonic, who doesn't understand Bob Dylan, because the young comics are doing something completely different than what you're doing. Yeah. It's a whole... We don't understand. We don't... It's very personal. And they're saving comedy because it's so personal, because we're doing... We're doing John Phillips who's a marching music. They're doing folk songs. It's very personal. Yeah. It's very... And that's what people are hungering for. That's why an unfunny person can be a comedian. They'll come out and see you, even though you don't know comedic theory, the same way Bob Dylan didn't know musical theory. But it's so personal and it's all about the audience falling in love with the person. Like none of them like drink anymore. They don't hang out. You know, it's really a different... Don't get me wrong. I hate them, but only because of their youth. Yeah, because their knees don't hurt. Of course. Yeah, it is a strange thing, because I started this in 2001, because I was 32 years old, so I was kind of old to be starting this. And I look back to when we... My group used to do the open mics and stuff like that. We all sort of thought, well, we just want to go up and have our jokes work. And now when I stop in the open mics, I hear the young comics talking about industry and Montreal, and it's like, well, you don't have two jokes yet. So to me, that seems odd, but I understand what you're saying. It's the music industry. You got to... The analog is the music industry. Yeah, it's Nirvana cracking everything open. And for you and... And then file sharing and all that stuff. No, what I'm saying is when we start... I was going to say, when we start, they didn't even have an open mics. Right. They didn't have mics. They didn't even have the word open. Well, no, you had to... Everything was closed. You had to close the door to get in. You had to close the door to get out. They didn't have a word called open back when I was starting it. We just had to go to the clubs and wait around. It was horrible. And that doesn't mean it was good because of the door. I didn't say that. Yeah, it was horrible. Yeah, you don't want to... I wish there were open mics. You don't want to romanticize deprivation because to compare it to music, I think of... There's a band I love called Sonic's Rendezvous Band. It was a guy from the MC5. And they were an amazing band, but because no one signed them, all we have officially released by them is one single. Who played Kick Out the Jams? That's the MC5. Okay, Jerry Stahl turned me on to that. Great stuff. So now it's like... It's the price you pay. A great band now has within their own hands to distribute their music. And that's great. The problem is it means you're saturated with a lot of not-great bands who are able to do the same thing. And I think that's... Can I... Just medias like that. Maybe I sound like an old guy. My day, my father used to come home drunk. He would beat my mother and say to the kids, see what you make me do. And then we'd cower in the corner hoping he wasn't going to beat me. And then we'd go to sleep and we'd wake up in the middle of the night to the sound of my father beating my mother and drinking and smashing things. And that's what made me funny and strong and good. It's a horrible story. No, what I'm saying is... And that's to end up with iTunes. That's the end result of that. I mean, again, it's romanticizing horror because we're resilient. We always have to say... We have to be forgiving of our past. I can't read. Are we wrapping it up? Oh, the minute I start talking about beating... Well, Joe, you'll come back? I would love to. This is a lot of fun. Yeah, talking about old comedy like this, it's kind of fun. It's kind of the best. Well, I worry about being hostile towards young people. Here's what I do think. I do too. I know what you're talking about. Right. The thing about millennials, though, I will say this about them. Now that Trump is president, I think comedy is going to change. The millennials who started doing comedy under Obama, you know, the cliche, they all got a trophy. Everybody gets a trophy. Everybody, I did something. Mommy, I made a duty. Look at it. Oh, that's beautiful, son. Here's a trophy. I think those days are over and I think it's going to show up in comedy. I think the audiences are going to change because audiences always do change and they're going to demand something else. Hopefully older folks. Well, that's never going to be the case. I know. That's never going to be the case. But I don't want people talking about the six million dollar man and how great that show is. The hell's the matter with these people? What's so impressive about a man costing six million dollars? I know. Now it's like that's your regular health care cost. What did you get your spleen removed? Congratulations. Following he was six million dollars. He had an eye. All right. Let's plug some gigs. I believe David, you have a podcast. No, I have a podcast. The Dave Jessica podcast. The David Jessica podcast. I'm also doing a benefit show in June 14th. I put together this benefit show for the Big Brothers Big Sisters Organization at Gotham Comedy Club. I had to do it first to get out to some community service to get out of some trouble. But now. Is that true? Yes, it is true. Well, hang on, what did you do? I molested a little boy. He was impersonating a big sister. I've asked to be a big sister, but they will not let me do that. No, I changed my license plate to reflect a different number to park on the street. Didn't work out the way I would expect it. Let's make the long story short. You changed your license. Yes. I put some Play-Doh. No, I put some Play-Doh on it and I made a nine and eight. Then the cop caught you. Not for a year. No, the cop didn't catch me. The guy I had that number caught me. It never occurred to me. Somebody in Jersey had that number. That's how thieves get caught. That never occurred to me that somebody had that plate number that I made up. So they made you do community service? I had to do community service. I had to go to jail for a little bit, but I had to do community. You went to jail? Just for like a couple of days. Did you? Wow. The tombs. Are you? Really? Yeah, but I figured out when I was there, I seemed to go to jail every 15 years or something. Wow.  You have to come back.  You have to come back and talk about blowing all those guys in. How quickly do you have to start blowing guys? No, you don't because I was like, after a while, I was like the senior tenant. So they were all coming to me, you know, being older, they were like, they figured I was a white crime guy and I could probably help them get out. We have to. I was like the birdie made off of the cell. How many days in jail? Just two, this time. But there was a problem. You know, when I went to court, I thought I was going to get four months because it was forgery and identity theft. But my guy who lives in my building knew the judge and totally he was like, oh, we're going to be good. I got the good fellows boys will be boys sentence. It was amazing. He was like, so as long as you don't do anything stupid, I think we're good. And then he goes to my lawyer, he gives him the thumbs up. Good. Good. Really? Yeah, I swear to God. I swear to God. And this guy is like a 76 year old guy in my building. He helped me out. Yeah, he went to the cop. Trump, this is how Trump, this is deals. The art of the deal.  I mean, there's really no problems. Come on, Michael Flynn, he's a good guy. He made a mistake. Come on. This is why Trump, it's hard to dislike. I know you're going to rip, but I'm just saying it's like, this is the way I would run the country.  This is the way I would do stuff. I'm like, yeah, let's fight that guy. He's a troublemaker. He's a nut job. Yeah. He's a nut job. How I wanted to go to jail for making a license plate when you think about it. Oh, I didn't even think about that. I can't believe nobody's ever fought that up before the opposite way.  You'll come back? I will. I will. Follow me at at Joe DeVito comedy on Twitter. That's like what I got for you. Oh, thank you. All kinds of links and stuff. I want to thank Alex Brazil for setting the show up. I'd like to thank Alex too. He's a nice boy. He's got Alex has excellent taste. In comedy. He does. He really does. And you and I don't know each other. I feel like we do now. We know, I know, but I didn't know who you were. And Joe's a nice guy. I know. And Alex said, trust me. Alex said, trust me. And wow. All right. Joe DeVito, D-E-V-I-T-O. And what's your website? JoeDeVito.com. Funny website, but I love the sparkles on your website. It's nice, isn't it? Thank you guys. Joining us is our resident film critic, Michael Snyder. These are the movies he's going to be talking about today. Alien Covenant. Everything, everything, Wakefield and Commune. Tell me about Alien Covenant. Alien Covenant is the sequel to a prequel. I know this is getting confusing. But the Hollywood studios find themselves a little tentpole franchise, like the Alien movies, from, you know, a decade plus back, and decide to milk it for all of this work. So Ridley Scott does it. And it's followed by James Cameron directing, directing Aliens, that plural. And we get a whole series of films about these extraterrestrial killing machines that encounter and attack humans in space. So the question is, how do we continue the franchise? Well, how about years later, if we go back and try to discuss the origins of where these alien creepos come from? So that's why they did Prometheus a couple years ago, which was directed by Ridley Scott, the guy who directed the first Alien film. It was an attempt to give an origin story for these perfect killing machines. And if you haven't seen Prometheus and want to avoid spoilers, here's an alert. In Prometheus, the makers in the advanced race seed Earth with their own DNA in prehistoric times, creating man and setting off the events where a human crew in our future gets in a spaceship with an android companion helping them out, and they go off in search of those interstellar origins only to encounter the proto aliens. And so Covenant takes that story a few steps further. In Covenant, the first ship is deemed lost, and this new ship from Earth is on its way to colonize a distant planet in a distant solar system with a crew and colonists and sleeping pods and an upgraded version of the android from Prometheus watching over the ship. So hey, what could go wrong? How about a cosmic storm that causes the ship to seek shelter on a planet that's been sending out a signal with a human voice? Now you're way out in outer space and you hear a human voice, and the few awakened crewmen and women decide we're going to find out what's going on here. Unfortunately, it turns out that this brings the humans in contact with aliens the next generation as we know them, and rather than leaving the aliens a species of danger mystery, this idea of a backstory diminishes the creatures. I kind of like the fact that she didn't know where they were coming from or what they were. They were just dangerous and destructive. Now the movie actually effectively reproduces some of the haunted house B movie stuff about the first alien film, albeit in the service of this origin. And so it made me think of like Star Wars, The Force Awakens, a movie that basically parrots the very very first Star Wars film that was released. And you know, we have a lot of the same beats of alien here, but the special effects are more elaborate. The scale is bigger.  