You've created this amazing product, you've photographed it, you've listed it and then no sales can be really disappointing, right? Totally disheartening, sometimes even can make you feel like giving up.  But you're in luck because I'm going to be talking about six key online marketing strategies that I think are perfect right now to enable you to sell more of your artwork. And drumroll, it does not involve creating Instagram reels. In fact, it doesn't involve social media at all. Throw up the balloons, open the champagne cork, all right, hooray. These are good old fashioned strategies for marketing your art. Hello, welcome or welcome back to my channel, my name is Sophie and I help artists just like you to set up market and grow a successful profitable business doing what you love. Now if you'd like tips and tricks on how to grow that successful business, then you're in the right place because right here we do exactly that. So make sure to subscribe to my channel and of course hit that bell to get notified every time I post a new video. So now more than ever, you want to make sure that you have a crystal clear marketing strategy. That's not where you're randomly posting on socials with your fingers crossed waiting for a potential sale, right? This is where you have a marketing plan that sits alongside your business plan. Yep, I did say the business plan and the marketing plan. If you haven't done the business plan, make sure to check out this crucial video here and get that done. You see everything you're going to be doing now on, you've created the product or service and you now need to market it. Everything you're going to do from this point is simply follow the plan. The plan is going to outline who your audience are and if you're not sure about that, then I've got a video below here that's going to help you with that as well.  And of course, then how you're going to make them a fantastic offer that they can't refuse and they're going to buy your work. So today I'm going to share six key online strategies that you can use right here, right now to start moving things towards making sales, getting that audience in front of your listings. And the first one I'm going to say is ads. It's a paid for strategy. Now, very often I talk about free versus paid for. Should you be paying in order to market your artwork? And you might say, well, it's cost me X amount to make the artwork. And now you're telling me I've got to pay for ads in order for people to see it. And what I want to say is, look, you're running a business. You're going to pay any which way, right? If you put it in a gallery or on a third party site, they're going to do the marketing for you and they're going to take a percentage. Now, if you're going to be doing the marketing, you're going to have to spend some money on a marketing budget or you're going to have to allow a lot of time to do a lot of organic marketing, which definitely can be done, but this is a much faster and easier route. So online ads, whether that's Facebook ads, Instagram ads, Pinterest ads, YouTube ads, LinkedIn, I think, Twitter, TikTok, any of the platforms or whether it's Google ads. OK, what's the difference between all those social media ads and Google ads? There's a huge difference, right? One can be much more powerful than the other when done correctly. So imagine all your social media ads. We've all seen ads, right? We've all seen things pop up on the Facebook feed or Instagram or amongst your lovely Pinterest pins, wherever you are, there's going to be ads being served up to you. So imagine now that you are the customer, you are somebody that might buy art. So on a social media platform, you're looking for something else and some art shows in the feed and it either grabs your attention or it doesn't because you weren't looking for that at that point. You were just scrolling, spending time on Instagram, for example. And then there's some artwork and you're like, well, I'm interested in art, that could be interesting, but they weren't looking for it as opposed to Google. What happens is the customer, I'm looking for some abstract artwork. I'm looking for, I don't know, abstract landscape of a particular place. I've typed that into Google, some ads pop up that look pretty much exactly what I'm searching for and I click on that thing and I'm taken to that product and I go, well, that's pretty lovely. That's pretty much exactly what I was looking for. I'm going to buy that then. Do you see the difference? So one is based on somebody is searching for it and that's a response to the search on, say, social media. You are just putting your ad out to the target audience in hope that they might be interested in buying it. Do very, very different things. So it's up to you which strategy you use or whether you use both. The ads are really powerful. You can choose the audience, you can choose your budget, you can choose how long it's going to run and of course you can choose what you're actually going to send the ads to, what the ads are actually going to be for. It might be if you run workshops, for example, and you have online listings for courses or workshops, it might be a freebie, some information. If you've got original art, you might say, well, I've also got some prints. Perhaps I'll make a print offer.  