One of the biggest problems players have is playing well consistently. Maybe you have one good game every once in a while, but wouldn't you like to have a good game every time you step on the field? What I've done for you is created a five-step system, and I promise if you follow these five steps, you actually do these five things every time you play. You will be a much more consistent player. You will play with more confidence. You'll play to your potential. You won't feel like, I should have done more. I could have done more. I know I can do more. Why can't I just make it happen on game day? If you follow these five things I'm about to share with you, you will have much more success on the field, and you will be way more consistent. If you don't know about me, I used to be a huge underachiever. But through obsessive self-improvement, I found my success. Earned a college scholarship, played for my national football team, a YouTube channel with over 100 million views. I've helped players worldwide, and I'd love to help you improve faster and achieve more. First and foremost, before anything else, if you do not follow this one step, if you can't figure this out, everything else I'm about to share with you does not matter. This is where it all starts, and this is what makes everything possible. Before you go out there on the field, you must actually believe in your ability to succeed. Sadly, most players go out on the field, and they do not believe in themselves. Instead of thinking about succeeding or the excitement of winning, they're thinking about screwing up. They're thinking about failing. They're thinking about letting their coach and their teammates down. They're thinking about everything that could possibly go wrong. And I say this in a lot of my videos, especially the mental ones. The thoughts in your mind produce the actions on the field. So if you're thinking negative thoughts, you're thinking everything that's going to go wrong, this competition is too much for me. What if my coach yells at me? What if we get scored on? What if no one passes to me? What if, what if, what if? What if everything goes wrong? You're setting yourself up for failure, okay? So change your mindset. You have to be positive. Right now, you may have negative thoughts in your mind, but understand me. You can start controlling those thoughts, and you can change those thoughts. And in fact, it's your absolute responsibility to do that. If you do not do that, you are set up to fail from the very beginning. So instead of being negative, be positive. Start thinking about everything that you're going to do well. Start thinking about everything that's going to happen for you. And get excited. Get excited about winning the game. Get excited about playing well. Get excited about impressing your teammates. Get excited about scoring goals, making tackles, making assists. Get excited about making an impact. If you can go into the game with the mindset of excitement, I'm excited to play because of the potential of so many good things could happen as opposed to being afraid. I'm afraid to go in this game. I'm nervous. I'm scared because everything could possibly go wrong. If you can change that from fear to excitement, and from negativity to positivity, then you're setting yourself up for success. So number one, you have to actually believe in your ability to succeed. And be very honest with yourself.  You're still afraid in your mind. You can rationalize to yourself why you should be excited and why you should be positive. Then you're set up to fail from the very beginning. Step number two on my formula for playing consistently well is bring the work rate. Bring the work rate and bring the energy. I was having a chat with a player the other day and we were talking about how it seems the players with the most skill always feel like they don't have to work as hard as everyone else.  I see this all the time. Players with great skill are wasting their potential because they don't want to work hard. In fact, those same players are getting beaten by players with much less skill, but players who have decided to work hard every time they step on the field is just part of who they are. So if you want to make a bigger impact on the game, you need to work harder. If you want to play well consistently, you need to work harder. Sometimes your touch isn't going to be on. You may make bad passes. You may make mistakes. You may miss your chances.  If you like this content, check out the Soccer Success Planner. You can download it for free. There's a link in the description below. And for advanced training, check out the Online Soccer Academy. You're going to have a positive impact on the game. So whatever happens, if your team is losing 10-0 or you're winning 10-0, keep going. Work hard. Play the same way you always would. Why? You're going to get more out of that game. Even if your team is winning 10-0, like I said, keep going hard. Keep playing hard. You're going to get fitness out of that game. You're going to get experience out of that game. Maybe you can get some more goals for yourself. Maybe you can help your teammates get more goals and get their confidence up. Maybe you can keep a clean sheet. So there's always something to gain. Never give up on the game. Always work as hard as you can. On top of that, you never know who might be watching. If your team is losing 10-0 and everyone on the other team or everyone on your team has already given up and you're the player who's still working for their personal pride, but also for your personal game to become a better player. And it's just part of who you are. You never know who might be watching and you might impress someone very important. So never give up. Always bring that work rate. Always bring that energy. If you want to be more involved in the play, players are always coming to me saying, hey, I'm not involved enough. My teammates don't pass me the ball. Only if my teammates could pass me the ball or my coach would play me in a different position, I'd be more involved. That's not your problem. Your problem is you're not working hard enough. If you want to be more involved, work harder. Bring more energy to your game. Run more. Put more effort into chasing players down, winning the ball back. It's not all about just getting on the ball and making nice passes. Sometimes it's about grinding. It's about putting in that hard dirty work that most players don't want to do. And if you do that more often, you'll get more involved in the play. Defensively closing players down. Don't give them any time to play.  If you know you should be back in position, you have to track back. Don't do what most players do and just jog back. Sprint there as fast as you can or as fast as you need to to make sure your position is covered and you're going to help your team out defensively. If you want to score goals, be more active with your off the ball movement, making forward runs, making runs to support the ball, getting involved in the play. So if you want to play well consistently, bring the work rate and add more energy to your game. My third key for success and playing consistently well is all about what you do on the ball and you must play with tempo, speed of play, and quick decision making is what will make you effective when you have the ball at your feet. Okay, the worst thing you can do is take too long to make a decision.  It's so frustrating to play with the player who gets the ball, takes 10 touches, but goes nowhere. You do not want to be that player. It's much better for you to get the ball, give the ball, get the ball, give the ball, get the ball, give the ball, get the ball, give the ball. Why? It forces the other team to move. They have to chase that ball around the field and when they do, it's going to create gaps for other players on your team to play. So if you're receiving the ball and you're taking 10 seconds, five seconds even, to make a decision, it's too slow. When you're on the ball, I want you to think about two things. You're either moving the ball quickly, so that's get the ball, open up, pass it, then move into space. Or if you have space, you're moving quickly with the ball. So it's okay to take touches, but there has to be intention and purpose with those touches. So let's say I get the ball out here. I'm not going to take 10 seconds and 10 touches and go nowhere and let everyone close me down. As soon as I get that ball, before I get that ball, I know what I want to do. My intention, my purpose is to play quickly, play with tempo. Okay, so these guys are doing their job. They're moving the ball quickly, moving the ball quickly, moving the ball quickly. It gets to you, you have space, now you move with the ball quickly. Okay, you're dribbling, but there's speed, there's purpose, there's purpose to your movement and your intention. Okay, so you're playing with urgency. The only time you shouldn't be playing with urgency, like very direct. I'm not saying play rushed, but I'm saying play direct. Go for goals, try to get in the opposition's third.  Okay, let's say your team is winning 2-0 and instead of always trying to go forward, we want to try to go forward, but reality, we want to keep possession of the ball. Okay, there, you're not playing with as much urgency, but you're still moving the ball quickly. Okay, so think about making quicker decisions. How do you make quicker decisions? Try to know where you're going to pass before it gets to you. Now let's say you're this player. Most players, average players in this position, the ball is coming to them. They're not thinking about anything else. They're not thinking about where I'm going to move the ball next. All they're thinking about is this ball coming to them and receiving it.  By that time, it's taken too long. Even if you do get that ball there and no one intercepts it, it's taken way too long. It's allowed their whole team to shift and get behind the ball. Okay, so in reality, you need to know where that ball is going before you get it. Say that ball is played to you. You already know it's going there. You don't even have to take a touch. You just ping it there first time, okay?  You're looking around. You're making your decisions before the ball is played there. Now, if you are a smart player, you're not just going to pass that ball blindly because you know that's where it should go, okay?  Oh, maybe that's not on. Boom, I'll play this pass instead. Okay, but think about tempo, guys. It's all about speed of play. Can you play more one touch? Can you play more two-touch football? When you are on the ball and you are dribbling, are you doing it quickly with purpose playing very direct? If you can play with tempo every time you're on the field, you're going to be a much more successful player and you're going to play well much more consistently. My fourth step to success and playing well every time you're on the field and this one is so important is about concentration or focus on your positioning. What do you do when you don't have the ball at your feet? Okay, guess what? 90% of the game, you're not going to have the ball. If you like this content, check out the Soccer Success Planner. You can download it for free. There's a link in the description below. And for advanced training, check out the Online Soccer Academy.  Maybe even more. I don't know the exact statistic, but what do you do when you don't have the ball? You need to focus on your positioning. So let's get organized here. We'll be the red team. Okay, focus on your positioning. Where should you be? That's what you should always be asking yourself. In this situation, where should I be? And if you get in the habit of asking yourself, where should I be? I need to get there right away. Then you're going to be a much better player. Okay, and for most players, you don't start figuring this out until you get older. Why? Older players are usually really good at positioning because they don't have the energy to run around everywhere. So they just say, hey, I have to be really smart with my positioning. I have to put myself in the right situations. So I don't have to run as much. I can read the play better. And I can be more involved by doing less. And if you can adopt that mindset at a young age, obviously you're still going to add that energy. You're still going to add that work rate that we talked about. But now you're being smart with your movement. You're getting in the right positions.  