And Michael Fastbender is quite good returning in the role of the android, a different android, as he was android in the first movie in this rebooted or revisited series. And the crew members are led by Catherine Waterson, who's a figure like Sigourney Weir's Ripley in the earlier alien movies. Billy Crudup, Damien McBride, Damien Beshear, this is a good cast. And you know, you still get hints of the original creature from designer HR Geiger's fantastic imaginative and really creepy vision. So I had a good time watching it and I thought it was kind of better or more satisfying than Prometheus. But it's sort of trying to shoehorn this story into something where it's not even necessary. And I still came away thinking, you know, well, it's a B movie, albeit a glorified one. Instead of reworking continuity or putting it in an unnecessary foundation, they might have just continued making more aliens films that took the creatures further instead of doing this retreat. You know, I wonder what people are thinking. And then I realize it's all about box office and familiarity and proof of concept, which seems to really motivate the studios to make things, particularly now that, you know, budgets have gotten a little out of control and blockbusters seem to be the only way the studios make their money. Everything, everything is a complete... I was going to ask you before we get to that. Go ahead. When you watch something like Alien Covenant, knowing that it's just studio tripe, are you able to maintain your interest? I mean, do you don't feel manipulated? Well, look, Ridley Scott, those had a direct, a big scale film. And again, there's action and there's good actors and good effects, and I love science fiction. So I go in giving it the benefit of the doubt and hoping I'm going to get something better than I fear I'm going to get. And, you know, in the case of Guardians of the Galaxy, they deliver the fun. It's a comic book, but it's a beautiful and glorious and exciting and funny comic book. In the case of Alien Covenant, it's, like I said, a glorified B movie, science fiction thriller with a lot of haunted house stuff going on. Because who knows if an alien's going to be waiting around the corner and, you know, attacking you limb from limb and feasting on your innards. Look, you know, it's product, plain and simple. Tell me about everything, everything. Okay, I will. It's the complete, it's 180 degrees away from Alien Covenant. It's a low-budget, small-scale film that actually made me think, well, this is kind of like a better Nicholas Sparks romance skewed at teenage girls. It's tender. It's the story of a teenage girl who's lived a very sheltered life because she's allergic to everything. It's boy in the bubble material. Oh, right, right, right. So her mom keeps her under lock and key in the house.  And, you know, and I guess her mom has to be very careful about not bringing germs into the house and so on. So it's a very isolated life. When she sees a new family moving in next door and spots the teenage boy just maybe a year older than her at most, you know, cupids shooting off arrows. You hear heartbeats quicken and such.  And then romance takes its toll. She's forced to leave the house. She's going to do it. She's going to take a chance. It doesn't matter that she's possibly going to get ill. Wait a second. Wait, wait, wait, wait. Are you saying she's taking a chance on love? Yes, she's taking a chance on love and also taking a chance on apparently death. Right. The trailer to this is the entire movie.  No, that's wait. That's the other film, the other horrible book. This is not so horrible. If you were a teenage girl, David, and boy, is that a stretch. I think you might like this. Its heart is in the right place. The actors who play the girl, Maddie and the guy, Ollie, it's Ollie and Maddie. Amandla Stenberg and Nick Robinson are quite good.  It was directed by Stella Maggie, who I think did a pretty good job considering. Apparently there's a young adult novel by the same name written by someone named Nicola Yoon and maybe it's yet another attempt to launch, I don't know, a franchise where she keeps getting sick and then better and the next movie, she gets sick with a different disease. I don't know. I do know this. It was not objectionable. It just was like, what's the word? Piffle. Passable? Passable Piffle, P-I-F-F-L-V. Like, it just wasn't substantial enough. It's funny to note, speaking of young adult novels and speaking of aiming at a specific demographic, Amandla Stenberg, when she was younger, was one of the first victims in the Hunger Games movies. She was a little cutie pie and oh, she wasn't going to make it. And in this case, we're wishing that she makes it despite her immunodeficiency, but there's also twists and turns and there's an act three revelation. I look, I just wish someone would make a smart, canny, sharp adult film that didn't try to pluck at your heartstrings but managed to move you emotionally anyway. But that movie, everything, everything, that's not the one, at least not for me. Let me ask you about Liam Neeson's movies where the daughter keeps getting kidnapped. Yeah, every single movie, Give Me Back My Daughter. What about it? Is it the same daughter? You kind of wish it is. If it's not Give Me Back My Daughter, it's Give Me Back My Son, Give Me Back My Wife, Give Me Back My Pet Dog. I mean, it just seems to me that Liam Neeson is always out there trying to get something back that somebody took from him. But is it the same family member? Is there, is that a franchise too?  Give Me Back My Daughter franchise. I think that's an idea that has not been brought to life yet. It's, it's hard. Well, wait a second. I saw the first one where she sold into child slavery or white slave taken. But wasn't there a sequel to that? Oh, yeah, Give Him Back. He wasn't buying it. I don't want my daughter anymore. That would have been great. But there was a take in two. I think she got into more hijinks. I don't know how. But, but, you know, he plays the voice of a magician in an animated film called Ponyo.  And one runs away. And of course he wants the sea creature Ponyo to come back and I kept the Give Me Back My Tadpole. I mean to me, it's as if they've decided to just shoehorn him into this character. And that's it. I do love the guy by the way. What is Ponyo? How old is Ponyo? What is that based on? It's about 10 years ago. It was a Hayao Miyazaki film from Studio Ghibli, the great Japanese animation company that guys that brought you spirited away, Princess Mononoke, Howl's Moving Castle. Ponyo is one of their lesser films. But Liam Neeson is the English language voice of the wizard who raises all these sentient tadpoles.  That's kind of funny. Well, you know, the cat in the car got to eat. That's all I can tell you. But that's pretty funny to give the poop emoji a British accent. Well, no, he is a significant voice on Seth MacFarlane's American dad. He plays the head of the FBI or at least, you know, excuse me, the CIA, CIA assistant director Bullock. And he's been doing off the wall at broad humor for a long time. His show on cable, which ended after a couple seasons, I loved called Blunt Talk. And he played a kind of a more, can you imagine this? A more obnoxious Piers Morgan. You know, doped up, drunk, sex loving, former British soldier who had become a talk show host and commentator here in the States. You know, he's fearless, Patrick Stewart. I grant him anything.   No, but that sounds awfully sweet.  I guess for some, that's right up with his performance as Polonius in the revival of Hamlet. Who was he, was he Sir Janus and I, Claudius? I don't remember. I don't recall. But he was recently Polonius to David Tennant, well, not recently, about 10 years ago, eight years ago. The Royal Shakespeare Company did a Hamlet that's considered one of the best modern Hamlets. And he was Polonius and David Tennant of Broadchurch and Doctor Who was Hamlet. And they say that Tennant is one of the great modern Hamlets. And obviously, with support like Patrick Stewart, you're going to have a solid acting in the house. And those guys are both RSC members, despite their pop culture bona fides, respectively, the two sci-fi shows that they starred in. Okay, Wakefield. Wakefield is the best movie of the movies we've talked about so far. And it's a pretty wonderful tour de force for the great Brian Cranston. Writer-director Robin Swickord, who has done, he most recently, she wrote The Promise, the movie about the Armenian genocide, which was not a great film, but obviously meant well. It also wasn't a great genocide, by the way. No, it was, as genocides go, I don't know. It just, it didn't. It's pretty horrible. Yeah, as genocides go, yeah, pretty terrible. But Swickord also wrote The Curious Case of Benjamin Button, Memoirs of Agatia, The Screenplay to Matilda, did a version of Little Women in 1994. So a fairly accomplished writer and also previously directed a film called The Jane Austen Book Club, which was kind of a chick flick. In this case, she gets down and dirty. Wakefield is her adaptation of E. L. Doctorow's short story about a suburban commuter who decides he's just gonna retire from his life as a husband and father out of nowhere almost. He comes home to his suburban home and does not go in one night, instead goes into the carriage house next to the regular house and peers at his family that night through the window and watches as his wife played by Jennifer Garner and his two twin daughters go about their business and he watches as the wife gets more and more concerned about him and he never flinches. He stays in the carriage house and he figures out how to survive by scrounging. He watches her reaction and that of other people. There's an APB put out, cops show up and all of this is basically about a man coping with a marriage that might not have been the right thing for him and also with the life choices he's made and it's fascinating to watch Brian Cranston who is one of the great actors working in film and television here in the States and he creates a rich and sad and deep portrait of a very troubled soul and it was riveting to me and very, very subtle in some places and very sad in others but ultimately I thought Wakefield was kind of a triumph in particular for Cranston who plays Howard Wakefield, the title character. Beverly Dange-Lew and Jason O'Mara are in this as well. Jennifer Garner, she's fine, she's solid. She just has to play the wife who's either suffering or freed by the sudden absence of her husband. And commune. Well, Thomas Vinterberg is a Danish director that I like. He was part of the dogma group that used to make movies that eschewed, God bless me, that eschewed any use of artificial light or sound and this was sort of this dictate and Lars von Trier was among them and Lasse Holstram but Vinterberg did some really cool films including The Celebration and more recently The Hunt and in fact Vinterberg directed the recent adaptation of Far From the Madding Crowd that stars Carrie Mulligan and that's a wonderful adaptation of the fantastic Thomas Hardy novel but this is a different thing entirely. The commune or collectivet in Danish is a period piece set in Copenhagen in the 70s about a husband and wife who inherit the husband's parents' house and he is an architecture teacher at a university and she is a very well-known television newswoman in Denmark and the two of them in the 1970s decide well we're going to get it should we sell this enormous house or should we figure out another way to hold on to it and they decide since it's so expensive they're going to bring in people but not as borders particularly they're going to create a commune so they start interviewing people and bringing them into the house and you know these are good and noble intentions communes in the late 60s and early 70s you know they were social experiments and I think they really took hold in Scandinavia during that period and so this is an interesting movie from that standpoint but what happens is you know all these noble intentions can't counter the baser human instincts and drives as you throw a bunch of people together in a house and let them deal with their feelings and their you know their bigotry well whatever is going to wrench people apart or bring them together in strange and unexpected combinations I thought it was a really wonderful film yes it's subtitled but man you know this guy's just a talented filmmaker I give the commune high marks and if you can seek it out go for it fantastic Michael Snyder as our resident film critic hopefully we'll talk to you next week okay buddy thank you for listening from the showbiz studios in downtown Manhattan Medicare for all


Persistent luminescence materials have been studied extensively since the 1970s, with most research focusing on EU2 plus doped compounds. However, recent years have seen a steady increase in the number of papers published on non-EU2 plus-based materials, with over 80% of them being based on intrinsic host defects, transition metals, or trivalent rare earths. This review provides an overview of these materials and their afterglow properties, as well as the remaining challenges, including excitability with visible light and energy transfer between multiple luminescent centers. The paper concludes by outlining the necessary elements for a complete description of a persistent luminescent material, allowing for a more objective comparison of these phosphorus. This article was authored by Philippe F. Smethe, Kuhn van den Eekhout and Dirk Pellmann.


