Thank you. This is my first talk to your Python. So I probably got a few things wrong, like the title or the abstract. So did you guys like packaging? Did you just get a feeling? I like it, but do you like fixing it? So actually, I want to give a different talk. I want to give a talk about debugging because it's more dramatic.  But when you have a problem with the packaging, you always blame the guy who invented the setup tools or these two tools. There's always someone else. You know, it's not that dramatic, but it turns out it's more interesting.  So I did some of my own. I adopted quite a few of abandoned packages, so I maintained them. For example, this slide system, I forked it. I also worked on a big-ish project, so it has lots of dependencies. Also worked on a re-write of virtual AMP, but it's not merged yet. But you can try it if you have problems with virtual AMP from Windows. Probably fixes those. But first, basically, this talk is going to be something around set up by, so if you get angry about that, then it's going to be a problem. I'm going to go through the content. At the beginning, I'm going to have some introductory stuff. I'm going to go fast through that. And then if you have questions, just wave, yell, or something, so ask it right away. Don't wait until the end. Okay. So the first thing about set up by, it's basically a configuration for a very complicated archiver. So basically it's an archiving system that also does compilation and weird things like that. And it has lots of options. So there's quite a lot of options from these two tools. Then there's set up tools, and set up tools adds a bunch more options on top of that. Set up tools is quite an improvement, so you should use it because nowadays everyone uses it. I mean, even PIC depends on it. So don't do raw distitutes because you're going to have a bad time. So I'm going to talk about the part of making the package, not installing it, making the package, that's the packaging part. Now there's a bit of always, most always there's a bit of a confusion with the terminology here. There are packages and there's distributions. Packages, originally packages were the, I mean, the name packages means the that directory that you import and has a init file in it. So that's the package. The distribution is the archive. Now in the packaging guide, there's a packaging guide. They kind of switch around the name. They kind of switch around the name. So it's, now they call it distribution package. So people that go through the guide and search for package, they find distribution package. So then they go down. Okay, it's distribution package. They are different kinds. I'm not really, I don't really like the terminology because I mean, doesn't really sound well in my head.  So we got two main categories of distributions. There's the source distribution, the S-dist, and there's the binary or build distributions which is the B-dist which normally you don't use. And there's the B-dist wheel, the egg. Nowadays you should only use the wheel because it's kind of, that's the way the tools are moving forward. And of course they have different rules. They look kind of similar, but they have like some subtleties there. So it's, you always, you get confused by that and it's kind of weird to figure out what to use because you have so many options. And about the file gathering, it's about the options. So for the source distribution, there are some files that are collected by default. There's the readme, the set up by, and the test directly with only those files. Strangely enough. And there's the, all the files that you put in the packages, in the py modules, the extensions modules, sources, but we are the headers for some reason. Everything that you have in package, data, everything you have in data files, in the scripts, and the manifest. Now the manifest is the more interesting one. We're going to talk about that a bit later. And there's the B-dist. Now the B-dist doesn't use the, the main difference is that the B-dist doesn't use the manifest by default unless you use set up tools. And you use this option, that set up tools added, it's include package data. So in order to simplify, you kind of use this option. Okay, about the packages. So suppose we have this structure here. So the packages for, if we have a directory with this, with that structure in it, we're going to have four packages, which is fine. And when you write your set up, set up by script, then you shouldn't hard code those packages because if someone, one day, decides that the, the, say the utils module needs to, you know, it has too much stuff in it, and then needs to be made a package, then he changes it. So, I mean, he needs to be added in the packages list. And it's quite frequent that you forget to do that. And I kind of forget, you know. For me, it happens all the time, I don't know. So that's why, and set up tools kind of, they saw this problem and they, they did this collecting function that find us all the packages from the current directory or directory that you give. Now, there are some alternatives to this. There's, if you heard of, there's PBR, which kind of does this automatically so you don't even have to, you only specify the main package and then it figures it out on its own. But PBR does quite too many things. There's even a project that wraps PBR, it's called packet. Now, there's a newer project called Flit. And this one completely replaces set up pie. It's, but it only makes wheels. So if you have binary stuff, like C extensions, then it won't work for you. So, and this, there's Bento, which is an older thing. Okay. Now, back to the manifest. The manifest, the manifest is quite easy to get wrong. It has lots of commands. It has the include, exclude, inclusive, include, because if you exclude, globe, okay, gets old. And the problem I had, most of the time, is with two fine grained manifest. You specify everything down to the last extension, right? So you kind of hard code in your manifest, everything that you have in the file system, which is kind of wrong, especially if you look at the file system as a database, right? So you wouldn't hard code the IDs you have in the database in your code, right? So why would you hard code the file names or extensions for that matter? So from what I found, most projects can work just fine with the graph and the graph just takes the whole directory and collects everything in it.  For example, a bad manifest which is two fine grained. It specifies every extension. So for example, if one day you decide to add a web font, right, and it works in development because you already have the files there. But when you deploy, you don't longer have the file there. So you don't know it. It's too late. It's broken. People are going to get angry. So the best is just use the graph. The graph works on the root. You can also specify a path on the graph, but it needs to be a directory. Then you just exclude the byte code and all the stuff you don't want. So, I mean, some of this advice might not, I mean, you might not be able to use graphs in all the situations. But I mean, from what I've saw, I mean, it's better to have some extra files than miss the important files because if you have extra files, you just have a bigger archive. It's embarrassing, but it works. If it doesn't work, then I mean, it's kind of worse in my opinion.  I mean, it's not that bad. And there are tools that can check your manifest. There's the check manifest. You can get it from pipy. It's very nice and you should use it. There's also a set up tools extension called set up tools SCM, which kind of generates the manifest for you from all the files that you have added in the source tree. So if it's committed, then it's going to get collected with this extension. Now there's the package data. It's another option, which kind of overlaps in features with the manifest and other things. It's for specifying the data files inside packages. Now this has the kind of the same problem. It's too grainy. I mean, it's too specific. And then when you get the specific, you make mistakes. And that's why, I mean, you should include package data in this situation because this is the problem with the bidist. If you don't use that include package data option, then you have to specify the package data, which is kind of nasty. You have to collect the files manually. You need to write code. It's better have less code and more configuration. I mean, technically it's not more configuration because the configuration is less than the code. It's not technically more configuration. So don't use it. Avoid it. Simple as that. Don't use it. Just use the manifest and include package data. And as you saw, you can also avoid writing the manifest if you can use that set up tools SCM. Okay. Another option. This is another overlap in features. Still kind of data files, but these data files go outside the packages. And they are so inconsistent. It's mind boggling. The tools don't really respect this option because maybe it's too obscure. I don't know. For example, the set up tools and they put it inside the egg. So if you use egg installs and it happens, if you run set up by install, then they go nowhere practically. Pape install and these tools kind of do the right thing. But the problem is that, I mean, if you use absolute pets, that's the problem with the absolute pets. So let's get down to that. Basically, you would use this in applications. So you would use data files for configuration if you want to