Okay, so where should you be when the other team has the ball? Let's say in this situation, first man, closest man to the ball, I want you to press. Everyone else covers. Okay, so where should I be? Let's say, for example, this guy goes to press and we're all over here. Where should we be? We got to get covering. I know I have to get across. I know I have to come in here to cut this pass. I know I have to come in here to help. Okay, where should you be? The thing is most players, they just ball watch when we don't have possession. They're not actually thinking, where is the most beneficial position for my team that I should be in right now? All they're doing is just watching the ball. And they're saying, oh, you guys, you guys can handle it, right? No, don't give them time to hurt you. Don't let them get into here and then say, oh, now we should be back here. Okay, focus on your positioning. Where should you be? Every opportunity when you don't have the ball. Okay, if I'm up here, let's say we're like this and they're attacking us. Where should I be? I know I should be back here. So don't jog back there and say, oh, Johnny's got it. He's a good defender. No, get back. Okay, get in there as quickly as you can. Don't jog back. Sprint back. You know you should be there. Get there. You know you should be covering. Get there. You know you should be covering this guy's run. We'll get there. Okay, so when you don't have the ball, I want you to ask yourself more often, where should I be? Where is the best position for me to be? One other thing on ball watching, okay? So most players, let's say for example, this guy has the ball. We're just ball watching. This guy's making a run. This guy's making a run. And we're all just slowly like coming towards this ball or just watching this ball. And we're not thinking about the dangers of other players. So you want to always keep one eye on the ball and one eye on the player who is closest to you that might be dangerous and you should be marking. Okay, so yes, we do want to close these gaps and we do want to come closer to the ball. First man closes the ball. Next guy covers the pass, potential pass. Next guy, we're coming in to cover potential passes in here. He knows that this guy might get the ball, okay? So your positioning isn't always directly related to the ball. It's in fact the player that this guy might get the ball to, okay? So I have more videos about this on my channel and positioning especially for specific positions. Go to my channel and search for your position. You'll get a full tutorial on your position, where you should be on the ball, where you should be off the ball. But for now, just start asking yourself, where should I be? Who do I need to be marking? Where is the ball? And where do I need to be in relation to those two things? Am I there? I need to get there right away. And if you can do that, you're going to be much more effective defensively. You're going to help your team out a lot more. You're going to make more interceptions. You're going to be more involved in the play because you'll be able to read the play and react quicker than everyone else. The key to playing well consistently is react positively. Whatever happens on the field, you need to react positively. When things go bad, sadly, most players act negatively. The thing is you can always control how you respond to whatever happens. Not only on the field, but whatever happens in your life. You have the choice to make a positive reaction. So if you want to play well consistently, you need to react positively when things go wrong. So let's take a look at a couple examples. First of all, how do you react when you make mistakes? Let's say you have a bad touch. You miss a scoring opportunity. You give away possession and the other team scores. How do you react after that happens?  You start talking negatively to yourself to say, oh, why would I do that?  I suck. Okay. How does your play change? Do you just kick the ball away? Or do you hide in the play now because you don't want to have the ball on your feet? How do you react when you make mistakes?  You need to say, hey, that's not who I am. Yes, I made a mistake, but I'm going to learn from that mistake and I'm going to make a difference in this game. If I resulted in my team conceding, I made a mistake and my team got scored on. Well, guess what? I'm going to do something to score some goals on the other side, or I'm going to make sure that that never happens again during this game. How do you react? Do you pick your head up and do you believe in yourself in your ability to come back from that mistake? Or do you do what most people do and start hiding? Start losing their confidence. Start going down and down and body language is horrible. Okay. As soon as you make a mistake, try to get that ball back and get on the ball and make something happen. Play your way back into the game. How do you respond after you make mistakes? How do you respond after setbacks? So let's say your team gets scored against or the referee makes a bad call and gives the other team a penalty. Okay. How do you respond when there's setbacks against you or your team?  They start blaming other people. They start pointing at others and passing the blame. They start making excuses. They start giving up. If you like this content, check out the Soccer Success Planner. You can download it for free. There's a link in the description below. And for advanced training, check out the Online Soccer Academy. Start giving up. They started not playing as hard. They say, oh, everyone's against us. There's nothing we can do. The ref is against us. Okay. That's total BS. How do you react? You can't change the past. All you can do is focus on the future. So when things go against you, when there's setbacks against you or setbacks against your team, you can't control the past. All you can do is focus on the future. Do whatever you can to influence the rest of the game. Okay. If you're down 3-1, that doesn't matter. You can still come back and win 4-3. But only if you have that mindset and only if you react positively. And guess what? If you react positively to negative situations, you're going to affect the people around you. You're going to affect your teammates in a positive way. How do you respond when other people are involved? Let's say, for example, your teammates start yelling at you whenever you make a mistake or your coach gets really frustrated with you when you do something wrong on the field or maybe a player on the other team is trying to get in your head and tells you, you suck.  How do you react to those sorts of situations? Well, before we get into each one specifically, understand that you should not let other people affect your confidence. If you do, you're giving away your control. Your confidence should be totally under your control. If I know I'm a good player inside, right here in my mind, I know personally that I'm a good player. It doesn't matter what you say to me. It doesn't matter what he says to me. It doesn't matter what the media or the press says to me. It doesn't matter what anyone says to me because I believe in myself. That's all that matters. And I need the strength and the ability to block all that out. Okay, so when you make a mistake and your teammates or your coaches start yelling at you, don't let that affect you. Yes, if you made a mistake, analyze it. Say, okay, I did make a mistake there and I need to do something differently the next time.  You always make mistakes and start getting defensive. Okay, that's not going to help anyone. Be humble. Go inside yourself and say, yes, I did make a mistake. I need to be responsible for that and I need to do something differently, but I need to block that out and I can't control the past. I can only control the future. And I need to focus on playing well, okay? So how do you react when other people get involved? They start yelling at you, getting frustrated with you? That doesn't matter. You need to block that out and you need to focus on what you can control and that is being in the moment and doing whatever you can to help your team win the game.  Why do you even play soccer? Okay, again, you need to block that out. He's trying to do that because he's trying to get under your skin.  So if you know that, don't even give him the chance to get under your skin. Just laugh at him or smirk at him and then or don't even acknowledge him and just focus on playing your game. When he gets the ball, tackle him really hard, okay? Don't foul him or try to break his legs or anything, but make him screw up and show him that really he's the one that sucks in soccer, okay? Bring that hard work, bring that energy, use that against him and focus on playing your game. Don't get caught up in all that stuff. Just focus on yourself and reacting positively to whatever happens. I just realized I didn't do an outro or a little summary when I was recording that video, but basically if you can honestly do those five things every time you step on the field, you're gonna play well, okay? It's gonna be hard for you not to play well. The real issue here is if you're actually gonna be honest with yourself. So before every game, review those five things and tell yourself to do those five things. When you're in the game, remind yourself to do those five things and after the game, actually review and ask yourself, did I do these five things? Did I play well today? No, well, which one of these five things didn't I do or maybe I didn't do all of them? But if you can start to consistently do those five things, make them part of the player you are, every time you step on the field, you're gonna play well consistently. For myself, I don't really have bad games. Like some games I may not score and obviously I get a little frustrated with that and I try to fix that the next game. But even if I don't score, I'm still making an impact on the game. I'm still doing things defensively for my team. I'm still making things tick. I'm still moving the ball. I'm still playing a central role in the team. So if you can do those five things, I always do those five things and they work for me, I guarantee they're gonna work for you. You just have to be honest with yourself.


how organizations are trying to maintain the balance between what's coming new and what's stable that they can use for the next 10 years. Interestingly, we just released what we call DoraCore and the purpose of DoraCore is specifically to take our findings as a comprehensive look over the years and what are the things that we've continued to validate year over year and to formulate the core model. And so the purpose of that is, okay, you want to get started, you want to know what are things that we have found in the research, what are things that are tried and true in ways that you can apply the research to improvement now. And then if you want to go above and beyond that, you can take a look at the individual years because we study different things, different years, and then you can take a look at the individual models that we produce on a year to year basis. And you can use those to kind of do more experimentation and kind of go into different directions. But the purpose of core was to present that view of things that we've found and revalidated many times. Yeah, and those things that, you know, that Eric's talking about are really wonderfully useful maps for us to go to navigate when we're trying to navigate through the kind of change that you're talking about, Swap, right? And it's not, you know, you talk about technology change, which we can plainly see, but it's also organizational change that really is what we're navigating, you know, in professional services. So Carrick is a professional services company, an organization wanting to go to make any monumental change, you know, move over to GCP, move over to the cloud, move over to containerize, move over to a new way of doing their development processes, cannot look at just the technology that's involved, that needs to be there, obviously. But really what was really neat for me in the Dora report, and I think a lot of things that Eric, we're really lucky to have him with us, can help us understand better are, you know, what sets certain teams and organizations to be better positioned to take on change. What are the things that we have to go to do well in order to help the organization and the teams navigate through that change? And so I would really love it if during this time, while we have Eric, you know, we kind of dig into his insights into the organizational team and culture aspects that are covered in Dora in the Dora report that you can go to see for yourself. That'd be really cool for me.