I am not what you would typically call a gamer. I play video games primarily on my phone, as well as nursing what's coming to nearly a decade of World of Warcraft addiction. But other than that, and some hidden object games, as well as Skyrim, only in third person though, I don't really game.  One's a mother herself, the other a college student. My husband occasionally plays video games, and we play World of Warcraft together, but my kids and granddaughter are the real gamers of the family. Both of my kids grew up gaming, playing video games, and generally preferring them to other forms of entertainment. My granddaughter is the same, with Minecraft being her love, although she and her mother will occasionally play online on call of duty. So obviously, I'm not too knowledgeable about gaming. I've always been more of a book person myself. Well, books and fantasy shows. Fantasies always been my favorite genre. Maybe that's why I love World of Warcraft. But although I might not know video games, I do know people. I have a degree in psychology, and have worked in the field in some way for most of my life, whether it be a dicks, the physically disabled, criminals or the mentally disabled. So besides for standard mother's intuition, I have my education to rely on when something's wrong. So when my younger daughter, the college student, was becoming withdrawn, well more withdrawn than usual, I was worried.  So of course, I tried to find out what was wrong. For anyone who's dealt with a moody goff teenager, you know why this was pointless. Sarcasm, deflection of questions, and general disinterest, as always, kept her feelings from me. Unable to do much more, I hoped for the best, told her I was there as always, and left. In hindsight, I wish I cried more. I never have, and that cost me so much. Things only got worse over time. She was skipping classes more, leaving her room less, and eating more. I figured her depression had gotten worse, maybe over some relationship trouble, and continued to do my best to help, which still failed. Despite the increased eating, she was always a stress eater, and the lack of movement, she was losing weight. At first, I was happy for her, since she'd always wanted to do so. Then, it kept happening. I was more worried. She was bulimic, and I kept a lookout for it, but if she was, she was also a ninja, because there was no way to prove it. Her breath smelled the same as always, I never heard her puking, while secretly listening to her in the bathroom via the thin walls, and in general, there was no proof of her puking at all. But of course, I was still worried. I couldn't find out what her and her therapist talked about, due to confidentiality agreements, and so I had a dead end. I thought about institutionalizing her, but I figured she'd never forgive me, and our relationship has always been on rocky ground, due to many differences between us. Besides, she wasn't showing any signs of being suicidal, and I did snoop enough to check for bloody razors or knives in her room, which there was. So, I figured there wouldn't be enough evidence for it anyway. Then one morning, I found that her, and her car, were missing. Had it not been Saturday, I might have brushed it off as her actually going to class for once. But, it was Saturday. So I called her phone, only for it to immediately go to voicemail, which meant that it was off. I checked her room, and she had taken it with her. She never turns it off, and it wasn't likely to be dead. Even if it was, she had a car charger. If it died, she'd have plugged it in. I began to worry even more. She didn't have many friends, and after checking with the few she did, I found she was nowhere. So I decided to drive to the school, to look for her car in the parking lots. That's how I discovered what had happened. On the opposite side of the highway, there had been a massive pile-up. The cause was a car going over 120 miles per hour the wrong way, slamming into a tractor trailer, causing it to slam into numerous other cars, causing over 50 deaths. The car was the same make-and-model as hers, which wasn't very common. I knew it had to be her. I felt like I'd been punched in the gut. Why? Why did she do it? Not the massive death toll she had taken with her, that sort of thing wasn't beyond her. She was no angel, unless you called her the Angel of Vengeance, but why had she taken her own life? The previous times were primarily her planning to shoot herself, so why this method? Why blast down the highway, aiming for the largest vehicle around? I had to have answers. I raced home to check her computer. If anything was going to help, it was that. Unfortunately, it was locked. My mind raced. It was a pinlock. I tried various four-number combinations, but none worked. Then, I remembered her pin for her bank card. It worked, and it unlocked the computer. However, it was not the screen I had seen before. Rather than her usual taskbar at the bottom, with some stuff like U-Torrent, Spotify, Google Chrome, and Steam, it was all the same icon, a red broken-up circle on a glossy black background. The desktop was the same. Every spot possible was the same. I tried to find a way to open any web browser, anything, on her computer, even Steam, but to no avail. Under the numerous icons was a robotic face, a sort of curved rectangle, with a gray and black design, and one solid yellow eye. The icon read the same, P, Omega symbol, or, double-bagger symbol, A, L. I figured it was meant to be read as, Portal, since the bizarre spelling was obviously wrong. But I had to wonder why it was typed like that, and what it had to do with her suicide. So I opened it. I had heard of the game Portal before, my kids have played it, and tried to get me into it, but first-person games gave me migraines. So I looked up on, and found, how to put it in third-person on my phone. Happy that, at the very least, I could play it without my head splitting open in pain, but I had to actually now play it. The game started with all the logos you'd expect from a game starting, although the one for the developer, Valve, certainly was weird. On my phone, I checked it, and it was correct though. The main menu came up, the view of a security camera outside a cell, which I confirmed was correct as well. I tried to load a game, but there were no saves, which I found extremely odd. So I started a new game, and the chapter select screen was, once more, normal, although nothing was unlocked. It was like nobody had ever played the game before. It dawned on me that, if anything was off, I wouldn't know, so I watched a play-through on my phone before starting. As soon as the game started, I put it into third-person mode and continued. A voice came on the intercoms, Gladys. Hello, and welcome to the Aperture Science Enri- Wait a minute, how are you here? I was confused. This wasn't correct. She paused for a moment, before continuing. Oh, it's you. Well, welcome to the Aperture Science Enrichment Center anyways.  Well, that's science for you. You always learn something new. Prepare for testing. I was extremely freaked out, and knew it couldn't be some sort of game modification, or else it wouldn't have known I was her mother. I wondered how she knew, and nothing could come to my mind. While the game played normally, well, normally as someone playing Portal in third-person, who sucks at games like Portal can play, but Gladys' dialogue was far, far different. She mocked me about the death of my daughter, as well as many past events in general, stuff only a few people, and my digital journal on my own computer, knew. She was cruel and insulting, knowing all my secrets. I went out of my way to destroy security cameras, but rather than being upset, she would only say, I still can see you, Anne. Each and every time. Every time I destroyed a camera, she mocked my efforts, but I never gave up. When it came to the companion cube, the game nearly broke me however. Other than the hearts on the popular item, there were the faces of my closest family, six in total, one for every side. Occasionally, it would talk, although Gladys still claimed it couldn't. The voice was of my now-deceased daughter. She told me to give up. She told me it was hopeless, that there was nothing that I could do. She told me that Gladys would win, that I'd just be another casualty. In time, I stopped listening, although not without trying to mute the game. Not settingly, it wouldn't stay muted, so I stopped. Finally, I got to the burner, and crying, I had to toss the cube into the fire. I knew it would be the last time I'd hear my daughter's voice, and Gladys made sure to remind me of it. Over and over, she'd mock me. It took me several hours, several hours of listening to the mocking, and the fatalistic voice of my daughter coming from the cube, but I finally burnt it. Gladys still praised me on how fast I burnt it, and this time, it could have been true. From there on out, there were no more gameplay modifications, although still more, seemingly infinite Gladys dialogue. Finally I yelled at her to shut up, and she did. I was glad to be rid of the bitch, although I knew I'd have to fight her. Finally, it came to that. I met the mechanical monstrosity, and she greeted me with sarcasm and insults, as she had been doing for ages by now. I ignored her, waiting for the morality core to fall off, so I could do the fight. However, it never happened. She kept gloating. She kept on mocking me.  She lasted longer than most, you know. But she died, like all the rest. And now she's here, testing. After all, there's always more science to do. Just told me. By now, I've figured out how Gladys drove her over the edge. My daughter had always been near the edge in the first place, and Gladys mocking her for apparently weeks, taunting her over her insecurities, past trauma and faults, must have just pushed her over the line. Maybe she had been cutting again, and yet it's better than I thought. Maybe she was burning instead. All I knew was that day I had to die. I also have to give her credit. The pile-up was her idea, not mine. I started firing the portal gun at Gladys, not that it did anything. However, it did seem to annoy her enough. Well, that's enough hard to super-computer. The rocket turret rose up out of the ground, and quickly killed me. Luckily, it had auto-saved rights before it rose, and the same thing repeated. I tried to escape in many different ways, but it always failed. It never fired if there was a portal near me, and so I never could redirect it to Gladys. I still can see you, Anne. I can always see you. Gladys bragged. I pulled at my hair. There was no way a character could see into a reality. There was no way anyone could see into this room, unless they had a camera. It finally dawned on me. The webcam. I taped over it with a piece of duct tape, and things suddenly went far, far differently. The battle was easy from there on. With Gladys enraged, I had figured out her trick. Finally, I killed her, and the center blew up, but not without one final comment from the AI. I'll be back, Anne. I watched throughout the credits, sickened to hear the monster's voice sing, and made sure nothing was abnormal from there on. I closed the game, and my daughter's computer was back to normal. Whatever had happened was gone now. I went back to my home, and sat down, turning it on. I locked it, only to find a terrifying sight. The desktop background had been replaced with Gladys's face, and all the icons were portal, with the same intimidating spelling.