stick in its script somewhere, in ETC or some creation file or a man page, things like that. There are most always bear options and I just use a specialized package like devs or RPMs. And there are plenty of tools to help you with that, especially if you have dependencies and you need to manage them. There's DH, butch lamp. There's the newer pie to dev. It's a quite new project. For windows you can use installers. There's this pie ansys. It's kind of a, it's a thing that generates the configuration for ansys. It's the now soft installation system thing. And you can even make your own custom thing. You don't need to use dev or RPM. Just make a shell script or whatever. Just set it up yourself if you have very specific needs. There's the makes self tool which generates a self-extracting shell script. So it makes a shell script, sticks the archive at the end and then unpacks automatically. So you don't have to deal with copying, unpacking. No, I mean, okay. I mean, Python packages are not for applications. Not really. An application has configuration, right? Where you put the configuration? You need services. How do you configure those services? It has a very specific needs. It needs pre-installed actions, post-installed actions. There are talks about that, but I mean, currently it's not supported. You cannot run pre-installed or post-installed actions. If you need those and for a serious application, surely you need, then you use a specialized package. I mean, it's best not to try to shoehorn. Use something that's kind of designed for that.  About the dependencies. This is kind of a tie-in to the previous one. If you had dependencies and you need to bundle those, and you don't want to use DH Virtual Land or buy to dev or do your manual bundling of the dependencies, you can use Pax. Pax, it does a self-extracting shell script. It does a self-extracting binary, so it makes a binary. You can just run, and it automatically creates a Virtual Land somewhere, and it installs the wheels that you specified, or you depend on, which is nice, and you could use that. Okay, another thing, another problem, is importing code inside a pipe, because it's such a critical place. If you try to import your package inside there, just to get something, like the version, you might end up in a chicken and egg problem, because you're trying to import something that you're not prepared yet to import, because you don't have the dependencies installed. So the import fails, because you don't have the dependencies, right? It's too early to have them, because you need to run this script to figure out the dependencies. So then it doesn't install at all. So don't do this. There are many ways, very many ways in which you can handle this, for example, the version. There's in the packaging guide, quite a number of them, and there's also setup tools SCM, which pulls up the version from the tags for you, so it's even less work if you can use the setup tools extension. Okay, the main module. It's not really related to setup pie, but it's kind of packages frequently have binaries, right? So they have something that you run on the command line. So in that situation, from Python 2.7, you can write a main pie file, so then you can run my package, and it will just execute the main pie file. Now the thing is that it will execute it as a script, so the name will be main, the name of the module will be main, and it won't import it as a module. It will just execute it as you would execute the script. So it becomes a problem if you try to import stuff from the main module in other parts of your package, because then it gets executed again, right? The module is not there, so it's going to execute it again. So if you define a class inside the main, and get two classes, so your instance won't work anymore, things, weird things like that. So don't put too much stuff in the main, in the main pie file, just make a separate module for that, like console command line interface or something, main, just main. And then you import that and just run the main function. Now to use this in a setup pie script, the setup pie has an option called script. Now this is a very unique thing because it's a script, and it won't work on windows unless you give the proper extension like the bat or CMD or X, which it's kind of hard to do. You have to handle each, and that, of course, won't work with wheels. So setup tools has a nice feature called entry points, and it has a built-in support for one special entry point called console scripts. You should use this over scripts in all cases. For windows it creates the nice XF wrappers, and for unixes it also fixes the shebang, so if you use a virtual lens, it's going to get the proper shebang. So you should most always use the console scripts, not the scripts. This is another feature, extras require. So they design an extra system, so you have a big package that does lots of things or can use backends to render stuff, and there are some optional backends, so for that you can use the extras require, and when you install it, you can specify the extras if you want the special thing. And that will just make the package depend on that, say report lab if you want to activate the PDF feature. There is also, this is a very flexible feature in the sense that people kind of abuse it. They use it for development and test the penises. They just stick the test the penises in an extra and then install them, and it works. It works, but I mean there are tools that can manage that very well. There's TOX, which can also manage virtual lens, so it's quite an improvement. TOX basically does three things. That's the workflow it's designed for, so you can also abuse TOX, but this is the workflow it's designed for, so installing dependencies, installing a package, and running some test commands. That's it over multiple Python versions. It's quite nice to, especially nowadays when we want to port everything to Python 3, right? I mean you kind of have to test both Python 2 and 3, because there are other ways to manage the virtual lens. I mean if TOX, you don't like it, you need more flexibility. There's Vex and Pew, just to run the virtual lens. This is like an alternative to the activation script, because the activation script kind of changes your current shell environment, and sometimes it breaks, and then you don't know what happens. It's kind of bad to have something mess your environment variables, but it's not very explicit, so there are tools that just spawn sub-shells or sub-processes, like Vex, it's with the sub-process, and Pew, it's with the sub-shell. So they are quite worthy alternatives to using activation scripts. There's also another thing called PyAMP, which is kind of popular on Macs, because it can manage the interpreters. It's not for virtual lens, it manages the whole interpreter. Okay, environment markers. There's a common pattern in your setup PyScript tool. Sometimes you don't want to have a dependency for all the Python versions, say for, you only want ArcPars for Python 2.6, which doesn't have it, but not for the others. So you want to handle this specifically. There are plenty of people that just do an if, and then just generate a different requirement list, but this doesn't work with wheels. That's the big problem here, because the wheels are just, they are something very static. They don't have a setup PyScript. They're just metadata and the files. That's it. No setup PyScript. It's too late for them. So they kind of shoehorn this environment marker feature in the extras. So you have this kind of markup language. You can have very basic expressions there, and you have a few variables available. You can consult the PEP for more details. Okay, another thing, coverage for C extensions. This one is kind of what was tricky for me to figure it out. The tricky thing, okay, so there's the C flags which you can use to activate the coverage for the C extensions. But to actually get the coverage collected, you need to build the extensions in place. So just inside your source tree. So for that, there's this in place flag, which you should use to get it working. It was tricky for me to figure it out. So it works. It's quite nice. Okay, about uploading, there's a new tool. Okay, it's not new. It's quite old. For uploading your distributions, it's an answer to setup Py upload. And it does the secure upload. So it also uploads the metadata. So if you use Trine, you're going to see the dependencies that your package has on your PyP page. If you use setup Py upload, you're not going to see them. So an interesting change regarding to uploading, it doesn't allow you to re-upload stuff. You can only delete. So you can make a post release maybe to re-upload in case you mess something up. I don't know. Also, the package names are kind of normalized. So you have package name, sorry, distribution name. Yeah, it's very hard. The underscore and the dash mean the same thing. So you can specify either. It's the same thing. Other scores, dashes, same thing. It uses HTTPS basically. It doesn't have any fancy, just HTTPS. So the setup Py upload, it's over plain text. So you're kind of vulnerable to man in the middle. Okay, about the versioning. Also, this kind of changed recently since setup tools 8. Now we have automatic normalization for versions. For a few examples here, the dash means a post release. The dash dev, it's a dev release and the alpha just gets normalized. So if you have variances like release, candidate, they get something very