When they go to the print, they realize, oh, did you know you can also buy the original, original still for sale. It could just be that you give someone the opportunity to join your mailing list and then you're going to email from there. So there are different types of ads but ads right now, 100%, you want to be thinking about doing those. And then number two, I've already mentioned it, it's email. Email is the glue that holds your art business together, all right? You need to be building a list of people who are potentially interested in what you have to buy. And you're going to be doing that on an email marketing platform. I have a load of videos, thank goodness, on how to do that. So check out this one, I'll get you started on building your mailing list right here and I'll put links to others as well below this video. So building a mailing list of people who said, yes, please, I would like to hear from you on an ongoing basis until a point in the future where I unsubscribe. This is really important, all right? And this means every time you have a new launch or say you perhaps, for example, supposing you have an online store and you have a new collection of prints or you have some print on demand products, you've listed these brand new listings and rather than them just sitting out there and you waiting for something to happen, you can email your list and say, hey, I'm really excited. I've got this new collection that I've just listed on my website. Have this discount voucher and go shopping now. It happens everywhere else. Why do we think it's gonna be any different for us artists? I often wonder that. All right, number three, well, you're watching it, all right, YouTube. So YouTube is really, really powerful. Why? Because it's a search engine. So remember when I described Google ads over kind of Facebook or social media ads? This is it, YouTube is a search engine. So somebody is looking for information or how to do something on YouTube, right? So I might think to myself, oh, I'd really like to learn a new art technique, for example, where am I gonna go? I'll go to YouTube because I like videos and I'll type into YouTube search. I'm interested in, I know, urban sketching, latest thing. And then a whole load of videos will be popping up as suggestions for me to watch. Now, obviously this is gonna depend on what you do, but actually, even if you're selling originals, you can make videos talking about those originals, put them on YouTube. See, a lot of people like video. And as we know, social media favors video. We know that generally people prefer video, right? It's short, it's sweet, it's easy, it's digital. I can watch it, I can watch it in the office with the sound off. I watched some of the other day on the train just scrolling and scrolling and scrolling through all these videos and I thought, this is really interesting. He had the sound off and he was just looking for something that caught his eye. So videos, super, super powerful. You can build up an audience of subscribers and you can also ask those subscribers to join your mailing list and so the whole thing kind of fits together. Did you know there's 122 million daily active viewers on YouTube? If that's not a big enough audience, then I don't know what is. Now, of course, the consideration for any of these strategies is whether your audience is gonna be there. So if you've worked out that your audience loves to watch video and you think that what you can do with your business, you can make videos around what it is that you do, then YouTube has gotta be considered as a really powerful marketing tool. Number four, Pinterest. We've spoken about it before and if you want to know a little bit more about Pinterest, check out this video. Pinterest is wonderful. It is also a search engine. It still is in that gray area of a social media platform. For me, it's not really a social media platform. We don't go on there to chat and have a conversation. We go on there to search for things to search for things that are inspiring, things that we'd like to own, things that we might like to buy down the track, information that we'd like to gain. We go on there to gather and pin things to our boards, all right? If we are the user. Now, if you're the person with the Pinterest account, then obviously you're the person providing that content. Now, Pinterest is a phenomenal traffic source, all right? It sends lots and lots of traffic to your website, to whatever online sales platform that you have. So by having a Pinterest account by actively using it, you've got a really nice and easy way to send viewers over to your website to find your online listings. And yes, you might say, well, Sophie, there's quite a bit of work to creating all those pins, isn't there? And don't I have to pin an awful lot quite regularly? Yes, you do. But if you knew that making those pins and pinning those pins regularly, and by the way, we have a great tool that we use called Tailwind. And you can get a free starter below. There's a link below here where you can give it a go for yourself for a while. And let's see if you like it. It's an awesome scheduler. It does Instagram and Pinterest. That I use it for Pinterest and I love it. So by having a scheduling tool to help you, it's not taking so much time. But if you knew that by doing all that work, you were going to get loads and loads of people looking at your listings, and then you were going to make sales, wouldn't you want to do that? That would be my question, right? Now, and you have to weigh it up. What would you rather do? Create and pin a whole load of pins that are going to send traffic to your website or post on some social media and have a conversation. Now, I'm not saying anything against social media at all, but definitely the algorithm is changing. Definitely on Instagram. And I think Facebook, that happened a long time ago. You want to stay ahead of the curve, all right? You want to be in the places where people are looking and shopping. And we know from the stats on Pinterest that they're not just looking and saving, they're also shopping. So again, why would you not use that platform even if there's a little bit of work involved, all right? All right, the next one, blogging. Now, this again is a firm favorite for me. I definitely started out blogging back in the day and I still think it's a phenomenal online strategy. Is it an overnight quick win? No. Could you get quite a quick result with running some ads? Yes. So blogging is going to be, again, more your medium to long-term burn. But I promise you, it's a really great strategy if you know that your audience likes to read information. All right, so there's a few