This is Dr. Sanjay Sanyal from his department chair. This is a supine cadaver. We are doing the dissection of the face I'm standing on the right side and the camera person is also on the right side So just to bring up to speed first Let's identify all the structures on the right side of the face that we have dissected out now Let's start from here. This is the parotid gland The next structure. This is the masseter muscle This is a necessary parotid gland This is buckle pad of fat These are the various muscles of the face that we have dissected out. This is the pletis far muscle and These are the two facial vessels So have you mentioned that now let's focus on the facial vessels. Let's start with the facial vein So we'll start from the medial canthus of the right eye. This is the beginning of the angular vein The angular vein is formed by the union of the supra orbital and the supra trochlear vein And it forms at the medial canthus That's why it's called the angular vein and as it descends down it receives communication from the superior palpibril vein Inferior palpibril vein which are not visible because they're very small Additionally, it also receives communication from superior of thalmic and inferior of thalmic veins which go inside the orbit Then as it continues down at the lower border of the orbit It becomes known as the facial vein and we can see the continuation of the facial vein here It descends down obliquely and this is the course of the facial vein right up to here So to see the whole thing in totality, we can see it from here This portion was thrombose that's why it broke and this is the continuation of the facial vein as it descends down It receives a branch from the nose and that is known as the external nasal vein Which is rather small then it receives a communication from the superior lip that is called the superior labial vein It receives a vein from the inferior lip that is known as the inferior labial vein Here we can see a very important communication and for that I'm going to go into the depths of buccal region And we can see a communication going inside. If you look very closely, you'll see this communication This is the deep facial vein which I have picked up and I will tell you the significance of this communication just now and Then it further continues down. It receives a submental vein communication. Here we can see the submental vein It is receiving a submental vein and then in the neck unites with the anterior division of the retromandibular vein and Forms a common facial vein which then opens into the internal juggler vein If you know the facial vein is lateral to the facial artery, which I shall mention just now Now let's take a look at some important clinical correlations pertaining to the facial vein itself when it is coming from above As I mentioned it receives a communication from the superior of thalmic vein which communicates with the cavernous sinus, then when it goes below it receives a communication from the inferior of thalmic vein Which communicates with the pterygoid venous plexus, which in turn communicates with the cavernous sinus through emissory veins and As I mentioned here, it receives this communication from the deep facial vein which also goes to the pterygoid venous plexus and which in turn communicates with the cavernous sinus through evolutionary veins. So by virtue of all these communications with the teregoid venous plexus and or the cavernous sinus either directly or indirectly, any infection in this region of the face can spread to the cavernous sinus and can produce cavernous sinus thrombosis. That is a very serious condition because it leads to a syndrome called cavernous sinus syndrome with multiple cranial nerve paralysis. If we draw a triangle from the apex of the nose and we extend it along the nasolabial furrow right up to the angle of the mouth and do the same thing on the other side. This is referred to as the danger triangle of the face. Any infection pimples, boils, furacles, folliculitis in this region should not be squeezed or tampered with because it can potentially lead to infection traveling into the cavernous sinus and produce cavernous sinus thrombosis. Now let's come to the facial artery. So for that let's start from below. This is the facial artery which is situated medial to the facial vein. The facial artery is a third branch from the external carotid artery. As it comes up, it winds under the mandible which we cannot see and then it grooves the sub-mandibular gland which also we cannot see. And if you notice the facial artery is highly tortuous. The reason for this tortuosity is because it is intertwined within the muscles of the face and therefore this tortuosity enables it to compensate for the movements of the facial muscles. As it goes up, it also gives branches which correspond to the vagaries of the vein which I described. This is from the chin and this is sub-mental artery. It gives an inferior labial branch, a superior labial branch, a branch to the nose called the lateral nasal artery and then it continues up and becomes after the margin, lower margin of the orbit it becomes known as angular artery. That's why it has become very small here and we cannot see any further because this is almost a termination of the facial artery. And when it is an angular artery, it also gives a branch to the lower eyelid and the upper eyelid which are respectively referred to as the inferior and the superior palpable artery. Thereafter it peters out. This lateral nasal artery which I mentioned, this gives a septal branch and the septal branch participates in a plexus in the anterior inferior part of the nasal septum which is known as a chisel-back plexus which is responsible for epistaxis or nose bleed. The facial artery when it is running just in front of the mesiter muscle in this location, it crosses the lower border of the mandible where my instrument is located and this is the place where my finger is located now. We can feel the pulsation of the facial artery in a living person. While we are on this topic, I should also mention that apart from supplying the structures on the face, the facial artery also gives some other branches not in the face. It gives a tonsular artery which supplies the palatine tonsil. It gives an ascending palatine artery which supplies the pharynx and it as I mentioned, it also gives a septal branch to the nose. So these are the structures which are supplied by the facial artery and the facial vein. Thank you very much for watching. Dr. Sanjay Sanyal signing out. David O is the camera person. If you have any questions or comments, please put them in the comment section below. Have a nice day.


Meanwhile, the Independent National Electoral Commission, INEC, has assured residents of Iqiti State of its determination to conduct credible polls in Iqiti. Chairman of the Commission, Professor Mahmoud Yacobo, during a meeting with traditional rulers in Ado'i, Iqiti, ahead of the June 18 governorship election, said that the Commission will also conduct the Boach Iqiti East Constituent I State Assembly election on June 18. It appealed to the traditional rulers to sensitize their subjects under need for a peaceful election and commend their Debye-model voters' accreditation service during a mock test conducted on Monday. By voting cubicles, I want to assure you that all these facilities are ready for the election. Staff that will handle the election for us have all been recruited. We have trained them but will continue to train them optimally until the election day. There is a new technology we introduced called the By-model Voter Accreditation System, which has replaced the good old card readers. The card readers have not yet retired for good. They have served their purpose. Because we are doing the pilot, we have learned lessons from previous elections. And we want to make Iqiti, governorship election, as far as technology and other levels of preparations are concerned, really seamless. What about our ballot boxes? It is response the Alawi of Ilawi, Iqiti, or by the Banjia Laby, who spoke on behalf of the traditional rulers, charged the Electoral Empire to walk and vote buying and assured of their continuous support to ensure peace in the state before, during and after the elections. The excessive monetization of the process calls for serious concern in this country. We need to put our hands to this because this has made it entirely impossible for people to actually exercise that right of choice. It is the right, their exercise is the right of the money given to them. We need to do something about this so that people can keep completed hands to be able to fight off their fears of our country. In Iqiti here, we are peace-loving people. We are always advocating for peace with the nation and the rest are sure that we will keep the national cooperation and support to ensure the success of the work of your editor-in-chief.