consistent. There's also semantic versioning, which is something that people quite like. It's not about the normalization, but there are some differences here with regard to the scheme of the versions, which probably you don't care about those two, but there's a difference so you cannot use those. You cannot use pre-releases like that because the dash means a post release and there's the build info, which is not supported at all. So you probably get an error for that. Okay, getting close to the end. The last thing, so I made a template with a cookie cutter. There's a presentation about cookie cutter tomorrow or something, which kind of has all these things baked in and some more things about testing, like default configuration for testing, measuring coverage, stuff like that. Any questions? Go ahead. Yeah, so the question is that he has a package that kind of doesn't want to have a module on Python 3 because it already has that module, so it's inside, that module is inside your package, as I understood it. Okay, he wants to exclude it on Python 2, but that won't, I mean, you can do it with the setup aspect, because you can have code there, but it won't work with the wheel, because you can get, unless you make, it won't work with the universal wheel, but you can make a wheel for Python 2 and a wheel for Python 3 and that will work, but it's extra work to release. It will work. You want to do it. Go ahead. Speed. The advantage of wheels are the main one. I can see it's speed. It doesn't have a build process on install time. With the setup, there's a build process, files are being copied around two times. After that, they're copied in your installation path. With wheels, they're just unpacked there, done. Fast. And it's also fast for the compiled stuff, of course. Well, I mean, eggs and wheels, they're kind of the same thing, but eggs are kind of phased out. They have some issues with the metadata. People don't like them for some reason. Go ahead. Okay, PBR, as I saw it, it's very tailored to a certain release workflow that OpenStack has. For me, I wouldn't really like everything PBR does. It's a nice idea, but they kind of tailored it. It's very customized for OpenStack. It's not for every project. Yes, except the release process they have. I'm not saying it's bad. I mean, you just look at what it does, and it does many things, so you should check all it does before using it. That's all I'm saying. There was some... Was everybody Google-surround when doing this kind of stuff, and finds all sorts of stuff? Okay, I mean, yeah. The problem is that, I mean, when you make an official documentation, you cannot put what you think is most important. You need to put it all, so there's lots of documentation. So you have to read it all, and it's very hard to read it all. I think just specific hints like don't use this.   They have this packaging guide. They take pull requests. Go ahead. The package or packaging. Oh, okay. Stop. Okay, we can talk about it. In the back. There's the packaging guide, packaging.python.org. That's the place. Sorry? No, it's not up to date. If it's up to date, just make a pull request. They are maintaining it. It's maintained. It's the thing you should go to. Go ahead. The local version. Just to add, there's another tool called version here. It seems to do a similar thing. It overlaps. It overlaps with set up tools at CEM, but set up tools at CEM, and it's kind of, now it's owned by the Python packaging authority, so it's kind of, it seems to be the thing to go to nowadays. There's some overlap. I'm not sure what's going on there, but set up tools at CEM seems more maintained. Go ahead. This is, okay, pinning the dependencies in the set up by script. It's a question of concrete and abstract dependencies. So, which would you put where? I mean, the abstract dependencies which don't have the version, you would put at least in set up by script. The concrete ones, most definitely, you need to have them tested, right? So, you need to have a set of known, well, working dependencies. So, you would put that in your testing requirements, docs, any something. Go ahead. There's docs, which you can use. Docs is a good alternative. I'm not sure of any other alternative to extras require. I mean, it works. It works, but I mean, it seems like you're putting stuff there. I mean, I'm not saying it's really bad. There are better tools for it, and that's all. Okay?


My name is Marilyn John. I'm on the Mealburg Lake Reserve in Newfoundland, Kine River, better known as Kine River, in Newfoundland, the San Ann School. It's San Ann. San Ann has been known as the patron saint of the Megamot people. Well, since they became Christians anyway. I don't think I knew who she was before that. My job here is a student assistant to the math teacher for junior high. So we do, I'm in the classroom with the math teacher for any kid that need help with their math in grades seven, eight, and nine. No, it's a sit curriculum by the province. Same curriculum that other schools use within the province. So I'm in the classroom from 8.30 or 9 o'clock when the kids come in. I tell three, and then from three to 4.30 I do tutoring. Years ago, when I was trying to decide what my next job in life was going to be after politics was like, do I go back to school? Do I go to university? Do I go looking for a job? And it was at a time when my brother was trying to get a business off the ground. He just got frustrated with all the roadblocks that I think that he was getting the permits and things like that. And he just gave up on it. And so I said, maybe I'll give it a try. And so I did. And here I am, 28 years later, still running a gas burn, a restaurant. And it's seasonal, but it's 28 years. And we employ seven or eight people a year. So it's the same, pretty much the same people has been with me for the last 28 years. So we've had a good staff. Well, the people, first of all, but one of the things is that we're having having control of your own education gives you an opportunity to develop programs within the system in addition to what's required within the curriculum. The other thing I think that they try to do here is within the curriculum that's there, like the social studies and the language or the literature or whether you're writing an essay or whether you're getting kids to write a story, you're trying to encourage them to put as much Aboriginal content into it as they can. The art program, the art teacher tries to encourage as much Aboriginal content into the artwork as possible. The music program in past years have had a lot of Aboriginal music and song to it. I know when my daughter was in the music here, a lot of her music was and included the language. And a lot of the kids that was their first exposure to the language years ago was through the music program. So I think we need a lot more of that. Because those are the programs that you really can include the Aboriginal content within the arts program and within the music program. If you're sticking to regular curriculum, there's only so much that you can add to the current social studies you can add a lot more because it teaches you about the different peoples within your own products. And way back when I was growing up, there was so little of it in the textbooks and so negative. That's one of the things that is starting to change as we go. And even just this morning sitting down with the kids going through their little dictionaries and trying to write the sentences using the Mi'Gama language is encouraging. I hate to be negative, but we're a long way from kids speaking the language because in the day my grandfather spoke the language fluently. He grew up with the language. That was his first language. But then when he became an adult, during his adult years, tuberculosis was very rampant around here. And the Aboriginal women were the caretakers. And because they were the caretakers and because tuberculosis was such a contagious disease, a lot of them developed tuberculosis and died from it. So back in my grandfather's day when he became a young adult, there was a shortage of Aboriginal women. And as a result, they intermarried. There was a lot of non-native women brought into the community. The non-native women could not speak the language. So children being raised at home by non-native mothers didn't learn the language because the father who spoke the language lived after country. They were trappers, they were hunters, they were fishers. They weren't the ones that was at home every day teaching the skills and teaching the language. So a lot of the skills and knowledge and language disappeared during my mother's time. She grew up hearing the language and being able to understand some of the language. But it was never passed down to us. And the other problem was at that same time the churches intervene in the political structure of the community and forbid the use of the language. My mom as a kid was punished for speaking the language. And as a result, she forgot a lot of it. She forgot an awful lot of it. She knew when she was little, but she forgot a lot of it.  