Hello everyone, today we are going to see the programs using function call by value. Learning outcome at the end of this session, students will be able to write a C program using function call by value. Before watching this video, student must watch the following videos on the functions. In this session, we will see the problem statement. The problem statement is write a program in C to check whether a number can be expressed as sum of two prime numbers. So here we have to check whatever the given number is there, if we can express as a sum of two prime numbers. So here we will see the one example. So here the number is 16, the sum of that 16 number is what, 1 plus 15, so sum is 16. But here we have to check whether that 1 and 50 can be expressed as prime numbers. So here the 1 and 15 both are not prime numbers. So here we cannot express as a sum of two prime numbers. Now in the next you can see here 2 plus 14. So here the sum is 16, but here the 2 is prime number, but 14 is not a prime number. So here we cannot express as a sum of two prime numbers. Because here 14 is not a prime number. Now in the next here we can see the sum of two numbers is 3 and 13. The sum is 16, here both are the prime numbers. So here we can express as a sum of two prime numbers 3 and 13. Now in the next 4 plus 12 the sum is 16, but here 4 and 12 both are not a prime numbers. Now in the next the numbers are 5 and 11. So here the sum is 16, both 5 and 11 both are the prime numbers. So here we can express these numbers as a sum of two prime numbers. Now in the next 6 plus 10 the sum is 16, but here the 6 and 10 both are not a prime numbers. Now in the next the numbers are 7 and 9. The sum is 16, but here 7 is the prime number, but the 9 is not a prime number. So here the problem statement is we have to check the given number can be expressed as the sum of two prime numbers. So here we taken the example as number 16. So here the number 16 can be expressed as the sum of two numbers, two prime numbers for the numbers 3 and 13 and 5 and 11. Now next we see this program on the code block. So here first of all we have to write down this program using function. So here first of all we include the header phi, hash include stdio.h. Now next here we declare one function, the name of the function is the check prime and the return type of that function is the integer. The check prime function takes one parameter of type integer. So here we specify here int n. So this is the declaration of the function. Now next here we specify the main function. In the main function we declare the variables. So here the variables are of type integer. So here we require the three variables n, i and flag variables and all these are the type of integer. So here the flag variable is initialized with the value 0. Now next we use the printf statement. Printf statement it is used to display the message on the screen. So here we specify the message on the screen enter a positive integer. Means what? Phi we specify this message which number we have to specify as a sum of two prime numbers. That number we for that purpose here we specify the printf statement. In the printf statement we specify enter message enter a positive integer. Now that value is taken in the variable n by using the scanf function. Now the next statement is the scanf. Here we specify the format specify. Here the n variable is of type integer. So that is why here we specify the format specify %d and next we specify ampersand n. So here the value of that integer we stored in the variable n. Now next we use the, here we use the for loop. In the for loop we specify the iteration value i equal to 2. Here i variable is initialized to the 2. The condition is the loop is iterated till i is less than or equal to n divided by 2. And here the i value is incremented by 1. In the for loop we use the if statement. Here in the if statement we specify the check prime. Here we call the check prime function. Check prime and here we specify the value of that i variable. When this check prime value is returning the value 1 then and then only the next if statement will be executed. So here the next statement is the if check prime of n minus i. If it is equal to equal to 1 then we display the message on the screen that value is specified as the sum of 2 prime numbers and here we set the flag variable to the 1. So this if statement it is used for checking the number that is n minus i to be the prime numbers. So that is why here we specify the if statement. Now here we close the if statement and then next here we close the outer if statement and then we close the for loop. Now after that here we use again the if statement. Here we check if flag value equal to equal to 0 then we specify on the screen the message that percent the value cannot be expressed as a sum of 2 prime numbers and that value is stored in the n variable. So this is the code of the main function. Now next we see the code of the check prime function. So here the written type of the check prime function is integer. The name of the function is the check prime it takes the integer type value. Now here we use the here we declare the variables of type integer here we declare two variables i and is prime. So here is prime again it is used as a flag variable and here we initialize the value 1. Now here again we use the for loop for iterating the values. So here the i variable is initialized to the 2. And the condition is what i is less than or equal to n divided by 2 and here i variable is incrementing by 1. Here in the for loop we check the number is prime or not. So here in the if statement we specify n mod i if it is a equal to equal to 0 then in that means or that number is the factors. If it is a factors then here we check if n mod i equal to equal to 0 then here we specify the values 0 to the is prime variable and then we break that loop and come out of that loop. And after that after closing the for loop here we return the is prime value to the calling function. So here the calling function is the main function. So here that value is returning to the calling function main function. Now next we compile this program. Now next we run this program. So here in the screen this display the message enter a positive integer. So here we specify the number 4. So here the number 4 can be expressed as a sum of 2 prime numbers. So here the sum of 2 prime numbers are 2 and 2. So the sum is 4. So how this will be executed see here the n value is the 4. So first of all this printer statement will be executed. So here we enter the value 4 that value is stored in the n variable. Now next this for loop is executed for i equal to 2 i is less than equal to n divided by 2. So that next will be what here we enter in the for loop if check prime of i equal to equal to 1. So here the i value is what? Here i value is 2. So here the check prime of 2 the function is called. Now here the control is passed to the check prime function. So here the value is stored is 2. Now here first of all this for loop is executed i equal to 2 i is less than equal to n. So here the value of n is 2. So 2 divided by 2 the value is 1 and the i value is 2. 2 is less than equal to 1 the condition becomes false and here we are returning the value of each prime. So here the each prime value is 1. So here the value 1 is returning to the calling function means what here the main function. So here the check prime function running the value 1. So here in the if statement we check 1 equal to 1 yes the condition becomes true. Now the control is come inside the if statement again the here we called the check prime function for checking the n minus i value if it is a prime number. So again the check prime of n minus i. So here the n is what 4 and i is what 2 again the value is 2. So for that check prime function is called check prime of 2 again the function is called the control is passed to this check prime. Again this for loop is executed i equal to 2 i is less than equal to 2 divided by 2. Again the value the condition becomes false this loop is not executed again this return statement is executed and here we return this 1 value to the calling function. So here the 1 value is returning to the calling function and here we check 1 the check prime of whatever the value is returning so here the value is returning 1. So 1 equal to equal to 1 yes the condition becomes true. Now next the printf statement is executed percenty equal to percenty plus percenty. So here the first percenty value is n so here our n value is 4 equal to percenty plus percenty means what i and n minus i. So our i value is 2 so that is why here they specify the 2 value and n minus i also the value 2 so that is why here they specify the value 2. Now next here our flag variable is set to the value 1 and then we come out of the for loop. So again we run this program so in this way the program is executed here we specify the next number 16. So here the 16 number is specify the sum of 2 prime numbers 3 and 13 the sum is 16 and both are the prime numbers. Now next here 5 plus 11 both are the prime numbers and we specify as a sum of 2 prime numbers. After seeing this concept can you write a c code to check the prime numbers in an array pause this video and think about it. So here we have to check the prime numbers in an array. So this is the function so the written type of the function is the integer the name of the function is the it's prime it takes the of one parameter that is a num of type integer. Now here one we declare one integer type variable. Now here we use the for loop the for loop will started i equal to 2 i is less than num divided by 2 and after that i variable is incremented by 1. So here in the for loop we check if num mod by i equal to equal to 0 if it is equal to equal to 0 then here we set the flag variable to the 1 and then we break this loop and come out of the loop. And next after that we after calculating the factors of that numbers then here we check if the flag variable is equal to equal to 1 then here we are returning the value 0 to the calling function otherwise we are returning the value 1 to the calling function. So this is the function for checking the prime numbers in an array. These are the references thank you.