Merci Stavros, c'est mon plaisir de vous remercier les organisateurs pour cette conférence. Je suis très heureux d'être invité à participer. Je veux rappeler sur le travail joint avec Frédéric Fauvé et Ricardo Skiappa. C'est un travail en progrès sur l'exact WKB Method et la résurgence parallèle. C'est un sujet qui a été initié par André Boros et Jean-Hicard dans les années 70. Je l'ai mentionné juste en 1983, un paper très célèbre par André. En 1984, il y avait ce paper « Sainte application des fonctions résurgentes » et l'une de l'application était dédicée au problème de WKB. En 1994, il y avait aussi une très intéressante preuve sur les produits weightés. Il y avait aussi le « Nice school de la barre dilangée femme » et il y avait un paper dédié de DDP, qui a été créé en 1993. Il y avait aussi la « Kyoto school de Kawa et Takei » Je l'ai mentionné ici, en 2005, une monographie par eux. Mais il y avait beaucoup de collaborateurs et il y avait des collègues. C'est Koyke, qui s'est passé malheureusement l'année dernière. Plus recentement, il y avait beaucoup d'activités et de renouvelations d'interesse. C'est une sélection, une bibliographie très partielle. L'article par Gaiotto Moore « Nights in 2008 » était certainement très intéressant pour WKB et la formulae d'allumage du monde et le spectrum de BPS et le conservateur de Bellemande pour la formulae d'allumage du monde. Je l'ai mentionné ici « Pasquetti's kiappa » parce que c'est une théorie topologique et « Garufalidis » c'est « Kappayef Marignot » parce que la connexion avec Pelleuville et Stanton J'aime particulièrement « Iwaki Nakanishi 2014 » un bon service sur WKB analysie et la connexion avec les algebras de cluster et très récentement, cette année, Gaiotto Marignot-Choux sur les questions de TBA et les problèmes de Riemann-Hilbert Juste pour dire qu'il y a beaucoup d'activités, de réneaux d'intérêt sur ce sujet. Donc notre rêve est d'expliquer si possible où la résurgence vient d'utiliser un outil inventé par Jean Écale une construction inductive d'élémentaire et non-trivé résurgence pour laquelle le molde de formalisme est particulièrement efficace donc je vais essayer d'expliquer cela à la fin du talk Le message c'est que ces moldes ont aidé à élucider la structure résurgence ils ont aidé à établir les équations brides qui sont derrière les automorphismes ou la formule DDP et ils ont aussi induit les constructions récursives des fonctionnalités en point de vue dans l'esprit d'autres récursions que nous avons écoutées donc ce serait l'end de tout le talk Alors, nous allons commencer avec l'équation de l'équation de l'onimation de l'onimation de l'onimation dans cette forme donc la forme de l'onimation de l'onimation est la variable l'Eta est l'un des barres de l'âge donc c'est un paramètre large et ici nous prenons pour Q un polynomial polynomial plus polynomial en 1 à l'Eta c'est plus général donc nous avons dans un peu plus de termes géométriques des termes méromorphiques des différences quadratiques Qdx² sur la surface compacte c'est-à-dire sur la sphère qui est régulièrement à l'extérieur des sets finitifs donc bien sûr, il y a le pool à l'infinité et les 0s de la function Q comptent comme cégurités pour les différences quadratiques donc elles sont appelées les points de tournage donc nous avons une courbe complexe qui est dénotée par c.2 donc c. est juste le set régulier et c.2 c'est la double couvercle de c. sur laquelle nous avons une courbe square de notre différente quadratique c'est-à-dire Pdx parce que donc je vais me faire Write c'est-à-dire que c'est-à-dire que c'est-à-dire que c'est-à-dire que c'est-à-dire que c'est-à-dire que c'est-à-dire que c'est-à-dire que cette extension deides d'une forme classique dans une forme formal sur la courbe complexe l'AMDA LORD dans laquelle voir la courbique en 1 prophese et vous avez un série formale dans l'une d'un eta une série de l'9 et je la n'ai option j'ai pour ne voulue car ce sera évidemmentちは entrenté le changement co precisely et les coefficients seront engagementants et il sera homomorphique sur la courbe complexe. La définition sera récordée au moment. Nous voulons étudier cette série formale en eta avec des fonctions homomorphiques en X. Nous voulons étudier la transforme boréale avec respect aux paramètres eta. C'est la résurgence paramétrique. Donc, ici est la définition. La transforme boréale est réplacée en eta par xi. Donc, on obtient, en tout cas, une fonction de xi et xi homomorphiques pour xi de modulé small enough. Donc, la rule est qu'on divise par les facturaux comme ceci. Et cela devrait être sans doute continuable avec respect aux xi, dans le sens que la continuation analytique existe en large avec seulement la singularité isolée. Nous répétons l'équation de Schrödinger. Ce n'est pas seulement que nous produirons ce lambda. Je ne vous dis pas encore ce que c'est. Mais nous produirons des solutions formales pour l'équation de Schrödinger dans la forme de WKB ansatz. Il y a une exponentielle i eta a où a est la fonction classique de la fonction actuelle, l'intervalle de q à 1,5 qui est bien définie sur notre curve complexe. Mais bien sûr, la primitive est multivalue sur la curve complexe. Nous avons cette q à minus 1,4 et ensuite nous avons 5 plus ou 5 minus si nous prenons l'opposite branche de q à 1,5. Et 5 plus et 5 minus sont destinés à commencer avec l'une constante. Donc, ces coefficients phi 0, phi 1, comme a seront multivalues et la série 5 plus et 5 minus sont déterminées seulement à un factor multipliqué de x indépendant, parce que c'est une équation linéaire. Nous serons intéressés à la transformation boréale avec respect au paramètre eta pour certaines choisis de normalisation puisqu'il y a cette question de déterminer une solution que nous serons de la transformation boréale. Peut-être que certaines choisis sont mieux que d'autres. Donc, je répète la résurgence consiste d'être endlessly continuable dans la variable xi. Dépendant les x, peut-être cette propriété s'occupera pour une générique x, mais pas tous les x. Par exemple, x ne devrait pas s'occuper de trois points. Simple exemple. Je répète la formule de WK par contre, ici. Donc, nous avons plus ou minus i eta a of x q to the minus 1, 4, c'est très classique, phi plus or minus of x eta et bien sûr, vous voyez que cette a of x c'est juste l'intégrale de lambda 0 de quelques points de référence x0 que nous fixons pour tous. Par exemple, il n'y a que un point de tournage et rien d'autre. Point de tournage de multiplicité m, à l'origine, nous appelons xj les points de tournage et en ce cas, vous computez la fonction action a of x vous computez q to the minus 1, 4 et il s'agit qu'il y a une ferme ferme pour la transformation de ces séries, phi plus et phi minus. Vous voyez que j'ai installé ce facteur, ce monomial eta to the minus mu minus 1 c'est le nombre selon la multiplicité m donc c'est juste convenant, juste pour... de cette façon, nous avons une fonction algebraique de xi. Vous voyez que si vous replacez phi plus par 1, la transformation borale de ce monomial est juste xi à la mu divided par gamma of plus 1. Ici, quand vous avez la transformation borale et vous observez qu'indeed la chose est convergente dans la plane xi et en ce cas, il y a une bonne continuation analytique c'est algebraique, phi plus la transformation borale phi plus a seulement une singularité à 2i a of x et phi minus a seulement une singularité à minus 2i a of x maintenant, quelle est la singularité de phi plus let me write this it should be clear that it will be proportional to the borale of phi minus indeed let's have a look borale of eta minus mu minus 1 phi plus you can factor out these 2i a of x let's put it in front 2i a of x power minus mu divided by gamma of mu plus 1 and we have this xi of mu xi to the mu and 2i a of x minus xi power mu now what does it mean to consider the singularity at that point it means that we replace xi by 2i a plus zeta and we want that xi approach approach 2i a we want zeta to approach 0 so you see that this will become exponential i pi mu zeta to the mu and this will become 2i a plus zeta power mu so in fact exactly you find the same formula as here so in fact if you it's an exercise in alien calculus if you manipulate this alien operator defined by ecal which is just the the smart way of measuring singularities in the borale plane you find this formula so while it's an exercise you have this exponential i pi mu but then you have to study the dictionary between the singularity and the function in the xi I mean you have the notion of major the singularity of is defined by a major and then you take the minor so when you compute you find this sign function incidentally that formula was written by Jean Rical in 81 in the second book of the series of on resurgence function in quite slightly different context it was in the context of equational resurgence dealing with Riccati equation we'll see the Riccati equation in a moment so particular case m is 1 this is the quantum area equation parametric area equation you find the stokes constant this number here this proportionality factor will be minus i in that case because mu is minus 1 over 6 and for the quantum harmonic oscillator you find different number ok that is really the simplest example you can dream of so now to the associated Riccati equation we consider the logarithmic derivative of the wave function psi and it's an exercise it's very clear that you agree that if i eta p is exactly the logarithmic derivative then its derivative is written like this and so the Schrodinger equation is equivalent to that Riccati equation p squared equal to q plus i eta inverse derivative of p and now there are only two formal solutions to that equation indeed it's clear that you can choose to start with plus or minus q to the one half and then once you have chosen that the branch the rest of the service is determined here is the next term it so happens that it is a logarithmic derivative and then plus or minus this etc so you find two well defined formal series by the way they are related because it's Galoisian I mean if you go you can go from one branch to the other and so you exchange the two solutions by the covering involution which defines a complex curve c.2 and from those two formal series you can recover all WKB solutions to the Schrodinger equation indeed, since we are speaking of logarithmic derivative it's just the matter of choosing a primitive of p plus or p minus and then exponentiating it and then you are free to multiply and then factor so we will recover this way when you apply this recipe the first term here is responsible for exponential plus or minus i eta a indeed, remember a is just the primitive of q to the one half that we have chosen the logarithmic derivative of q is easy to integrate and you get to this q to the minus one fourth and then this here will give rise to a series phi plus or phi minus as we had said previously so what is this lambda that we had promised at the beginning there would be one form formal in eta in this problem what is p it's just the h bar extended momentum it's the half of the difference you have two solutions you take half difference and check that indeed it gives rise to one form now each series p plus or p minus is the plus or minus the half difference plus the half sum and it so happens that the half sum is the logarithmic derivative of the half difference this will help us to handle this question of normalization choices the coefficients of p plus and p minus are uniquely determined holomorphic on our complex curve they have previous expansions at the turning points and at infinity and you check that there is no term in the form 1 over x minus xj as a consequence to choose normalization for psi plus or psi minus to choose the factor here is equivalent to select or equivalently a primitive of p curly p so here is what we do so we must integrate this so let's split p curly p there is the first term q to the one half and then there is the remainder curly y with this factor q to the one half and then correspondingly p plus or p minus is plus or minus the first term this we repeat and then we have plus or minus 1 over