And so I mean you've got 80-90 years of deterioration of the language. Trying to bring it back. There's a big effort here to do it and you have to start with the little children because they're sponges. They learn a lot faster than most of us. And we finally got a Mi'kmaq speaking teacher here. And a lot of the kids, especially the younger kids, are more engaging in the language. As the kids get older and they become teenagers, they're too cool for that. They don't want to. That's the truth. They just don't want to. And their attitude is what am I going to do with that? Who am I going to speak to? And the other problem is that the little kids are learning it, which is great in the school system. But when they go home, that's the end of it. Once they go through the doors here, very few of the parents are encouraging it at home. So, I don't know, unless you have an immersion, a totally immersion course, I'm not sure that the language other than being aware of the language, knowing some of the language, some of the song, some of the words, maybe some of the prayers that go with it, or you're going to find fluent speaking kids unless they become fully immersed in it. And I think that's had to be a personal decision, because I don't think that's something that you can force kids to do. Especially in this day and age with so much technology, they don't see it as important. People like me see it as important. I wish that I had the opportunity, and I wish my mom had never lost it, or my dad, but it's what happens. Because part of your language comes your songs, your prayers. But then, like I say, as families become mixed, there's more and more assimilation. When I went to school, you could look at the faces in the classroom, I knew that these were Aboriginal kids. And I can walk through the classrooms now, and I cannot tell you, unless I do, because I know, but to look at the kids, I can't tell if these kids are Aboriginal. If you took them out of here and sat them in a classroom in St. John's, or you would not be able to walk into the classroom and say, those are Aboriginal kids, you can't tell by looking at them anymore, because they don't have the Aboriginal features. They don't have the strong Aboriginal genetics that we had, because we had both parents who were Aboriginal, because of the intermixing and the marriage. Now you have a kid that doesn't have those features. And a lot of kids, because they don't have those features, they feel a little intimidated by it, because they feel they're not Aboriginal. And a lot of them don't say it, but then when you get into, once I know, well, because I don't look Aboriginal, I can get away with not telling anyone I'm an Aboriginal. So there is a lot of assimilation, even this, as we become more open here, we were isolated back in my day. The only access was by boat or by water. So as you get paved highways and people's got jobs and vehicles and they do a lot more traveling, you're getting a lot more assimilation. So as assimilation becomes bigger and bigger, the job of retaining the culture and keeping the culture and keeping the language alive becomes more and more difficult.  I think the more isolated you are, the better opportunity you have of keeping your culture alive and keeping your language alive. I would like to see a lot more Aboriginal activity within the school, especially using the art room, not just for doing artwork of cities or some other... your art based on somebody else's culture, somebody else's stories or whatever. I would like to see, within the art room, I would like to see somebody reteaching how to do, say, the spruce root baskets. Spruce root baskets was one of the very unique things that used to be done around here. And it's nearly lost. There's only a handful of people that still know how to do it. What is your time to bring that back, bring it to the kids? Sure, you know, I mean, if you've got, if you've got, say, 80 or 100 kids here, if you get 10 of them that retain it and remember it, even if you get 10%, that 10% is better than nothing. Teach your spruce root baskets. Teach your mousse hair tufting that used to be there done here long before my mother's time or her grandmother's time because by then beads were introduced, but they used to do the tufting on the clothes. And there is still a couple of people left because I reintroduced it way back in the 70s. That was one of the arts, one of the craft skills that I reintroduced back into the community through the crafts program within the community crafts program was the mousse hair tufting. And a handful of people did learn it and some people were really, really good at it. And there's still one or two that know how to do it. Grab that person. Get them to teach it within the school system. Birch bark baskets. Now, I don't ever remember this community here working with quills, or porcupine quills because there were no porcupine here on the island, but it's something that our Aboriginal people do know how to do and there's nothing wrong with bringing it from the other megamaw people who know how to do it. My mom as a kid used to go with her grandmother to collect wood for making baskets. Now, we didn't use the black ash because we didn't have it here. They used the, my mom called it white maple and she described how it was used. And there's nobody here that know how to do that anymore, but the art of making baskets is the same, whether you use white maple or whether you use black ash. Teach the kids how to make a traditional basket within the art foam. Teach the fine arts. Bring in an artist to teach the skill of using your paint and your waters and colors and base your teachings on oral history or stories or the mythology or whatever. The old stories are old. That was around years ago. And those kinds of things. Part of the program, I remember years ago, I did a program with the Newfoundland Museum. And one of the things we tried to do was capture old traditional crafts or art or knowledge that was so quickly disappearing. And one of the things we did, we did bark tanning. How to tan hides using the bark from the root of the tree. We did how to make shanks, what they call shanks, which was a long booth made from the leg of the caribou. And there was what they called the shanks. There was two ways of making it. One of them was with the hair on the outside, which was used to walking on the ice and slippery areas. And the other one was one where they took all the hair off it and barked tan it and it was worn inside. We did a slideshow on how to make a caribou hide canoe. We took a couple of elders with us and we flew back in the country to the hunting lodge. And we filmed it and we did a slideshow right from the beginning to taking the caribou, to cleaning the caribou, to cleaning the hide and putting it together to making the canoe. And those are skills nobody know how to do anymore. My dad talked about using a caribou hide canoe. But you need resources to do that. You need money to do that. The school has resources but it's limited. You have to be able to bring in people who still know how to do that to teach and that costs money. Frank can come here for nothing. So you still need a lot more resources. Yeah, it's great that we have the resources that we got. But to do all these other wonderful things, you need a lot more than we have here. I think the community has got to get behind it. I remember years ago first when I introduced the idea of having a powwow here around the council chambers because I was on council at the time. And everybody was like, oh no, no, people's not going to go for that. Nobody's not going to get involved in that. You're never going to see a powwow here. You don't know when you should try. Somebody's going to start. And it was left at that for a few years and then finally it did take off. Somebody did finally do something about it. Now they've got one of the bigger powwows in Atlantic Canada. It was beautiful. It's been successful. So somebody's just got to do it, right? And that's like here, somebody's got to do it. It's not going to talk about it. Maybe don't do it. Those are the things you have to do. And you have to start with getting the children interested in doing those kinds of things. We need to have the kids like, for example, yeah, it's great to have the kids playing volleyball and basketball and everything else. But why aren't we teaching kids how to play waltz? Waltz is an original Mega Mall game. How come we don't have waltz bowls and how come we don't have, as part of the learning process here, kids learning how to play waltz and set up a little competition? I mean, you can even have Atlantic competition among other Mega Mall reserves throughout Atlantic Canada. It's fun. It's a game. Kids like games, but you've got to do it on a regular basis. It's no good to say introduce it to them and they never see it again. So those are the things I would like to see. I would like to see the kids, the waltz becoming a big thing with the kids, learning how to do it, taking it home and eventually teaching it to their children. And until that happens, it's not going to develop into something bigger. But you've got to get the kids excited and interested in it. I don't know if there's a last message, but I know some of the things I look at is encouraging, very encouraging. And some more things are very discouraging because it's not enough of it being done. Like, you know, I know where our government keeps talking about culture and everything else, but outside of the school, I see very little of it. I see very little of it. And even when I look at this new school, the school is so new and so beautiful, I think there could have been a more cultural appearance to it. Other than coming into the foyer and seeing the artwork on the floor, you know, you can walk around the school and it looks like every other school with the exceptions of posters and things that the teachers have put up themselves. And I think with governments today, they want to put in schools and they want to push them and build them so fast that they don't give any real thought to how can we reflect the culture of the community and one thing, as you come in, doesn't say at all, you know. And that would be nice. And I would just like to see a lot more. The mini-power at school is wonderful because it gets the kids excited. And kids get, especially little kids, get very excited about different things. But sometimes I think there's too much emphasis on oh, we can't let the little kids use this or use that because they might burn themselves, they might cut themselves, they might, you know, that wasn't a part of our culture, right?    