Stevenson winning in overtime in the semi-finals 4-3 Christian Taylor hero of the game Kyle Lightfoot only happened moments ago what's thrown running through your head how'd that goal go in oh I just I just went for the net blanked out shot the puck and it went in you know nothing more than that well you had two goals coming into this game two goals today what was just clicking for you today you know I had I have two very good line mates with Eric Olson and Jake Roberts you know helping me out just getting pucks to the end I just have to be in the right place how does it now feel to be in the championship game you know it's a great accomplishment for the team you know but like I told the boys job not done congrats on the win appreciate it thank you so much guys that's Kyle Lightfoot I'm Christian Taylor on GoMustankSports.com


Hello students, myself Ganesh B. Aglawe working as an assistant professor in department of mechanical engineering, Valchin Institute of Technology, Solopur. Hello students, I am Ganesh B. Aglawe working as an assistant professor in department of mechanical engineering, Valchin Institute of Technology, Solopur. In this session, we will see the carburetor, learning outcome. At the end of this session, students will be able to design air-fuel ratio for the carburetor. You know the function of carburetor is to supply the required air-fuel ratio to the engine depending upon the engine condition. Carburetor is performing two tasks. First one, as we have seen, it is mixing the fuel in the air and it is mixing the fuel in the air. So, this homogeneous mixture is prepared by the carburetor. And second task, that is nothing but the function is the metering of the air-fuel mixture. So, the controlling and mixing is performed the carburetor. So, do you know the location of the carburetor? Yes. So, if this is the fuel tank, this is the fuel tank and this is the air filter, air filter. So, the mass of air, mass of the air is coming from the air filter. It enters in one device. At the same time, the fuel is also flowing with the rate m dot f towards this device. So, this device is nothing but carburetor, is carburetor. So, after filtration, air will flow through the venturi and this fuel gets injected in the venturi, venturi of the carburetor. So, it becomes the mixture of air and fuel. And if we will take its mass ratio, it is called air-fuel ratio. And this mixture goes to the engine through the intake manifold, through intake manifold, it enters into the engine. Now, depending upon the rider's requirement or the driver's demand, this engine will take air-fuel ratio. Here, for the reference, we will consider the stoichiometric air-fuel ratio. This is the stoichiometric air-fuel ratio, which is 15.2. And in this mixture, if we will go on increasing the mass of air, then its value will go to the 16, 17, 18, 19 and so on. On the reverse side, if I reduce it, if I reduce the mass of air, then I may get the air-fuel ratio as 14, 13, 12, 11, 10, 9. I stopped at 9 in the left-hand side and at 19 on right-hand side. So, if the air-fuel ratio is increasing, it is called lean range. And if it is decreasing, the mixture is called rich mixture. Now, practically, it is observed that the rich mixture less than 9 is too rich to burn. Whereas, on the lean mixture side, if we will supply the homogeneous mixture greater than 19, then that range is too lean to burn. So, this is the practical air-fuel ratio, range of air-fuel ratio. So, what is the conclusion from this figure? The air-fuel ratio supplied by the carburetor to the engine must be in the range of 9 to 19. So, that the engine will be in the running condition. There will be proper combustion in the rich mixture side and in the lean mixture side. So, this is the practical values of the air-fuel ratio. Here, this carburetor will work during the suction stroke. During the suction stroke, what is happening? There is opening of the inlet wall. This inlet wall gets open. So, your inlet wall is opening at this location and this is the crank angle. Crank shaft is rotating. It has rotated by 180 degree during suction stroke. The carburetor is going to supply this mixture during suction stroke. At this point, suppose point number b, your inlet wall closes. Then, as we know after the suction stroke, which is the next stroke, compression stroke. So, next is the compression stroke. Means what? The working of carburetor is during suction stroke. During this suction stroke, your carburetor works and it supplies the required mixture to this engine. Now, what is the stoichiometric air-fuel ratio? The stoichiometric air-fuel ratio means the minimum mass of air required to burn the fuel, to burn the fuel completely. So, there will be for complete combustion reaction, there will be two products only. First product is CO2. Second product will be H2O. Obviously, this will be in the gases form. So, this is all about the mixture requirement during the different stages of the engine. Now, which are the different stages of the engine? So, first stage is suppose acceleration. The acceleration stage of the engine will demand reach mixture. Whenever suppose you want to overtake, you want to increase the speed of the engine, then this carburetor should supply the reach mixture to the engine. Second stage of the engine is idling. Idling means your engine is running, but vehicle is not moving. So, the mass of fuel injected during the idling should be minimum enough to have to overcome the frictional power that I will explain over here now. Now, during idling once again, the engine will demand reach mixture. See here, if this is the indicated power, this is the frictional power, this is the brake power. During idling, the brake power is equal to 0, because engine is just running. To keep it in running condition, the indicated power should be equal to frictional power. So, to overcome the friction, the mass of fuel is to be injected, not more than that. Next stage of the engine is normal running. So, during normal running, the carburetor should supply the lean mixture. So, these are the different airfield ratios and the working of the carburetor we have seen over here, so that your engine will be always in running condition and it will satisfy the driver's requirements. It will satisfy the different stages, conditions of the engine. For further study, you can refer internal combustion engines by H N Gupta. Thank you.


It's hard to admit. But mushrooms never really told me to go vegan. Yes, big shocker, but it's true. Mushrooms never explicitly told me, Bobby, you have to go vegan. That wasn't it. I had visions of all-encompassing unconditional love. I had visions of Jesus telling me that saving the life of a little frog is just as valuable as saving the life of a human. In those experiences, I saw that life has equal value and that we as humans like to label and that we as humans in that human perception, obviously, will value humans over animals. But universally speaking, that doesn't matter. But again, there was not a message of me going vegan because of it. It was about acknowledging that life and respecting it. Protecting it even. Because that was so, I was interpreting veganism into the mushroom messages. I saw unity. I saw that everything was interconnected. I saw that I was eating the other. And the other was me. I had those epiphanies, if you will. And because of that, I went vegan. But yet again, never did the mushroom tell me to go vegan.  During those psychedelic experiences, I had a vision of a vegan-ish future. But I had visions of transcending humanity as well. I saw us not being human anymore, similar to grey aliens, if you will. Transcendent beings. Transhumans. And in that state, we were able to not eat flesh anymore. But it never told me that the human body is able to live only of plants. That is the dilemma that we are facing as humans. That is the duality that we live as humans. That is the suffering that we endure as humans. To love something so deeply and to have to kill it in order to be healthy.  That is a harsh reality. That is a really harsh reality. It is easy to live in bliss and ignorance and to just eat meat to not reflect upon it. But once you went so deep, so deep into your own subconscious, so deep into the realms of compassion, unity and love, you went vegan because of it. To drop that label and to ingest the other is the hardest thing I've ever done. That is the truth. And I know that the vegans will blame me forever basically. They will blame and shame me forever. But only I know how vegan I was. I will always be vegan in my heart. I never wanted to kill. You have to understand that. But it is about the acceptance of the whole. It is about the understanding of the whole picture. Where is light there will be shadows. The darkness is an intrinsic part of this experience. Not only the human experience, but this experience that we call life. Somebody blamed me and told me that calling my podcast on the main channel beyond veganism is condescending. And that puts me into a position where I think I'm better than a vegan. No, I do not think that I'm better than anybody because one particular trait does not define a human being. But veganism for me if you want to label that experience was that experience and that one is in the personal. And we are transcending it. We are moving beyond it of course. For somebody else veganism can come in a late stage of life. I heard about people going vegan in their 60s and 70s. And for them it is the last dietary shift and that is great. Enjoy. For me it happened in my 20s. And I transcended it. I came to the conclusion that I cannot live my life like this. I cannot live my life like this in my 30s being malnourished. Mushrooms did not turn me vegan. Mushrooms gave me visions about all of those factors in life. That was an aspect of this multi-dimensional reality. It is not the whole picture. It was crucial for me to understand back then. And I learned the lesson. Now it is time to learn another lesson. Now I'm in Macedonia. Now I'm going to hunt.  For me it is all about being congruent in life. For me it is all about being aligned with my own values and choices. I chose to eat meat and hence I will have to kill. I will have to face those fears. The fears of the animal and my fears. And I will have to embed myself in that cycle of life and death.