i eta q to the one half curly y and so we can define what we will call the xj normalize solution xj being one of the turning points or the pole at infinity like this we don't touch the pre-factor the exponential pre-factor here we have curly p to the minus one half we are starting with this we are using this this natural primitive logarithmic derivative and here we must choose a primitive of q to the one half curly y so we choose the primitive whose freezo expansion and xj does not contain any constant term that's a reasonable choice equivalently this is the average of the primitives corresponding to the base point a on the complex curve so something more about this normalization because they play a role in the theory so psi j plus psi j minus you can write it this way using this slightly different notation for the selection of primitive and so q to the one half curly y this is just lambda minus lambda 0 and a of course we know what it is here appear the so-called vos coefficients they allow to connect one normalization to the other how do you go from j to k you multiply by a certain integral and the integral of q to the one half curly y now there is a remark let me do a picture that y is invariant by the covering involution so when you multiply by q to the one half you can use this formula you have xj here and you have x somewhere and so instead of doing this business of choosing the primitive by looking at the expansion you can do that you can say let's do this so there is a cut here so you start from x star the other point for the other branch and you turn around so this is the path gamma j x which is here so it starts from x star it encircles positively xj and then it goes back to x and you compute the path is exactly what you want so this means that our coefficient pi j our integral is just let's say a quantum period i eta over 2 of lambda minus lambda 0 so what you can do in that problem is to maybe I should explain what is gamma jk I mean here we have another turning point jxk and we are supposed to compute the difference between these two primitives so the difference can be computed by saying that we do we do this there is no so we find a cycle appearing in the so this is the gamma jk it's the cycle around j and k and and then we can, then next we can choose, let's say we have our reference point somewhere here x0 so we can choose a basis for the homology and so this would be gamma j gamma k so we can compute once for all these pi j of eta so integral from x0 to xj with the rule that we have set for the turning point following the path gamma j that we have selected in advance ok so this is definition of normalization for each singularity at infinity the situation is simpler because the coefficients decay at infinity and you get integrable function so you can replace this funny selection of primitive by the usual integration from infinity so here is what you can do let us split p plus and p minus like before we have the first term plus or minus q to the one half we have the second term and then we call y plus or minus the rest with this prefactor so we define this way y plus y minus and so you see that curly y is just half the difference and now the point is that the normalization at infinity is just defined like this using the integral of q to the one half this y plus or y minus integrated from infinity to x so the solution normalize that infinity are characterized by the vanishing at infinity of all the coefficients except the very first one we said that this phi plus should always start with 1 y plus it's just a logarithmic derivative essentially of phi plus or minus infinity so why are they resurgent where does resurgence come from for all these objects the y plus the y minus the phi j plus or minus we will deal with phi infinity plus or minus which is easier to define so why is it resurgent let us define a vector field x curve d d is q to the one half d over dx so it's dual to the square root of the quadratic differential it's dual to this lambda zero and this way we can rephrase the Schrodinger equation using the unknown phi plus or minus instead of psi and using d instead of d over dx and here is what we get so we have this function k which is very important k is given by that formula so it comes from the initial q which we have started with and correspondingly we can change unknown in the Riccati equation and again we can use this vector field d this derivative and we get this equation for y plus and y minus ok so y plus or minus in this sense is the d logarithmic derivative of phi plus or minus and here it's not the xj normalised solution it's the xinfinity normalised solution so here we are supposed to invert d so to invert d we multiply by q to the one half and we choose the primitive so it's the xinfinity based rise inverse to d so why will it be resurgent we can compute in a sense phi plus and chi plus so these are the notation the derivative of phi plus so remember that y plus will just be the ratio of these two we can compute as well phi minus 2i eta phi minus using the Neumann series because it's a linear problem so it's a very particular case of parametric resurgence so this you recognize here the Riccati equation for the phi series using d so we insert this chi plus it's d phi plus and so the second equation is this and now we say we have specified the way we solved the equation we have specified that phi plus should start with a 1 and then the other coefficient vanishes and chi plus will vanish in fact we know how to invert this because here we are dealing with operators in formal series in eta with coefficients holomorphic on the complex curve c dot 2 so curly k is just the multiplication operator by k what is the inverse of d plus 2i eta it's given by the geometric series this is a perfectly well defined operator we have eta to power minus k minus 1 so you differentiate all the coefficient and you see that you differentiate the coefficients of holomorphic functions and you do not compensate by any factorial so you expect je vrai growth and you expect divergence yes series in inverse eta always always oh yes you're right minus 1 is lacking thank you so the Neumann series for this linear problem gives you this so phi plus you see you start with 1 and you repeatedly you multiply by k apply this inverse operator and then you integrate from infinity and chi plus there is this difference we have one more factor similarly for phi minus when you do the computation you find this minus 2i eta times something which starts with 1 over minus 2i eta and chi minus is this so you have 4 series of formal series in 1 over eta so we are dealing with series of formal series but each of these term each one individually is a non trivial resurgent function so why is that so it's because the counterpart of the operator that we use d plus e 2i epsilon eta so epsilon here is obviously it's either plus 1 or minus 1 here it's a typo it's minus 1 2 here so we are using plus or minus 1 so in the Borel plane what happens in the Borel plane we divide by the factorials so we get an exponential series an exponential of d so d is the derivation it's a vector field exponential of a vector field gives you the flow so you see here the flow the time t flow map of our d so remember d is just q to the 1 half minus 1 half of x d x so we should inquire about the flow of that vector field and when you know the flow you take it at time minus psi over 2i epsilon you substitute in g so if you start with g not depending on eta if you start with capital G which is a series in eta then the computation is like this multiplication by eta to minus k minus 1 gives rise to convolution by this monomial and then you write the convolution as an integral and again you see the flow of our vector field at minus psi prime over 2i epsilon so we get an integral operator and we see very concrete formulas that we can manipulate and that we should apply to to this so we are taking now we know how to handle the Borel transform of all these series so the claim is that the Borel transform phi hat plus or minus chi hat plus or minus are endlessly continuable and where are the possible singularities, where are they located so the recipe is that there cannot be a singularity at omega unless when you flow along this vector field starting from x until minus or plus omega divided by 2i you hit a turning point so this is the recipe to determine the singularities of the Borel transform so you see that the singularities in the xi plane depend of course on x so the idea is that the vector field that we are considering is straightened by the so-called UV transformation just the action function viewed as a change of coordinate and in that coordinate z the vector field is strengthened so you can compute the flow and in fact the quadratic differential is strengthened too so you can use the local geometry of the quadratic differential if you want to analyze the behavior near xj for instance so in that coordinate z everything becomes simple but be careful that the coordinate z is defined locally and then you follow its analytic continuation so there is a kind of periodicity in the problem but it's tricky because everything is multivalued on the complex curve c.2 so excuse me can you remind me what is omega x so it's omega of x is defined in this claim so what are the potential singular points they are the points such that when you flow until that time you hit a turning point and in a moment you will see that in fact we are determining them we are here reaching an alternative definition because the flow here I'm using this gamma j so from x0 to xj if I start from x0 alpha j is the value of the action one of the possible value gamma j but of course if you follow a different path you get different values you get replicas of this singular point alpha j so alpha j is a singular point for the flow map because we are saying that the vector field vanishes here and so in finite time we hit a singular point of the vector field on the other hand the function k that we are using in our Neumann series is meromorphic but it has poles at the turning point hence in coordinate z k has a less analytic continuation and where are the singularities in the z variable they are located at all the possible values of the action function action function a so alpha j plus multiples of the classical periods so this is the description in variable z starting from x0 but now we are starting from x so we must shift everything by z so the recipe which is here gives us z minus or plus omega over 2i is alpha tilde so omega of x this is the answer to your question plus or minus 2i action of x minus alpha tilde and so why nk is integers yes yes yes I mean it's just the action it's just a representation of the homology group excuse me also among these x1 to xm you count x infinity also no not here not here because you cannot go to infinity in finite time yes of course you can for x4 you can oh maybe I'm mistaken let me think no no no look z is primitive of q to the one half so we are integrating we are integrating the square root of the polynomial so it's integrable at the turning point at infinity this is the non integrable part that we are always skipping when we go to infinity we must always remove that part may I cautiously disagree I mean I discovered that in fact you should not remove it it's nicer you can get cleaner things if you don't remove it I can believe it I mean this is probably not the definitive version of I would be happy to see your comment in detail on that thank you so where does this condition come from so I claim that this is the condition to have possibly a singular point where does it come from so remember we were dealing with these Neumann series of that form so in the case of phi plus we have to invert d plus 2i eta so the Borel transform involves the flow at times minus psi over 2i and so this is why we get the condition like it was written flow at minus omega over 2i should be on the singular locus similarly for phi minus so the next question if we are dealing with the resultant structure of phi plus and phi minus is what are the alien derivatives ? so I'll be a bit sketchy