And it comes with learning things, you know. And kids did that and was involved in learning at a very young age within our culture, you know. And we have, all of a sudden, we've adopted that safety thing because kids aren't safe and we've gotten overboard with that. So I think you need to get back to. And I know back in the day when my son was very young, one of the things that the school had was a wilderness camp that they had and he was, I don't know, maybe grade six, grade five, grade six, when they took a bunch of kids with some elders and they took them into the bush and they gave them that experience. Kids today, kids doesn't, very few of the kids go rabbit catching or moose hunting or they're more interested in the video games than they are in. So how, you know, figure out how do you get those kids interested in learning things in the bush as learning things on YouTube, right? You're going to learn how to moose hunt on YouTube? You know, it's lovely to watch the YouTube videos, but take them and take them out in the bush. You take what's normally taught in the schools and you improvise using the materials and skills to that teaching. One of the big things I would like to see in the community outside of the school would be a cultural summer camp. I would love to see a cultural summer camp where the kids would go in and we've got all kinds of facilities here that's not being utilized in the summertime to hunting lodges. There are beautiful facilities in Hanna. Take the kids in, teach them how to build a wigwam, teach them how to weave a spruce root basket, teach them how to set a rabbit snare, teach them some of the different things that, skills that everyone as a kid learned when I was growing up, you know, and teach them to respect, to respect for the earth. Kids today take a wrapper and throw it over their shoulders, you know, and I suppose they're learning from the parents because the parents take a Tim's cup and chuck it in the ditch, so that's not when we went up river with my dad salmon fishing. My dad would go salmon fishing, catch salmon, and we'd bottle it up for the winter and put it in the cellar. If we took something in, we brought it back out. My dad used to always say, it's later to bring back out than it was to carry in.  Why would you throw it in the woods or in the river? You wouldn't do that because they don't hesitate to do it because they haven't been taught. Those are the kinds of things that if you had a month-long summer camp that teach the kids how to properly use a canoe, a lot of kids should learn how to use the waterways and how to use the trails and what to look for and plants. There's a lot of stuff that they can learn in a month in a bush.


Allow me to talk about e-teaching, e-learning, and e-research, where teachers and learners become co-creators of academic texts in these digital times. I'm fortunate to be able to teach with UP Open University designed to be in the core of open distance e-learning. In 2001, we have noticed that academic texts in hard print as gun hypertext, visual text as hypermedia, and audio and moving images as hyper-multimedia or rich media. And we have been migrating to the internet. After weighing its pros and cons, UP Open University has decided to get into online learning to enhance the learning experiences of our students and to reach more Filipinos here and abroad. So today, our students come from over 60 locations in more than 40 countries across the globe. UP Open's creation also coincided with the inception of the internet in the Philippines. From the time the university was established to the time the internet took off in the country, the university has not invested much in physical infrastructure associated with earlier models of distance education. This made it easier for the university to get into online models of delivery and digital mode of printing like print on demand. And in 2007, we adopted resource-based learning as an approach to course development. And the internet was a rich source of open educational resources, and we decided to top on this for our courses. We were also aware that to participate in the Knowledge Commons meant that we needed to be producers and contributors of OER, and not just mere consumers. We also believe that we have the responsibility to tell and share with the rest of the world the Filipino perspectives, narratives, experiences, and solutions, and this is the part of move toward sharing and respecting cultural diversity. This is part of participating in what we call as cultural dialogues. And so the establishment of UPOU networks came about, a web-based station, where we share our educational videos, and in addition, we have conducted a series of workshops to craft policies that will guide the university in the creation, utilization, and distribution of OERs. To further expand our reach, but under the university's mandate of public service and extension, we offered in 2013 the first massive open online course MOOC on Android apps development. And this was followed by many more MOOCs, and we have collaborated, networked, and partnered with different institutions for course development and production. O'Dell ushered in the greater concern for openness, and UPOU's engagement with MOOCs, massive open online courses, which are free for all to enter and to call for higher education to endorse the use of open educational resources. OER is part of a movement for openness, for sharing free in its MOOCs, in our massive open online courses, which we call MODEL. This type of OER should have original text and must use OERs as references as well. An online course is not automatically OER, or an OER is not necessarily a course. It can also be just a material, a photo, or an essay, or an article, or a podcast, or a documentary, or a video informational material. We are hoping to have many more MODEL courses and MOOCs, and now we are producing Master Voices as OER. This will be sharing of ideas coming from national artists, national scientists, professors, emeriti, and also the university scientists and university artists for general education courses. MODEL is also being studied for credit to be accessible for all faculty and students of all SOCs and HEIs. I'd like to share with you my courses to be more specific. Very quickly, this is this form that is some way we do want to adapt, and for many other courses that we have, and for my courses are in this mode, but the rest of my courses on theory are mostly interactive print with sprinkling of video references, links. They are links to video references. So like in my course, MMS 111, Gender and Multimedia, I would just take my courses as an example here, and in the Multimedia courses I teach, for example, on top of theories, principles, and production, I consider my classes as research classes as well, and this contributes in ushering in new knowledge in our discipline. I facilitate the maximum exchange of ideas among my students through online forums, and students submit their papers and multimedia requirements online and conduct and disseminate their research using multimedia approaches and formats. I do immediate feedback and give both qualitative and numerical assessment, and our students are considered as co-creators of academic texts. If you Google MMS 111, Gender and Multimedia, you'll be able to access the videos that were produced by my students, and I teach while I've been teaching multimedia as research and have pushed the thickening of the discourse on gender and multimedia, and I've been teaching this course since 2008, and there are more than a thousand videos that are there lodged in YouTube and Vimeo available for access. UPOU had to prepare faculty members by doing training and workshops in course writing, instructional design, and be familiar with virtual learning management systems, our my portal, and the virtual class room. In addition to training, we have also conducted roundtable discussions, as I said earlier, and where we share with each other our teaching learning experiences and practices. I will just take my courses again in the multimedia courses I teach on top of theories, principles in production, and pushing again research. I facilitate the maximum exchanges when it comes to disseminating the research and multimedia approaches. This, not daily, not weekly, but probably three times a month, to be able to have time for my students to chew on the materials and for them to come out with papers, synthesis papers, and also reflection papers. I also tap the social media, like YouTube and Vimeo, to conduct exhibits and festivals for my students, to elevate their works for public discourse and have feedback from the communities of practice, mandating my students to produce only