Hello everyone. Myself Dr. Vishwabhi Singh, I am a junior resident, third year from Dr. D. Y. Patel Medical College and today I will be presenting a case series on intercranial lipomas which are prepared under the guidance of Dr. Jacob Deeson, assistant professor D. Y. Patel Medical College. So the aim is to present a pictographic review of the spectrum of intercranial lipoma and to describe other associated anomalies and features with it. The method was retrospectively, we took cases with CT MRI reports stating intercranial lipomas from a PAX and the key magic characteristics related to intercranial lipoma and associated anomalies were recorded. So starting with my first case on T1's cycle section, we see a well defined lesion in the frontal area. This appears T1 hyper intense, T2 hyper intense and appears hyper intense on T1 fat set. The lesion is causing posterior displacement of the association fibres and we can see on flare that there is ventricleomegaly. So here the corpus callusum in T1's arch is not well visualized, we can only see the gostrum and genu and the body isthomas and sphenium cannot be visualized. We can see multiple linear hyper intensities extending from the lipoma through a small boony defect in the frontal bone to the superficial or subcutaneous plane which shows another T1 weighted hyper intensity lipoma and here we see it to be a partial adhesive of the corpus callusum with extra cranial extension and we see corpus felae. The same lesion on SWI shows peripheral signal dropout. On pre and post contrast there is no enhancement and on CT imaging we see that is the lesion is hypodense corresponding to low-city attenuation value of fat. Case 2, we see another lesion in the intramasphiric vision with extension into the right ventricle as seen on T1 core images. The corpus callusum is not well visualized and on fat side imaging it shows hyper intensity. There is glooming seen on GRE sequence which can be due to pericylic calcification.  Coming to Case 3, here on T1 SAG and transfer section we can see a curvilinear lipoma in the posterior portion of the corpus callusum here and on transfer section we see curvilinear lipoma in the posterior portion of the corpus callusum. We can see another soft tissue density extending from the small bony defect which could be a meningoencephalocene. On CT attenuation we can see that the region corresponds to low CT attenuation value of fat. Case 4, we can see T1 weighted hyper density along the corpus callusum and in feed to the spleenium the same on axial section can be seen in the corpus callusum region. It shows signal dropout on SWI images and correspondingly guide images on face. Case 5, again we see another pericylocal linear hyperintensity which shows hyperintense signal on transfer section as well and signal dropout on SWI images. Case 6, we see a well defined hypodense lesion in the false cerebri which is a false lipoma. Then again in case 7 we can see a well defined hyperintense signal in the right cortygeminal system corresponding to cortygeminal plate lipoma. Then in case 8 we can see a triangular shaped hyperintensity, well defined hyperintensity in the cribriform plate which is a corresponding to cribriform lipoma. We have a case summary and in this we can see that the first three cases in the first which we saw corpus callusum lipoma with excreta extension. There was partial adgenesis of corpus callusum along with corpus epheli then in the second case periclosal inter hemispheric lipoma with partial adgenesis of corpus callusum and intravetricular lipoma. Then in third we saw curviline lipoma with meninguensia phyllocea and the other cases did not have any associated abnormally. Coming to the discussion part we know that inter canal lipomas are tumors as such are not tumors as such but rather result of abnormal differentiation of the embryology, embryological meninges primitive they are frequently associated with abnormal development of adjacent structures and location wise these can be distributed anywhere but there are certain regions which are more characteristic. For example periclosal lipoma 45% of the times which is associated with adgenesis of the corpus callusum as we saw in the first two cases and it can be divided into two types morphologically that is tubonodular and curvilinear. Then we have cortigeminal cisterns 25% of the cases then we have supracellous cistern lipoma 15% in cerebellum pontine angle lipomas there is facial nerve and vestibular nerve start traversing through the lipoma and there are sylvian and porat praxis lipoma which is which are quite rare. So on CT they typically appear as a non enhancing mass with uniform fat density as they have negative CT innovation value it has a low belated soft mass appearance conforming to adjacent anatomy and there might be some peripheral classification. On MRI it appears as a MRI T1 hyper intense T2 hyper intense and there is no enhancement on post contrast on fat set it is hyper intense and they might be blooming on SWI sequencing due to susceptibility artifact. Differential diagnosis is essentially those masses which are fat for example intracranial dermoid, intracranial teratoma or there is lipomatous transformation of neoplasms like P net which is primitive in user endocrine tumor appendymoma or glaioma. On MRI if fat set is not available then we will have to consider other possibilities which have high T1 signal for example thombost baryanodism or white epitome white which is rare and will give diffusion restriction on DWI images. These are my references. Thank you.


In here, we have Microsoft Excel 2011 version for the Mac. It looks a bit different from the Windows version. And we'll try and discuss both of these. It comes as part of Microsoft Office. So if you have Word installed, many people are familiar with Word. You'll probably also have Excel. It's a spreadsheet package. And many people are not familiar with this, but it is so useful and actually so easy to learn. I'm not going to go through everything and teach you Excel, but as we start doing the statistics, one or two things will become familiar to you. As we start using it, you'll get familiar with the use of Microsoft Excel. So as with most software packages, we'll have this menu bar at the top and every time I click on one of these, a different part of what is called the ribbon opens. And this ribbon has various parts to it. If I look there, there'll be table options, table styles, cells. So there's these various little sections under each of these tabs. So there are charts. The chart ribbon opens and under charts, I'll have insert chart and some of the options there. I'll have insert sparklines and some of the options there. It's just a way Microsoft, what didn't want to say invent, but what they use instead of just these drill down menus, everything I find here, I can just go to the menus up top, the old fashioned style of things that we used to. Now this is just a different way of getting to everything that is available. More neatly grouped and set out. It actually works quite well. So most of the time it'll be in the home menu there. There's your edit block there, which is copy and paste sort of thing. Font menu if you want to change the size on top of your font, the color, the color of the blocks, alignments. Many of these things will be quite the same as it is in Microsoft Word. Most importantly though, we come down to these cells. It's a grid pattern arranged in rows and columns. So here down, we'll see one, two, three, four, five. So this one refers to, if I click on it, this whole row, row one, row two, row three. And at the top columns, column A, column B, column C. See if I hover over that a little downward facing arrow appears and I can actually click on it and it'll highlight that whole column. Which means by row and column, well here it's actually by column and row, I can give an address to each of these little cells. So if I click there, that would be cell A1. If I click there, it will be cell D6. So every cell has an address and it is this ability to give an address to all your data that makes spreadsheet software so powerful. How do I enter data? Well, I simply just start typing. So for instance, I have two groups of patients that I want to do some research on. I'll simply start typing group A in the one. Now if I hit enter, now I just typed as I would in Microsoft Word and I typed right there in the cell. But once I've clicked on the cell, I can also enter things in this little bar here. It's exactly the same thing. And I can accept it or reject it by this green little icon here or this red icon. You can cancel whatever I've typed in there. Or while I'm in there, I can just hit the enter key. Now look, if I hit enter, I jump to the next cell down. Now I can just either click in the cell next door or if I was there, I can just use the arrow keys on my keyboard, one to the right and one up and now I'm there. And I start typing group B. Instead of typing it there, I'll type it here. So it remembers that I'm still on B1 and if I type here group B and accept it there, it'll stay on there. So for instance, let's say for argument's sake we're dealing with white blood cell counts. So I'm going to start typing in all my group A patients. They've admitted patient number one had an white cell count of 13,1 drop down. Now be very careful with this commas and full stops. It depends how your MAC is set up. If it's standard out the box, it'll use commas when it wants to delineate integer values to the left and decimals to the right. 13 being the integer, comma 1 the decimal. You can set up your MAC differently in your preferences panel and you can set it to full stop in Microsoft. Windows versions of Excel will automatically use the full stop there. Be very, very careful. Mine is still out the box so it still has the comma. Next patient had a white cell count of 13,4. 14,4 let's make it. Now remember if I hit enter I was going to jump one cell down but right then I can use the right arrow key and it'll jump to the cell across from there. So after typing in whatever you want you can just move the arrow key to the side where you want to go next. There's some other shortcuts as well holding in shift or control or command, there's all sorts of different ones. Let's say under group B I had 14,1 and now down arrow 15,9. Oops, now look at this. What to do now?  Now I'll have to retype the whole thing 15,9. But what if it was 14,9? I want to go back and change that 5 to a 4. If I hit the backspace now or I'm going to jump to that cell instead of the normal word document where I'll just move inside of what I was typing to the left. So let's move back there. You have to either make the correction up here so if I clicked in there and said back arrow, back arrow, back arrow I was going to get to that 5. Okay, that's one way. The other way is if I go into the cell and I hold down the control key on the Mac and you. Now I've entered what is called edit mode. Now if I use the back arrows and the forward arrows I move inside of there to make my change and I'll say backspace 4 and if I now hit enter it'll accept that. So you have to hit control and you while in a cell to use your arrow keys to move around.  