but because in fact it's work in progress so these formulas are written in the literature but our understanding is still in progress but the idea would be the following if you are dealing not with the solution normalized at infinity but with the solution normalized at xj the alien derivative will be governed by the sj that we have computed a moment ago so all everything here is like as if you are dealing only with a pole with a a monomial q of x you can substitute q of x by this mj is the multiplicity at xj and you get that result but that is true only for phi j when you are dealing with the alien derivative at a minus alpha j now if we want to deal with phi infinity we must go from phi j to phi infinity and for that purpose we can use the VOROS coefficients and so now that's an easy computation the alien derivative of that guy should be the exponential multiplied by the alien derivative of that guy so we have the sj and we get twice pi because one comes from here and the other comes when you express phi j minus in terms of phi infinity minus and similarly for the other for the other one so we can go on and get formulas for the alien derivative of the rickety solution because it's a general fact in resurgence I mean this part of the theory of that if you are dealing with resurgence functions their ratio will be resurgence, their exponential their logarithm will be resurgence so and moreover there is an alien chain rule if you want to compute the alien derivatives of these so once you have computed the alien derivative of one set of solutions you can in principle you can deduce the rest of the structure and then the next question is but what about the alien derivative of that coefficient so in fact here I'm referring implicitly to the second bridge equation and the third bridge equation so here this is here that ddp formula would appear because the location of singular points for that factor, that factor does not depend on x it's vos coefficients it does not depend on x we have integrated in x so you can guess that the singular points will be located at those points, the classical periods so I stop here my comments on the resurgence because I want to move on to something different we have said that we would reach the resurgence structure using these representations of the solutions normalized at infinity by means of these series of elementary non trivial resurgence series a way of motivating what follows is to ask can we do the same for y plus and y minus so we have said we are confident that it's a ratio of resurgence series it will be resurgence but can we analyze y plus and y minus in the same manner that we analyzed phi infinity plus y minus so here is what happens we have our four series of series here is a compact way of rewriting them I introduce those series m indexed by plus or minus epsilon 1, epsilon 2, epsilon r these are strings, these are words the letters of which are plus or minus so when the word is empty you have 1 and then how do you define m associated with a word of length r so it's an inductive definition so you invert this operator d plus 2i eta the sum of the letters you invert it using primitive at infinity vanishing at infinity if the sum happens to be 0 then you apply that to b with the first letter b with the first letter is either k or 1 and then this is the function the series associated with the truncated word in which you have removed the first letter so is that clear for you for instance start with phi plus so you have what is this nth term so we have 1 so you multiply by k multiplication by k and applying the operator this is multiplying by b plus and applying d plus 2i eta when there is only 1 letter which is epsilon 1 equal to plus but then immediately after that you apply the inverse of the infinity which is that case when epsilon 1 plus epsilon 2 is 0 so this is why I wrote here m minus plus I started with a plus so that was the and then I have a minus et cetera so these are elementary series this is a family of series indexed by words on the alphabet plus or minus 1 this is the definition of a mold a family of object indexed by words but here we see only a slice of the mold we are using only alternate words of lengths or odd lengths but only alternate words what about the other words what about the rest of the mold what will it do for us so I repeat here the definition of the mold the inductive definition I repeat what we have obtained so far and here is the claim we can represent the solutions to the Riccati equation in the same way so here we have series with coefficient 1 and only peculiar words but here we will use a different subset of words and we have different coefficients these coefficients beta plus and beta minus are integers they are very often 0 to be non 0 beta plus requires the sum of the letters to be 1 and the value is computed by iterating these operators so you have elementary operators d over dy minus y square d over dy you see that there is homogeneity going on here because b plus is homogeneous of degree minus 1 b minus of degree plus 1 so when you do the composition you see that the product applied to y will have degree 1 minus the sum but if the sum is 1 it's a constant and that constant is an integer number so this is the recipe to compute beta plus and the recipe for beta minus is here so now we are interested in words whose sum is minus 1 and so I claim this and I also claim that if you forget the factor minus 1 to the a plus 1 instead of finding y minus you will find 1 over minus 2 i eta plus y minus so why is that true I would like to spend 5 minutes to explain that it's very elementary part of mold calculus as defined by Eckhart so let's rephrase it here in our context the key point is a certain family of quadratic relations so we are dealing with a mold on a certain alphabet which was plus or minus 1 with value in a ring r in our case the ring of formal series in eta whose coefficients are holomorphic on the complex curve c dot 2 so we said a mold is just a family of object indexed by words so we can say this is the collection of values of a sequence of functions so giving a mold v is like giving a sequence of functions and the nth function depends on n arguments these quadratic relations that we will write are called symmetry relations so here it goes v0 should be a constant it's a function of nothing and that constant should be the unit of our ring and then for all pq for all p tupple b for all q tupple c the product should be should coincide with this sum so it's a sum of values of vn n is p plus q so you take the sum of all subset of the set of indices 1 to the n to n so i is the subset of cardinality p, j is the complement cardinality q and what is this this is the n tupple a the unique n tupple such that when you extract the i part you recover b and when you extract the j part you recover c so i wrote the formula in this way because it's reminiscent of something which is well known in topological previous example yes here v is general mould and we will apply this to m so this is just a more general definition a1 a n was plus and minus exactly exactly here is a typical example of mould satisfying this quadratic relation and our m is very much of the same nature so here is the standard way we rephrase this property in mould calculus this is absolutely equivalent to using the shuffling of the two words b and c so our mould m satisfies this so our mould m is defined on the two letter alphabet it is symmetrical and you can check it by induction on the sum of the lengths on the sum p plus q and it's not difficult because you have an inductive definition and you have a characterization it's defined through a differential equation with a boundary condition at infinity so it's not difficult to test this property so our mould is symmetrical what good does it do to us so remember that the Schrodinger equation was written for phi plus in the form of a system so this is the system for phi plus chi plus equivalently we can say this is a vector field or this is a derivation acting on that algebra the algebra of formal series in y1 y2 whose coefficients are in r in the same typo this should be eta inverse so r is our coefficients take value in r and let's consider these derivations so d act on the coefficients d is the differential d over d essentially so we have d over d y2 d over d y1 you remember that b plus is k plus y1 d over d y2 this is what comes from this k phi because phi is y1 and b minus is 1 so this chi here is responsible for this y2 d over d y1 let us call l0 the first part of the operator let's call b plus bar this operator b minus bar that operator so we are dealing with this derivation and this derivation encodes the Schrodinger equation in a certain sense so these are derivations now let's consider this operator so this huge sum sum of all possible words of m epsilon and this product of derivations so this is formally its convergence so it defines an operator and the inductive definition of our moule actually says that it conjugates l and l0 so it's like a normal form problem we are conjugating what is given to us to something simpler we have gotten rid of these two terms but because the moule is symmetrical theta is an automorphism that's a very general principle why is that true it's because you see how theta is constructed using the moule that's coefficient and here we are using product of derivations each derivation satisfies Leibniz rule a product of derivation satisfies generalized Leibniz rule and when you write the generalized Leibniz rule because they do not commute you see the Schroding coefficients appearing and by duality if the moule is symmetrical then this guy will satisfy that the product is sent to the product instead of Leibniz rule some other all possible words including the empty word all possible length it's a huge sum and you don't put a factorial no no factorial here so it's an automorphism what are the automorphisms of the space of formal series they are all substitution automorphisms so we know in advance that theta f bf compose with something and that something is obtained by evaluating theta on y1 or y2 in fact in our problem when you do this you find that this little theta this this formal change of coordinates in the y1, y2 space is this so everything is very simple in that case because the problem is linear but wait a minute I don't do the computation but it's not difficult you obtain that so you can believe it I mean after all what will happen when we evaluate this product of operators on y1 with so elementary vector field it will be very easy to compute you will see on the alternate word it's clear so you get that but remember that operator is an automorphism so I repeat the formulas here bar, b minus bar, definition of theta and this is what we have obtained so far now what is the general solution to the Riccati equation written for the y function it's the logarithmic derivative of the general solution to Schrodinger so the logarithmic derivative of so you see the general solution to Schrodinger is sigma plus and sigma minus are just parameters so since I focus on the equation with a plus I see the multiples of phi plus and the multiples of phi minus appear with this correction exponential minus 2i eta a a is lacking here this exponential minus 2i eta a because I'm switching from phi minus to phi plus so we can introduce sigma which would be sigma minus of a sigma plus and you see that this takes the form of a linear fractional evaluated on this monomial so let's introduce theta for Riccati to be that so this is a formal difomorphism in the y space with coefficients depending on x and eta so and morally this y is just y2 over y1 because theta is an automorphism because of the symmetry when you compute theta of y2 over theta over y1 it is the same as theta of y2 over y1 so you can compute that thing theta Riccati of y as the evaluation of that big operator capital theta on y2 over y1 so previously we were just evaluating on y1 or on y2 but now we are evaluating on y2 over y1 and what do we find well the image of by just one operator b plus is one and the image by one operator b minus is minus the square