original texts and elicit reflective thinking from my students. I have also produced video lectures of my own that are accessible at the UPOU Networks and also as OERs in rich media. I give them relevant guide questions which they can ponder on as they engage with the course materials. As you can see, my students and I go beyond the use of our LMS, which we call my portal, and beyond the online forums, chats, video conferencing, and the course guide and resources listings. It is important for my courses to be preserving and promoting multiculturalism and cultural heritage through ODEL. Let's look at the latest course that I have been developing, and it should not be past tense because the course development is a dynamic, continuing experience that is the core of helping expand and enhance ASEAN studies as a whole, and particularly my course art in ASEAN region, which is ASEAN 222. The aspiration of the ASEAN perspective of ASEAN studies mandated that the course materials developed and the others to be developed carried with it the authentic voices of the different and diverse cultures of the region. The use of written words alone may not be doing justice to the need for authenticity and the capturing of the true beat of the art and culture of each nation. The course has started with videography, with the main author as a videographer. Of course, we have our multimedia crew and staff and our artistic staff to be part of it, and some of the artwork and artists and other players in the art scene of ASEAN region are all involved in doing these documentaries. It is most important that the authentic voices of the artists, art critics, cultural sociologists, the anthropologists, art curators, art traders, art patrons, national and local cultural officials and other stakeholders in art and culture are captured in the video. This automatically reproduces academic texts, orally and visually, putting forth the importance of developing and strengthening other forms of literacy as in orality and visuality. This is most crucial, as we would like to show the uniqueness and the diversity of our cultures and identities. Our region's respect for our diversity of cultures is our richness and our strength as ASEAN. Here are some excerpts of the documentaries produced for the art in ASEAN region. For the first process, we put the wax on the basic molding of the pencil like this one. You have to sew to make this seal, you know. This temper combined with the palace, the palace is the other side. National artists, there's a form of healing. There are also authentic Vietnamese operatic songs telling the story. Outstanding unique cultural art space, which is famous in Vietnam and the world. In the 13th century, that pottery first appeared in Phu Lung. Lim village of Bac Ninh province is the hometown of Quang Ho folk songs. It's famous for being made from completely natural materials. It has an expression, it has a story to tell. Beautiful. Opening Gamelan is a classic art from Iceland. Okay, how long it is and so on. So they have a specific measurement maybe from here until here. So we do teach them several techniques of carving. Almost of the secondary school in Malaysia, they have the old Gamelan group. It's a ganguan from the Seh Ke Jin or Raksaksa. All the water village buildings are constructed on stilts above the Brunei River. So the mosque has about 29 golden domes, 29 chandeliers, 29 marble pountains. And why 29? Because he is the 29th Sultan of Brunei Drosunam. This museum displays the traditional technologies of the water village. It's people and the traditional technologies of the inland people from the late 19th to mid 20th century. They are great mathematicians as well. How they weave, how they count. And if they create new things, they have to count how many threads go in to create that flowery pattern. It's been inspired by the environment. The biscuits, the plants, spices, so yeah. It is a museum that houses exhibits to illustrate the important upbringing, education, marriage, travels, coronation and subsequent rule of the current Bruneian head of state. These being Brunei, the exteriors is pretty lavish. The floor and walls are made from the finest Italian marble. The chandeliers were crafted in England. Yeah, Azura or giant. But here that means it's just a Buddhism, yeah, also. So that means the king he built like this for the Buddhist people. He built it to dedicate to the Vishnu God in Hindu. But you know, most of the temple, the man entrained from the Isai, from the Isai, you know. The pagoda is composed of different layers. And the top most one is we call diamond bat. So where you can see the biggest diamond at the top most. This song was composed by the Nya Vati minister. It was sings about this 18th century. They are Dalen in arts. After we are selected as 50 students in one year. Every year we selected 50 students. I want to explain about Myanmar puppet. So Myanmar puppet is the composite of wood sculpture, handicraft and painting. So Myanmar puppet is the kind of string puppet. So it's called Myanmar traditional marionette. These drums are made of the hollow batak wood and covered with the calm skins or some kind of leather. This is called a wine. All together five steps for female dancers and four steps for male dancers. The cane is a free-read mouth organ, indigenous to the people of Laos. Fabrics made using naturally dyed silk. Painstakingly hand woven on traditional looms. Collaborating with five ASEAN open universities in designing, developing and producing an open and distance e-learning course delivered fully online, maximizing multimedia redefines contemporary academic partnerships. The chosen medium of multimedia brings open and distance e-learning in a different level of teaching. Teaching and learning and research in the digital era in course development, production and delivery, which highlights the properties of this course as participatory, constructivist and collaborative. Collaboration promotes multiculturalism by capturing authentic voices in an engaging process of documentary making shared by members with multicultural backgrounds, practicing, consensus-building, dynamic discourse and dialogue. It is most important to note that the identifying of the documented art forms in each ASEAN country is the collaboration with our partner institutions. So in this particular instance, we have Hanoi Open University, we have Open University of Malaysia and Sukhothai Thama Tirat Open University and University Universitas Der Buka of Indonesia. And so here we have an example of capturing the visuality of the different arts of these countries. Synthesis paper, Ways of Seeing Art in ASEAN, is also a requirement in this particular course. A synthesis paper is the analysis and or critique of the materials read and viewed. It focuses on the highlights and presents the gist and significance of the materials in understanding the subject matters presented. Then we have the ASEAN Art Forum where students are to read, view and recommend through comprehensive annotation to our community of ASEAN scholars on what are the most useful articles on art from each ASEAN country. So there has been a lot of exchanges with students and faculty alike. Research in ASEAN art making use of art as epistemological lens, art research methods and multimedia research. Forum and exhibition space where students are to submit a short write up, annotation of documentary and the video production that they have themselves produced. These are all original video documentaries that they have produced. Then we have the top three choices where students are to view all video documentaries by their classmates and submit their top three choices out of the productions that have been submitted by the students as co-creators of academic texts. The works were reviewed and critiqued in terms of content. The learners interacted with their community with diverse cultural heritage as co-creators of texts in producing their individual documentaries. They took their cameras to their community and interviewed, took footage and mingled with artists, art patrons, art enthusiasts and the people of the community whose lives have been touched by the art forms and the processes that go with it in its creation. With interaction of learner and community of practice and presenting their reaction and insights show their transformation as online students into co-creators of academic texts for becoming active agents of preserving and promoting cultural heritage. In what follows are multimedia footage on activities and output of the students and learning and multimedia research documentaries. As I have been saying, this is why we have adopted ODEL, Open Distance eLearning. As a framework, as a philosophy, as a worldview, we now live in an increasingly open and interconnected world. We who are with educational institutions need to reexamine our approaches in teaching and learning in the light of the demands of the global era and the digital age. We need to produce graduates who have the ability to seek new and research on information from different sources, communicate these knowledge in various forms and situations and translate these information into action in different cultural contexts. They are innovative, creative, critical thinkers, make evidence-based decisions and have good communication skills. Open Education offers a range of possibilities and it is up to us to find out how we can apply it to transform the lives of our people and our nation.