Now on Windows that's different. You simply hit the F2 key. At the top of your keyboard F2 and you enter edit mode not so on the Mac you have to control you. Now let's just move there. Let's type in another value 12 comma 1 and we'll have 10 comma 5 and then here we'll just type in 16 comma 1. You see definitely group 2. What's the group with the higher values? Let's have 13 comma 6. Now what about our very first statistical analysis we want to do and that is usually to get the mean otherwise known as the average. So I have four values there. What can I do? How can I add them very quickly? Now there are different ways and this is the power of spreadsheet software. I can simply do calculations called formulas by starting things off with an equal sign. So I'm in a cell there and I'm going to write equal. Now I could type in 13 comma 1 plus 14 comma 4 plus 12 comma 1 plus 10 comma 5 the whole thing. That takes so long. What if I had my equal sign there the cell is still highlighted but I move up and I click in the cell and look it says A2. So lo and behold now says plus A2 and I say plus and I click on the next one that's A3 plus I click in the next one that's A4 and I'm just hitting the plus on my keyboard shift and equal which is plus and I click in that one and now if I hit enter it's added up all of them for me. It's added them all up for me.  Remember the addresses of these cells. But what if I wanted to get the average? Well there's four values there so I'll just sum them up and divide it by four. So how would I do that? Well in that cell again I'm going to hit control U to enter edit mode. Now I can use my arrow keys. So remember the order of arithmetic operations I'll have to put into the front and to the back and putting parentheses around it so that that gets executed first and then divide by four. Boom and there we have the average of those four values is 12.525. Now I want to show you a bit of magic. If you clicked on that cell and you see there's a little block at the bottom there. If I hover my mouse cursor right there and I hold it in I don't let go and I drag it across and the cell next to it highlights and then I let go. Lo and behold I get another value there. If I go into that value look what it says at the top or if I enter control U I go into edit mode look what it did. It now has B2, B3, B4 and B5 nicely color coded so you can see what it refers to so you can see I'm adding all of this in parentheses so that happens first then divide by four so I'm actually getting the average of that I didn't type anything now just to get out of there I'm just going to hit the escape bar the escape key I should say escape means you leave the edit mode and everything is done so how did this work it's called referencing these cells and it's that what it's doing is it's not saying there A2, A3, A4, A5 what it's doing behind the scenes it's saying go 1, 2, 3, 4, 5, 6 blocks up and then go 1, 2, 3, 4, 5 blocks up and then go 1, 2, 3, 4 up that's what it does it does not keep in its memory the actual values A4 it's just a reference to relatively relative to where this formula gets executed relative to that relative addressing it's so many blocks away from that so when I drag this across this new cell still said so many blocks above so many cells above so many cells above so many cells above so it was relative to where we are now now we're here we're not there anymore we're now here relative to this one so many blocks up would now be B2 and B3 and B4 and B5 so that's beautiful instead of having to retype stuff if I've used addressing like this relative it's just a relative to the cell if I now move things across so see that change and then moved it across it will do the same thing as it had before it will copy it but the relative referencing the relative address relative to this one up so many cells now it will do exactly the same thing so that is called a formula actually type in A2 A3 A4 A5 divided by 4 now let me introduce you to functions I can type in equals and there are hundreds of these functions now look at this I'm going to type average A-V-E-R-A-G-E and it actually popped up there so I can actually double click on it I needn't but let's do that because it's a nice little tool tip you'll see there's all sorts of other ones but that's the one I want I double click on average now I should not have done that double click just a single click would have sufficed and it says to me here number one, number two so what I can actually do is while I'm in between those two parentheses there I click on that first cell and hold it in and drag it down now look at that it now says average A2 colon A5 it is a magical word I'm using a key word to do a certain function I'm going to average all of those values if I hit enter now lo and behold exactly the same thing 12.5 to 5, isn't that magic now I'm making use of a relative cell references I'm going to click on there go to that little block in the corner my arrow changes I hold it in, hold the mouse click in drag it across to where I want it let go and let's click away and let's click back there and look at that average B2 colon B5 it just means B2 to B5 that whole lot there if I go back there and hit control U to go to edit mode you'll see B2BB5 is colored in that is what it is averaging on so that's beautiful instead of having to do everything I can type in a keyword and there are hundreds of keywords and a lot of statistical keywords for me just to do that another important one is discount let's practice with that lower case, I can do lower case so start writing count, there it is I'm just going to do one click on it and immediately puts both parentheses there for me and I'm also just going to go highlight all of those I clicked on the first one and drag let go, hit enter and it counts 4, there were 4 values again across to this side there were 4 values this is the beauty and power of statistical analysis you can well imagine now how you could type in all the values of the patients that you want to do your research on and how you can do statistical analysis and all of that you can already do average so this was an introduction to spreadsheet software and despite doing a few simple things I hope you've already become familiar with at least some of the aspects of spreadsheet software now there is a little bonus video in this playlist, bonus 01 actually 2 versions of it you can watch it watch the one with a stat plus video attached to it, it actually says so in the name of the video and in it I'll just discuss the p-value and show you a little bit of the statistical analysis that you can do on 2 columns of data here say for instance with group A and group B and how to quickly develop a p-value from there but that's a bonus it jumps ahead of time but it's also a nice video to give you an intuition as to what the p-value really is I'm jumping the gun completely but if you have some time watch that video


Hey everybody, Dr. O here, in this video we're going to talk about the four mechanisms of heat exchange or heat transfer. So as you can see we have radiation, evaporation, convection and conduction. So they all work in a very similar method and that is that heat is going to flow from where there's a high concentration of it to a low concentration. The four different methods or mechanisms of heat transfer just have to do with directly how it's done. So let's look at each one of them. So let's start here with conduction. So conduction is going to be the transfer of heat between two objects that are touching each other. So here we see, you can guess by looking at this picture, that the warm tea, warm coffee, whatever's in there is going to transfer that heat from the mug into the fingers. So your fingers are going to be warm if you're holding, mine's in a thermos, but if you're holding warm water, I think it's generally more with seats, right?  So that's conduction when two things come in direct contact with each other. This is only going to be about 3% of the heat transfer that occurs with humans. So it's not a huge deal. Next we have convection. So you see here, the wind is blowing here. If you imagine you have a fan blowing in your face, this kind of thing. Convection is going to be responsible for about 15% of the heat loss from a human body. Remember where this heat comes from, just our metabolism generates it. So this is going to be, the air surrounding us is going to carry heat away from us if the air is cooler than our bodies. So if you think about it, I think about this with windshield, right? Why is it colder when it's windy? Well, we kind of have a blanket of warmth around us and what the wind does is blows that blanket off and that's why it's so much colder when it's windy. So the wind chill would be an example of increased convection, moving this warm air away from our bodies so we're surrounded by cooler air making this colder, at least that's what I think of with convection. So still not a huge deal. The next two, the last two are the ones that we pay the most attention to. And the first is radiation. This is going to be by far the most common way that your body loses heat is through radiation. So radiation is the transfer of heat through infrared rays. You see a picture of the sun here. So the sun is basically radiating us. If you're outside, I think about like in the middle of July or August or something and you're outside and it feels like the sun is literally beating down your neck because on these really sunny days that heat and radiation from the sun is actually transferring heat into you and warming you up. So we're all basically radiators. Just like a radiator in a room can warm a room up. We're basically radiators which is why if you put a large group of people together the temperature in the room would go up because we're all just sitting here furnaces just pouring out heat. So remember that radiation is the key way that we lose body heat and that's why. We just radiate into our environment with infrared rays. This is also why if you use infrared cameras you can see us because we light up because of this infrared energy being released from our bodies. And lastly we have evaporation. So normally evaporation is around 20% of the heat that's lost by a human body, especially so I would say the key thing here is radiation is the key way we lose body heat. But evaporation is the key way we cool down. So if we're overheating because it's hot out or we're exercising, evaporation or maybe it's better to call it sweat evaporation is the main way that we cool our bodies off. We do it with the fact that it takes a lot of energy to vaporize water, to remove water and evaporate it into the environment and as it does so it's going to pull a lot of water with it. Now that's how sweating works but the key with sweat besides the fact that it's the primary way we cool our bodies down when we're exercising is sweat evaporation is going to be dependent on humidity. In a low humidity situation or environment almost all the sweat you produce will be evaporated and take heat with it. But if it's humid there's already so much moisture in the atmosphere that your sweat is going to pull off of you rather than being evaporated. This is why it's up to you know they say it's up to 27 times harder to cool your body down when it's humid and we all know that 90 degrees with low humidity doesn't feel anything like 90 degrees with high humidity and that's why if you're concerned about dehydration or losing too many electrolytes super important the more humid it is the more liquid you can consume. You can lose two three thousand milligrams of sodium in an hour from sweating but if you're if you're sweating and it's not being evaporated which means that you're sweating and it's not cooling you off your body's going to generate more and more sweat. So in a human environment you make way more sweat but it's actually less effective and that's why you got to be careful with dehydration because and then if you stop sweating that's when you get in serious concerns with heat stroke because without this process how are you going to cool your body and your core temperatures go into climb and that could be life threatening. Alright so those are the four mechanisms of heat transfer just remember that radiation is the primary one and then evaporation or sweat evaporation is the primary way we cool if we're exercising or we're getting hot. I hope this helps. Have a wonderful day. Be blessed.