so maybe you remember the formulas for b plus and b minus they were just as simple as this so this is how we prove the claim so we have obtained that formula that y plus the solution to Riccati is given by this mold expansion with coefficient beta plus which are produced by these operators, elementary operators acting on y but this is a very very elementary instance of mold calculus but what does it get where does it get us we have obtained this we have a recursive definition we have this m and when we solve the induction this is what m epsilon is so epsilon is an arbitrary word and so we are inverting that operator multiplying by b epsilon1 inverting that one multiplying etc and whenever a suffix of the word has zero sum the prescription is that we should use the primitive vanishing at infinity ok let us define the resonance level of the word as the number of zero sum suffixes how many terms here do vanish how many times do we need to use the integration from infinity the rest of the times we use only the geometric series with d you remember but because of those zero sum suffixes our m epsilon will involve an n fold integration from infinity and this is slightly reminiscent of something we've seen in the talk about topological recursion so we are tempted to group together all the words with the same resonance level n so let us introduce w n plus or minus as the sum of the beta so in this big sum we extract the words with resonance level n and we can call that n point component y naught or n point correlation function and then our y plus is the sum of that so what we obtain here is that we have a recursive definition which produce produces automatically a sequence of object whose sum is really the solution to the Riccati equation so afterwards you are just you just need to integrate from infinity to exponentiate and you get WKB solution and you know that it was mentioned in the previous talk that in the airy case topological recursion does produce WKB solution but here we have a different angle a different way of constructing recursions and so let's say this is food for thought we plan to investigate that further thank you for your attention so to prove the claim you need to prove that the sum of terms converges somehow or other you are referring to the last claim or I mean anywhere, the claim and then the well there are claims of different nature for instance that one what we where is it that one ah ok you mean on the resurgence yes yes I skipped that part but indeed to prove resurgence of phi infinity plus or phi infinity minus we should establish that this series of formal series gives rise in the Borel plane to a series of functions and that's a fact no problem but so then we need normal convergence on compact subsets on certain remands of phase yes indeed this is the strategy which was indicated by Jean et Karl in as early as 84 so I mean is that my question is at the end are you planning to say that basically the WNs have some kind of not too many WNs and each one sort of gets smaller and smaller and that's why it converges I mean the the series for Y plus is we can apply the same strategy directly instead of invoking a general theorem which says the ratio between two resurgence series must be resurgence we have access directly to the to a decomposition of Y plus in elementary pieces in the remands of phase so that's the strategy yes it would be to and then after regrouping we would like to see what happens but well it's work in progress as I mentioned at the beginning so you had WNs yes maybe in the next slide on the very end near topological recurrence yes right there so are these WNs supposed to be factorier very soon Y plus is but are WNs themselves yes everything here is resurgent I mean this is a decomposition I mean factorier with respect to N it's convergent with respect to N we have convergence here the divergent takes place only with respect to one of the eta so this is a series of resurgent series which is convergent for the topology of resurgent functions because in topological recursion those terms are factoring divergent so in fact it's a different angle so we are doing something else yes I think the point is in fact that those should be factorially convergent because when you do an N fold integration you get a 1 over N factorial and then maybe there's only an exponential number of terms that is indeed the case yeah but in topological recursion it doesn't happen apparently so here the things, the computations are organized in a different way so this is what we wanted to propose to that audience to see a different way of organizing the computations yes André I would like to ask you I'm very excited by this normalization of infinity because I in my work I was guilty I think I didn't realize that it could be done so later I on normalization and the advantage of normalizing at infinity including the divergent part is that you get something which is translation covariant now is your normalization at infinity explicitly also covariant by translation it's not mine, I mean it's in the literature it's I mean in FAM it's already in FAM yeah and in fact in Eccal's paper in 84 already so is it covariant I mean the trick is that lambda 0 is not integrable at infinity so you have to to remove that part you can't define the integral to infinity by a way a classical version of data regularization so in a way but perhaps finally it might be allowed to what you are doing so I am very excited so I didn't think too much about it because for us the idea is that we fix once for all this x0 and it appears only in this pre-factor it's a totally different business when we are referring to to the integration of that guy because here we have a whole series so theoretically we might change the selection of primitive at each term of the series and then we would get crazy things but here it's just once at the beginning so we didn't pay much attention to that but I would be interested in your comment about the data regularization yes so I haven't quite understood to write a full solution you would have still to write some rich equation for the borrow's coefficient right and the second part was not some method to get around that like you would still have to yes these are two avenues of research I mean I switched at some point from one direction to another


Can't be that that there's a problem with the answering of the prayer It's really that if the prayer is limited if the prayer is improve my human condition The prayer is Is not gonna happen make me a better self get me a better relationship get me a better job Get me better look at right a better body a better bet is a younger body of this of that a car or whatever If the prayers are limited in terms of time and space then the mind receives exactly what it asks for But what we're saying is it's asking for far too little. It's asking for nothing It's really asking for nothing at all. That's putting it very frankly and bluntly. You can't it's You can't be given nothing. You can't be given nothing So the prayer of the heart should be just to open up and to receive what is always there what is here now Yeah Yeah, really prayer is just being yes. Yeah, yeah Nothing to ask for no That's why there's another hook right ego. He's still He's still a no means that be vigilant. Yeah, right there it is hook hook hook hook Difficult, you know as soon as you get into the the process thing, you know Then it can seem to be difficult and one of my just joyful things in the courses Just it says the ego likes the idea of a journey home back to God For it can make the journey seem difficult So this is what is is very sneaky about the ego It's like a process a journey back to God But why is there a journey back to what you truly are if you already are it now? Then the journey is the illusion. Yeah, so everyone that's concerned about what have I got to give up to wake What do I have to give up? We say a resounding Nothing Give up sacrifice give up nothing. Yeah, give up give up Nothing to receive everything. I mean that doesn't sound like such a difficult thing to give up nothing to receive everything That seems like a pretty good deal If there were deals no stock yard right no whippings, right? You don't need a sale for this one No cutting off my hand right all my fingers Wow well We're there it's happening and That's what this is about Experiencing it and sharing it that knowledge with a big K that knowledge When you say the course to my friends, I'm sure no This is a course in miracles because I noticed that we just yes the book It could be a universal course somebody was asking me lately, you know, are you a Christian? You know, are you a course of miracles student? What's that? Are you a course of miracles teacher? That's still separate isn't it really when you think about it. Yes, it's it's you're identifying with something special Are you human? You see where this goes, I mean you this is so vast this is so Expansive in everything that it's it reminds me of that Lesson simply do this be still play aside all thoughts of what you are and what God is all Concepts you've learned about yourself, you know empty your mind of the good the bad the right the wrong the concepts of dreams the wishes the dreams the wishes the improvements, you know the Every concept if onlys of time and space. Yeah The tomorrows. Yeah, you know the idea to is that Everyone says let go of the past let go of the past let go of the past and then Place the future in the hands of God, but they're the same thing I used to call it in a joking way the past past and the future past if it's a story It's one thing. Yeah, if it's a story. It's one illusion and one image and Why could the mind divide it into past and future? What makes the past different from the future? Except these are this is more duality. This is again placing time and in the category of of Tunis of duality and thinking that the two parts are actually different But the future is the past and that's why this world was over a long ago because the world is just The past repeated over and over and over in a loop Like on Groundhog day. Yes until the mind reaches a point of change and Realizes that it wants a new purpose. It changes its mind about itself and it finds itself outside of the loop So the the future, you know a lot of times this talk about things will get better in the future And sometimes people will say David. Do you think the world is getting any better or is the world getting any worse? But if something is singular a singular illusion if something is an impossible situation How can you have a better or worse? Impossible situation or a better or worse illusion Yeah, that just would imply that there are better illusions and worse illusions And that would mean that the mind doesn't think that they're illusions. Yeah, that's interesting You're thinking about the cyclical part of the ego. It just keeps rotating around and around going nowhere right going nowhere spinning into oblivion and If the mind believes in the reality of that loop then it can seem like hell because there's Frustrations, there's fatigue. There's guilt. There's shame and it's buying right into it But when you say game is over It's all over now the games up ego Then you accept yourself as God created you that is where the the joy comes in and you literally have no problems Yeah, and The experience of that joy just it's we even those words what you just said You can't explain it right, you know, it's like saying it's just Experience it and that's it. Yes, that will cover it. That'll cover the waterfront. Yes completely internal It's it's a it's a experience of just silence There's no explanation. There's just a sense of beingness of is this that's what it is and the words after a while You know, it's like we were talking about being in a song being in a note You know one note. Yeah, it just resonates and resonates and just goes on and on and on and on and on that with overtones overtones and That's maybe the closest approximation, but this doesn't involve dissertations and Thesises and theories and theology. Yeah, this is everything is very simple because it doesn't involve any of that