What do you think of the term woke capitalism as a part of corporation aligning with cancer culture? Josh Hawley recently used it in describing how Coca Cola and MLB are boycotting Georgia election rules term package deal. Yeah, I mean, woke is not really a concept. It's kind of a vague term to describe a certain attitude on the left. I don't think it can really apply to capitalism, to corporations. And it certainly shouldn't be aligned with capitalism. I mean, it would fit Josh Hawley who has no clue what capitalism is. And it is a reject of capitalism wholeheartedly to associate the term capitalism with woke. You could say these corporations are behaving in a woke fashion. That's fine. You can say these corporations are towing the democratic line as virtue signaling. That's fine. But woke is not a concept. Nobody's defined it. It's not there's no clear definition or even clear description of what it means. It's applied to a variety of different things. And it's primarily applied to the left. And in terms of corporations, yeah, I mean, corporations have done this forever. How many corporations threatened the NFL around taking the knee, right on the on the right? How many people threat when when Kaepernick took the knee and football players took the knee? How many corporations said they wouldn't advertise, or they wouldn't be associated? You know, corporations take political stands, depending who's president, depending on where they think the wind is blowing, it's pragmatism, it's awful. But it's, you know, don't make too much out of it is is Coca Cola and and Delta really going to move their headquarters out of Atlanta. I doubt it. They're going to make some, you know, comments to show that they're on the right side of political correctness. And then they're going to close their mouths because Georgia is still a primarily Democratic, sorry, Republican state.  So they're not going to make too big of a deal. Imagine if Republican Georgians stopped flying Delta, that won't be good for Delta and Delta knows it. So they're going to be very, very cautious, right? Somebody says, isn't woke an acceptance of the basics of communist net worldview? Not at all. I don't think woke and communism of any connection. Indeed, woke is, is anti-communist because the communists, certainly the communist ideology is anti-woke. Woke has a lot more to do with critical race theory, with postmodernism, with, with nihilism and, and the complete, you know, just the, just the, the, what's it called intersectionality, then it does with Marxism or communism. Marxism is not postmodern. Marxism is not critical race theory. Marxism is not intersectionality. These things in a sense are much worse than Marxism. They are real egalitarianism in a way that communism is not. Right? I don't want to pretend for one second that anybody think I'm defending communism, but communism is, is way ahead in every respect than, you know, intersectionality, critical race theory, woke, whatever, wokeism, if you want to call it that, all of this. This is about nihilism. This is about tearing stuff down. This is about destroying communism, at least as the pretense of utopia, as a goal in it. What is the utopia of critical race theory? What is utopia of postmodernism? What is utopia of wokeism? There is no such thing. There is no such thing. It is the annihilation of anybody who's a little bit better than anybody else, which means everybody. It's the annihilation of everybody. Until the last weakest person on planet earth is left. So there is, you know, maybe somebody has a definition of woke, but I haven't seen one. It's very vague. It's very, it's very questionable about whether it, it's just a, it's a term that people throw out there for what we used to call a political greatness, but much worse, right? And includes the whole cancel culture affiliated with it. And it's, it's a, it's, it's a bunch of different things. It's not a package deal because there's no positives that go into the woke. Woke is all negative. It's a, it's a bad attitude, but I don't think it's a clear cut definable term. Maybe I'm wrong, but I don't think so. I certainly don't think that it is as anything to do with communism. Communist believing in, in discrimination, all kinds of discrimination based on all kinds of parameters. What we need today, what I called a new intellectual would be any man or woman who is willing to think, meaning any man or woman who knows that man's life must be guided by reason, by the intellect, not by feelings, wishes, wins or mystic revelations. Any man or woman who values his life and who does not want to give in to today's cult of the spare cynicism and impotence and does not intend to give up the world to the dark ages and to the role of the collectivist roads. All right. Before we go on, reminder, please like the show. We've got 163 live listeners right now, 30 likes. That should be at least 100. I figured at least 100 of you actually like the show. Maybe they're like 60 of the Matthews out there who hate it, but, but at least the people who like it, you know, I want to see, I want to see a thumbs up. There you go. Start liking it. I want to see that go to 100. All it takes is a click of a, a click of a thing, whether you're looking at this. And, and you know, the likes matter. It's not an issue of my ego. It's an issue of the algorithm. The more you like something, the more the algorithm likes it. So, you know, and if you don't like the show, give it a thumbs down. Let's see your actual views being reflected in the likes. But if you like it, don't just sit there, help get the show promoted. Of course, you should also share and you can support the show at your own book show.com slash support on Patreon or subscribe star or locals and, and show your support for all, for the work, for the value, hopefully you're receiving from this.  You'll know what shows are on, when they're on. You'll get notified, right? So, yes, like, share, subscribe, support, like, share, subscribe, support. There you go. Easy. Do one or all of those please.