In this video, we're going to be talking about everybody's favorite couple, Jenna Marbles and Julian Salomita. But this is going to be a great video for anybody who struggles with symptoms of ADHD, as well as anybody who might have a loved one who struggles with symptoms of ADHD. What is up everybody? This is Chris from the Rewired Soul where we talk about the problem, but focus on the solution. And if you're new to my channel, my channel is all about mental health. And what I like to do is pull different topics from the YouTube community to try to teach you how to improve your mental and emotional well-being or how to help somebody you know who is trying to improve their mental and emotional well-being. So if you're into that stuff, make sure you subscribe and ring that notification bell. And real quick, you guys, we're getting so close, so close on Instagram to getting to the 10,000 follower goal so I can get the little swipe up feature. Every time I post to my stories, I'm like, man, this would be so much easier if I could just let people swipe up. So if you haven't followed me yet, go follow me at the Rewired Soul. And a lot of people, like I just posted this picture with my beautiful girlfriend, Tristan. We went to go see that movie, Glass. Great movie. No spoilers. Go watch it. But anyways, a lot of you are like, oh, there she is. She's in a lot of my pictures. Just go scroll through my feed. You'll find them. But anyways, let's talk about Jenna Marbles and Julien Salimita. So after my last video about Jenna Marbles and Julien, people were saying, like, you'd get more insight to their relationship if you listen to their podcast. So I'm like, okay. So Tristan and I, we were helping a friend pack up because they're moving. And on the way back home, I was like, okay, let's listen to this new Jenna Marbles podcast with Julien. And so we started listening to it and they were like looking up, like, like Google's most searched questions about them. And it was funny. Those two are hilarious. But anyways, one of the top searched questions for Julien is, does Julien Salimita have ADHD? Right. So they started talking about it. And here's that clip. Does Julien Salimita have ADHD? Not diagnosed per se, but I think I might have a little bit. No. A little like maybe ADD, but you do not have ADHD. Yeah. Maybe ADD. I'm told by people who can say that sort of thing that I have not like diagnosable levels of ADD, but I do have like a little bit of it. So the first thing, the first thing that we're going to talk about is symptoms versus diagnosis. All right. Symptoms versus diagnosis. So about a month ago, I think it was, I made a video talking about how everybody has borderline personality disorder. And basically what I was talking about is how even if you're not diagnosed with borderline personality disorder, a lot of people can relate to these symptoms. So when we're trying to increase awareness and decrease the stigma when it comes to mental health, it's important to understand that a lot of people can identify with the symptoms of various forms of mental illness, even if you don't have a diagnosis. All right. For example, for example, you might have a lack of motivation. This is a symptom of depression, but it doesn't mean that you would be diagnosed with depression.  So you have to meet a certain amount of symptoms to be diagnosed with a mental illness. So again, you might have a symptom of depression, but you wouldn't be diagnosed with depression. It's much like physical illness.  But anyways, let's look at some of the symptoms from the DSM of ADHD, right? So one of them is inattention, and then there's hyperactivity and impulsivity, but under inattention, there's a bunch of different little categories, like often fails to give close attention to details, or makes careless mistakes, or often has difficulty sustaining attention in tasks or play activities, often does not seem to listen when spoken to directly. And there's a whole bunch of them in here. All right. So something that they brought up, which was ADHD versus ADD. And this is something that's been kind of changing in the dialogue or the naming of ADHD or ADD. So there's some people who don't even use the term ADD anymore, right? But ADD, what they say is like a subtype of ADHD. So ADHD, attention deficit hyperactive disorder, this is somebody who's like fidgety and moves around and all that kind of stuff. And then there's ADD, which is just attention deficit disorder, where most of it is the inability to maintain their attention, right?  One of the best channels, by the way, on YouTube about ADHD. Like I get a lot of people who ask me about managing symptoms of ADHD. Go check out the channel HowToADHD. She is awesome, runs an amazing channel. It's all about ADHD. She is somebody who lives with it and she like brings like different doctors and things like that and psychiatrists to discuss ADHD and what'll help. And she's really fun. Go check her channel out HowToADHD, right? But anyways, something that I think is really important to understand about ADHD and this is something that I learned when doing research about it, is that a lot of people have this misconception that ADHD means that people cannot hold their attention or their focus on something, right? So this is why Julian talks about having symptoms of ADHD and him and Jenna Marbles talk about this, right? Because it seems like he's kind of like all over the place and he can't hold his attention on something and things like that. Like if you watch their videos where they're like cooking in the kitchen or they're doing something like you see it, right? But anyway, something that I learned about ADHD, which helped me understand the concept of it a little bit more is ADHD isn't isn't necessarily a lack of attention. It's actually having like a hyper focused attention, just not on what you should be focusing on, right? So people with ADHD actually have a lot of amazing skills when they have something that they're interested in, they hyper focus on it, right? So the problem is, especially when you look at, you know, young people who are in school or whatever, they're just not interested in that subject. So say they're in an English class, right? And they don't really care about English or history or whatever it is, but they're really into science, right? So when they're in a science class, they might be like the perfect child because they are hyper focused on science because it's something that gets their attention. So something that people with ADHD struggle with is executive functioning, which comes from that prefrontal cortex I keep teaching you all about. So they hyper focus on something. So typically what happens when they're supposed to be focusing or paying attention on something, it's like they have this itch that they need to scratch, right? So they have to do something else. And this is like a feeling that they get and it can start to make them very antsy unless they do that thing. So remember ADHD isn't necessarily a lack of attention. It's just hyper focusing on something that isn't the task at hand. Now, Jenna and Julian just did a video over on Jenna Marble's channel about doing abstract painting. And by the way, this is something that like Tristan loves. She absolutely loves it. She says it's very calming and relaxing. Like, so I don't know, like, if you're into that, like, go check it out. Like for me, I'm just sitting there. I'm just like, huh? But everybody has different ways of like calming down, relaxing, whatever it is. So like, if you want to check it out, go check it out. But anyways, Jenna and Julian decided to do it themselves. And they said something very, very interesting, or Julian rather said something very, very interesting when they started making these paintings. I really like all of yours. We can hang yours in the house. Mine are not allowed to be hung in the house. Why would you say that? I don't know, because I needed to make them and get them out of my consciousness. But they're they're I'm all set. You used these paintings as an opportunity to let out your inner out of control. I was the exact opposite. Like it honed me down into a normal, well-behaved person while I was painting. Exactly, exactly. So if you are somebody who struggles with symptoms of ADHD or you're diagnosed with ADHD, it's important to find activities like this that calm your mind. Right. Again, ADHD, a hyper focuses on something. So do you know what they were doing? Do you know what happened to Julian in that moment right there? He was being mindful. All right. So the definition of mindfulness is paying attention on purpose in the present moment, you know, without judgment, right? So what happens is, is you're like in this zone. OK, and it could be with anything. That's what I'm trying to teach you guys. Like mindfulness meditation isn't necessarily a formal meditation where you sit with your eyes closed. OK, like this can be anything where you get into that zone and you're just fully attentive on something. So what Julian was talking about was doing this, he was fully focused on it and it was calming him down. So my suggestion to all of you is find different activities that help you get in that zone. Like if you're somebody who is like fidgety and sitting down and doing a formal meditation, isn't your thing, find something else. Like here's the thing that you need to understand. Many, many, many studies have proven that mindfulness meditation on a regular basis in whatever form you choose helps to decrease symptoms of ADHD. This is one of the reasons why it bums me out that so many kids like doctors just throw medications at them and say, here, it takes an Adderall here, take some Ritalin without trying these other methods first. Now, some doctors do, I'm not saying all doctors, but there are many ways to train the part of the brain that is responsible for concentration. One of my favorite meditation teachers, his name is Shenzhen Yang. And when he talks about mindfulness meditation, one of the key skills that you develop is concentration power, right? So, for example, even a boring meditation, it's not boring for me, but when I say it, it sounds boring, focusing on the breath, all right? Focusing on the breath. And every time you get a thought, you focus back on the breath. Thought, breath, thought, breath, thought, breath, all right? The analogy I give is I think about my mom. My mom has this gigantic dog named Imani, huge dog, right? And when I first got sober, I had to walk this dog and she's huge.  And she was a puppy back then, like I think like a year old. Anyways, I would go to Walker and she would she would lead in front of me and and yank the the leash and things like that. So when she would do that, I would just give it a little tug, right? And she'd be like, whoa, right? And then I was walking her regularly, like every day for a few months. And what I started to notice was rather than her leading me, she started walking right beside me. This is a lot like meditation, right? You have to train your brain.  I know right now you're thinking like, dang, Chris, you find some sick analogies. Don't worry, baby. I know. All right. But anyways, anyways, I wanted to use this as an example to show you that anything that you're already like able to get in the zone on or pay very close attention to this is a form of mindfulness meditation. All right. Mindfulness comes in many, many forms. Find the form that works for you and start training your mind. All right. But anyways, if for anybody out there who either a struggles with symptoms of ADHD or B has a loved one who struggles with symptoms with ADHD, let's have a conversation down below about what helps with managing those symptoms. All right. But anyways, that's all I got for this video. If you like this video, please give it a thumbs up. If you're new, make sure you subscribe and ring that notification bell because I make a ton of videos and a huge, huge thank you to everybody supporting the channel over on Patreon. You're all amazing. And if you would like to sign up for Patreon and get exclusive perks like one on ones with me or group calls or exclusive videos or all that stuff, click the top of that Patreon icon right there. All right. Thanks so much for watching. I'll see you next time.