So here's another problem that shows up frequently in calculus that it's not actually a calculus problem, and that is this challenge of finding the intersection point of two curves. So if you already know how to find the intersection point of two curves, don't worry about the rest of this.  So let's find the intersection points of the two curves y equals 12 minus x squared and y equals 4x. Just a quick comment on mathematical terminology. Mathematicians call anything that you graph a curve, even though it might or might not have some sort of English language idea curvature to it. So in this case, y equals 4x, you should recognize as being something that will give you the graph of a straight line to a mathematician that still counts as a curve. So let's take a look at the intersection point or points. Now a very important idea to keep in mind is that any point on the graph of a curve has to satisfy the equation for the curve. So if a point is on the graph y equals 12 minus x squared, whatever the x and y coordinates are, have to make the statement y equals 12 minus x squared a true statement. And if that point is also on the graph of y equals 4x, the x and y coordinates have to make that statement also true. So what does this tell us? Well an intersection point is a point that is on the curve y equals 12 minus x squared and also on the curve y equals 4x. Well that intersection points x and y coordinates have to make this a true statement and they also have to make this a true statement. So that means whatever our intersection point is, it has to correspond to a solution to the system of equations y equals 12 minus x squared y equals 4x. Which means that I can find that intersection point by solving this system. Now here's a very useful thing to notice. Intersection point is a geometric concept. It is a thing from geometry. However we're going to find that using an algebraic method solving a system of equations. And so here again is one of those neat interactions between algebra and geometry that make up modern mathematics. In fact in the course of this problem, except for phrasing the problem in geometric terms, we're not going to draw any pictures. The solution to where that intersection point is going to occur is going to take place entirely within the algebra. Well in algebra you learned a number of ways of solving a system of equations. But in this particular case, because our equations are already solved for y, I might as well make use of substitution. So again the key thing to remember, as soon as you write down that equal symbol, you are guaranteeing that the right and left hand sides of that equals are completely and totally interchangeable anywhere that you find them, at least within the context of the problem you're working. So because I've written y equals 12 minus x squared y equals 4x, I can replace any y with 12 minus x squared. Well here's a y, I'll replace that with 12 minus x squared and I get this equation 12 minus x squared equals 4x. And that's a quadratic equation. Well I know how to solve quadratic equations. So I do have to get the quadratic equation into the form ax squared plus bx plus c equals 0, so I'll do a little bit of algebra to do that. And notice I don't really care that this coefficient of x squared is negative. The quadratic formula doesn't care what the value of a, b, or c is as long as a is not equal to 0. So I apply the quadratic formula and I get the following solution and after all the dust settles I get the solution x equals negative 6 or 2.  And the reason for that is we're actually looking for the intersection points. Again a point is a geometric concept. In terms of algebra a point requires a specification of both an x-coordinate and a y-coordinate. So this solution x equals negative 6, well that's an x-coordinate, but it's only half of a point. I need to find the other half. So I have my x-coordinate. If only there is something that would tell me what my y-coordinate was when I knew what the x-coordinate was. Then I could find the y-coordinate and that would give me the complete point. Oh, well here I actually have two ways of finding my y-coordinate given what my value of x is. Now because the intersection point is going to be on both curves it actually doesn't matter which of these two formulas we use to find our y-coordinate. So let's pick the more complicated one because we like doing lots of extra work. Well maybe not. Let's use the easier one, y equals 4x. So if x is equal to negative 6, I'll just substitute that into my formula, y equals 4x, and I find y is negative 24. So my intersection point, x-coordinate, y-coordinate, negative 6, negative 24. And likewise for my other solution, if x equals 2, I'll substitute that in. And my other point of intersection, if x is equal to 2, y is equal to 4 times 2, y is equal to 8. So the other point of intersection is going to be 2, 8. Now just as a final note, because the intersection point should be on both curves, one thing you may want to check is with the other formula, make sure that these two points are actually points on the graph of y equals 12 minus x squared. So here if x equals negative 6, 12 minus x squared is in fact negative 24. Likewise if x is equal to 2, 12 minus 2 squared is in fact equal to 8. So both of these points are on both curves.


My name is Becky Stewart. I'm a financial specialist with the Wisconsin Technical College System. I look at my job as a helper. I help everybody in the office from HR. We do hiring. I assist with the recruitments. I do all the ordering for IT. And I also do invoicing and accounts payable for finance. I feel like me helping the office do their job helps them help the colleges to do a better job. It's just a big circle. I started my journey when I was 40 years old. I went to UW-Bearbu. And then I transferred to Madison Area Technical College in Leedsburg. And then at the same time I took classes in Leedsburg and at Truex. I graduated with a paralegal degree. What really made me feel confident is when I was in class, the teachers didn't make me feel like, oh, you're old, you can't do this. They were so encouraging of me furthering my career. So it makes me proud that I get to work for this office because I know that our colleges are helping students just like they helped me get to where I am today.


Hello Psych2Goers! We just want to take the time to thank you for all your kind support. We are a team of dedicated, passionate, and hard-working individuals who come together every day with one goal in mind. We want to make psychology come alive for you. We are self-funded and recently launched our Patreon. If you enjoy the work we do and find it meaningful, please stick around until the end of the video for information on how to get more involved with us and all the cool rewards you can get from us. We hope you enjoy this video. Most of us know something about mental disorders, like OCD or social anxiety. However, for every well-known diagnosis, there's a handful of others, mainly coming out of 20th century Freudian psychology that haven't achieved that level of notoriety. Here's 10 of the most bizarre psychological disorders ever diagnosed by a doctor. 1. Split Brain. This is a condition occurring when the corpus callosum, the bundle of nerves connecting the left and right brain, is cut. This can be done intentionally to prevent epileptic seizures, but can also result in complications including problems with physical coordination, information processing, and even split personality. 2. Cotard Syndrome, aka Cotard's Delusion. Discovered by Dr. Jules Cotard in the 1880s, patients with this delusion believe that they have died or ceased to exist even requesting their own funerals. This usually occurs alongside other disorders such as schizophrenia or depression, and can be treated with medication and electroconvulsive therapy. 3. Frigoli Delusion. Commonly occurring alongside schizophrenia, this is a delusion that one is being haunted by a single person in disguise as several others, such as doctors and family. 4. Stendhal Syndrome. Named after the famous French writer who became delirious while viewing art in Florence, patients may experience dizziness, fainting, even hallucinations when presented with objects of emotional significance. 5. Dissociative Identity Disorder. This one you may have heard of as multiple personality disorder, where a person cycles between separate personalities, often entering into a fugue's state when they can't remember what happened. 6. Alice in Wonderland Syndrome. This strangely named affliction entails a large set of conditions where patients' perceptions of time and body are distorted, like Alice is growing and shrinking. 7. Reduplicative Paramnesia. This is a variety of delusion related to the brain damage of certain strokes, where a patient believes that a familiar place, usually their home, has been duplicated or disguised. 8. Lima Syndrome. The opposite of the better known Stockholm Syndrome, Lima Syndrome occurs when captors sympathize and identify with their hostage or victim. It gets its name from Peruvian psychiatrist Manuel Cuirol, whose kidnappers turned to him for psychological advice, and eventually ended up setting him free. They even gave him cab fare. 9. Triska Decaphobia. For some people, the number 13 is unlucky, but for people suffering from this stress reaction, it can induce panic attacks, often as part of a larger stress disorder. 10. The Jumping Frenchman of Maine. This is an as-yet unclassified disorder diagnosed in French-Canadian lumberjacks who showed unusually strong reactions to surprise, with anything sudden making them jump uncontrollably. Other symptoms included random bursts of mimicry, similar to dissociative identity disorder, and suddenly obeying small commands. That's it folks! Which of these rare disorders did you find interesting and want us to elaborate more on? Let us know in the comments below. We will take the comments with the most thumbs up. Until next time, stay well.