Take me to church.  I'll tell you my sins so you can sharpen your knife. Offer me my deathless death.  No masters or kings. When the ritual begins, there's no sweeter innocence than our gentle sin. In the Madison soil of that sad earth we've seen, only then I am human, only then I am clean. There is this AI that can generate music in the style of famous singers. It can make a rapping Bruno Mars, a rock and roll Katy Perry, and so much more. But how does it do this? We're going to try to reconstruct this model intuitively and get into more details as we go in. Doesn't matter how much you know about AI, you should just be able to walk away with some knowledge of how this works at any level of detail. So let's get started. So in the first pass we'll build this intuitively. We have this AI that takes in some lyrics, a genre and an artist, and it generates a song. And it does so in fixed size chunks. The AI generates a chunk, it can then take this chunk and use it to generate the next chunk of audio, and it repeats this until we get the entire song. This type of AI model takes in an audio sequence and generates the next audio sequence, and hence it is a sequence-to-sequence model. In deep learning literature, transformer neural networks are the best at dealing with sequence data, at least for now. So we can replace the AI model with a transformer neural network. Pretty cool. But we run into a problem when building this out. This raw audio waveform, it's huge. You've seen songs on CDs have a sampling rate like 44.1 kHz. That means that we use 44,100 numbers just to represent one second of audio. It's far too big for our model to handle, so we need to compress the waveform while retaining the key aspects of the music. And this compression is done through a type of neural network architecture called an autoencoder. This autoencoder network can take in a raw waveform and learn to compress it. And it can also learn to take a compressed audio and learn to decompress it back to the original waveform. The jukebox uses the autoencoder and transformer together. And we build this jukebox in two phases, training and generation. During the training phase, we train the autoencoder to compress and decompress audio. And then we train the transformer to take in some information about the song to generate and train it to generate a compressed vector representation of the song, one chunk at a time. During the generation phase, though, we use both of them together. Pass in the lyrics, genre and artist to the transformer and have it generate the compressed vector, one audio chunk at a time. And we can pass each of these compressed vectors through the autoencoder to get back the raw audio waveforms. Stitch them together and we have the generated song. If we build our jukebox out in this way, it might sound something like this. Hey jukebox, have the anonymous celebrity rap to lose yourself by Eminem. Ah, music to my ears. It sounds like this because we built this only based on intuition, but there are some key details and modifications we need to make before this is usable. And now let's take a look at these in past two. Building the real architecture. We're using an autoencoder to compress and decompress a waveform. This is split between two parts of an autoencoder. It's encoder for compression and it's decoder for decompression. During training, the normal autoencoder seeks to minimize the reconstruction loss only. It doesn't really care how we compress the vector as long as it's able to reconstruct the input as good as possible. And so it learns some arbitrary function to compress and decompress data. This is fine for training, but it's a problem when generating music. During generation, we don't have the encoder and we're working with just the decoder. Since we don't know the function our autoencoder learned, chances are if we pass in a compressed vector to the decoder, this is going to generate gibberish, particularly I'm talking about the last leg of the flow. And that's why the anonymous rapping sounded so shhhht or beautiful. This is where variational autoencoders are better. Like normal autoencoders, they minimize a reconstruction loss. But with the added constraint that it learns to do so within a specific distribution, typically like a standard Gaussian distribution. In other words, we know how the compression and decompression is happening. So during the music generation phase, we don't really have the encoder and we can sample a vector from the standard Gaussian distribution, pass it to the decoder, and it will give us some meaningful audio. So replacing our autoencoder with a variational autoencoder, let's see what we get with our jukebox. Hey jukebox, have the anonymous celebrity rap to lose yourself by Eminem. These dreads, the tears, the throes, the very, the most, the rudeness, the unworthy, the spaghetti, the slurs, the slurs, the slurs, the clums, the rudeness, the slurs, the slurs, the clums, the slurs. Okay, getting better, our VAE learned to convert a continuous distribution of vectors to a sound. But not all of these vectors produce meaningful and clear audio. And this is one of the reasons why some muddledness and unclarity is still there in our generated audio. To remedy this, we can have our VAE to learn to encode a specific set of discrete vectors to a clear sound. This is the basis for a vector quantized variational autoencoders. During training, we pass in a raw audio, the encoder compresses it to a vector, and we determine the closest discrete vector and then decode that as the sound. And during generation, the output of our transformer will be mapped to one of these discrete vectors, and we can get a meaningful audio output. So the vector quantized VAEs can get clear sounds. But we can make further improvements on this by using multiple VQ VAEs at different compression levels. This draws inspiration from a study on hierarchical vector quantized VAEs used in image compression. The goal is to generate even more realistic images by using a hierarchy of two VQ VAEs. So we have a top VQ VAE and a bottom VQ VAE. Both of these learn different compressed representations of the image. The top level VQ VAE only learns about the global information of the image, like the contours and the large strokes. But the bottom level VQ VAE is larger and it learns about local pixel information like texture, shading, and color gradients. And both of these learn representations are fed into the bottom level decoder to reconstruct the original image. The bottom representation is conditioned on the top representation, so that it doesn't need to learn the entire representation itself. It makes the best use of its space, leading to stunning images during the generation phase. So like this, we have three levels of VQ VAEs that we train in our case.  The top is the most compressed and the bottom is the least compressed. But we don't feed the top to the middle and the middle to the bottom like we saw in the image case. This is because the researchers observe that the top and the middle were passing all the information to the bottom, and that made them useless. It was similar to just having a single VQ VAE. And so they just train three VQ VAEs separately and in parallel. It's interesting how we went from autoencoders to using variational autoencoders to vector quantized variational autoencoders, and then to a hierarchical structure of the same, each of them making improvements to generate better and better audio. Here's the initial structure that we built in past one. But now this autoencoder is actually three VQ VAEs with different compression levels. But to have these representations interact with each other, we introduce three transformers. The top transformer takes in lyrics, genre, and artist information to give the top level compressed representation. And the second transformer converts this to the middle compressed representation. The third transformer converts it to the bottom compression representation. And then we pass this into the bottom VQ VAE decoder that we trained previously to get a newly generated audio. The song. Hey jukebox, have the anonymous celebrity rap to lose yourself by Eminem. His palms are sweaty, knees weak, arms that heavy, there's vomit on his sweater already, mom's spaghetti. He's nervous, but on the surface he looks calm and ready to drop bombs, but he keeps on forgetting. This is the final architecture and the end of past two. Things are looking a lot more concrete now. But how exactly are we training this thing? So in past three, let's start with the VQ VAE training and then move on to transformer training. We start by training our three VQ VAEs in parallel. Raw audio is a continuous stream. So we need to break it down into fixed size chunks. Let's say that we're dealing with a 20 second piece of audio here. The top layer will break it down into five chunks. The mid layer will break it down into 10 chunks. And the bottom layer, let's say it breaks it onto 20 chunks. We pass the chunks one at a time through the encoder to get these individual colored bars. Note that each color bar has the same vector dimensions despite the width being different. This top blue bar, for example, represents like four seconds of audio encoded into a 64 dimensional vector. This first purple bar in the middle is the first two seconds of audio encoded into a 64 dimensional vector. This first bottom brown bar is just one second of audio that's encoded into a 64 dimensional vector. Passing in all these chunks through the encoder gives us the compressed representations. Now we perform vector quantization. For each of these colored pellets, we determine the closest code book vector. The code book is a list of vectors. The blue one here right in the top level is closest to vector three. The purple one is closest to five. And this magenta one is closest to the fourth. And for the code book lookup, we replace each of these numbers with the actual corresponding code book vector. And then we just decode each vector one at a time to get back the audio chunks. And stitch that to get the original signal. During this training, we want to minimize the reconstruction loss. We want to learn these code book vectors. And we also have a commit loss to stabilize the encoder. So that's the bulk of this hierarchical VQVAE training. Now once all of these are trained, we train our transformers. We take a piece of audio, pass it through our three VQVAEs to get the top, middle, and bottom vector quantized representations. These are then used to train our transformers. The transformers have an encoder-decoder architecture. The top level transformer takes in the lyrics, artists, genre, and other conditional information to generate some intermediate vectors. The decoder then takes these vectors and a start token to just generate the first highly compressed vector that represents a part of your generated song. This is compared to the top level VQVAE vectors to minimize the difference during training time. And it does this sequentially, generating one vector at a time by your decoder transformer. Now, that's the top level transformer moving on to the mid-level transformer. This takes one of the top level vectors of VQVAE, take some lyrics, some genre and artist information, all to generate some encoding vectors. And the decoder will use this to generate two vectors, generated one at a time. During training, these vectors are compared to the mid-level VQVAE representation to minimize the difference. The input vector should represent two seconds of data, but the transformer converted it into two vectors that represent one second of data, each. I say two, assuming that the compression rate of the mid-level VQVAE is two times that of the top level. In the actual implementation, though, the blog says four times as much, but I think you get the idea. The bottom level transformer works in a similar way. It takes a vector generated from the mid-level VQVAE as input. This, along with lyrics and genre, is encoded into vectors. These are passed into the decoder to sequentially generate two vectors one at a time. They are compared to the bottom VQVAE vectors to minimize that difference. If the input corresponds to one second of audio, the output would be two vectors corresponding to half a second of audio each. And in this way, we can pass in a number of audio clips to our transformers to train them. Sweet. So now, during generation time, we would get lyrics, genre, and artist information all encoded into vectors, pass it to our top level transformers to get a very compressed representations. Pass each of these to the mid-level transformer to decompress, and pass each of these to the bottom level transformer to further decompress, and then pass each of these vectors to the bottom level VQVAE decoder to generate audio chunks. Stitch them together and we get new music. And that's it. I hope this covered different levels of understanding. There's still a lot of detail that I did leave out, but if you made it this far, I'll add some references down in the description below. Research papers, reference papers, and blog posts that you can check out. Thanks for watching, and I will see you soon. Bye-bye!