things that you can do. Obviously, if you've got your own website and you want to have the blog attached to the website, writing and creating a regular blog means there's fresh content going on your website and Google is going to love the fact that you're updating that website often, all right? Really important. But of course, also let's look at some of these other things we're talking about. If you write a blog, you could then create some pins on Pinterest and send people to look at that blog and then while they're on that blog, you can link it to other blogs. People stay on the website and then you could make a suggestion that they look at your shop. And then when they're looking on the website and they're looking at the shop, they might make a purchase. So you see how the whole thing fits together, all right? And my next tip then is SEO. No, please don't turn off, it's super important. It might be a little bit geeky, but it's really, really important. And unless you're going to outsource it, again, it doesn't cost you anything. So only one of these strategy is paid for. Everything else technically is a free strategy, of course you can use tools that are going to enable you to do the whole thing quicker so there could be a little bit of your marketing budget going to those. And SEO, definitely something you probably want to outsource. But let's just give you the bigger picture. So search engine optimization. This is going back to what I said at the beginning. Really want to get in front of people who are already looking. People who are looking to buy what you have are the people that you really want to get in front of, right? As opposed to people who are just spending time online or even worse, they're looking for something over here. You know what I'm really trying to do is buy a bookcase for my bedroom. But I'm having these ads pop up that tell me that I might want to buy this painting. Now I might want to buy this painting, but right now I'm on a project to make my bedroom look great and I want this bookcase.  It's like, oh great, that's exactly it. You know, that's great. That's what I'm looking for. And I really hope that this really, this is the main point. If you walk away from this video, understanding this concept, I think what you do moving forward with your business will be much, much more powerful and you're going to get the results that you deserve. So there's a few things that you're going to need to do to optimize your website. So what does that mean? That means using what we call keywords. So that's that phrase that somebody might be putting into Google or YouTube or Pinterest to find what they're looking for. So you need to do a little bit of keyword research, find out what those terms are and then make sure those terms are on your website, in your blogs, in your videos and in the content of your website. Of course, there's quite a lot to SEO and I'm not here to teach that today, but I do teach that actually in my membership. So if you are seriously at this point looking to build your art business and you're watching this video and you're thinking to yourself, this is great. I really feel like I need some help with all of this. Then I just want to wave a quick flag for my Art Business Academy membership. There's a link below this video that will take you to an information page. And if time of watching, then if the doors are closed, you can get on the wait list, but sometimes we open the doors and it will tell you the doors are open and you'll be able to join. So the membership is an ongoing membership where I provide new content and Q&As and group coaching and ongoing support with building your art business. There's a lot of amazing content in there. One of the trainings is a full 30 minute SEO training with exactly how to optimize your website or third party sites so that you can be found in search by your audience. So again, if that's something you're interested in, then grab a link below this video and find out more. All right, so I hope you've really enjoyed those tips today. Like I said, the one main takeaway really is understanding the difference between randomly posting things online and actually being very strategic and showing up in places where people are already looking. So I hope you've really loved this content. If you want to dive deeper into marketing, I say there's links to videos below this one. So let us know what your key takeaway. If you've watched this video and you've learned something new, which we hope you have, please let me know in the comments below and say, hey, Sophie, I really loved this particular thing or I've really worked this out because my aim is to help all of you to get the results that you want, right? And so we're gonna do whatever it takes to get you there. So thank you so much for watching today's video. Make sure to keep going on the marketing trail and watch more marketing videos below this one and I'll see you on the next one.


Hey, Psych2Goers. American novelist Thomas Wolfe once said, Loneliness is and always has been the central and inevitable experience of every man. And most of us would probably agree because we've all felt loneliness at some point in our lives. So if you're struggling right now with a deep loneliness in life, then you'll probably relate to these seven telltale signs. Number one, you feel numb all the time. Lately, whatever emotions you used to feel a lot, be it happiness, sadness, excitement, interest, or amusement, just don't seem to be there anymore. And nothing you do to cheer yourself up or make yourself feel something again seems to be working. Most days you just feel empty, lost, and confused. Your numb and emotionally detached because you're struggling with a deep sense of loneliness that you don't know how to deal with. Number two, you can't control your emotions. On the rare instances when you do manage to feel something again, it's not much better because you can't seem to control your emotions. Now you get upset over the tiniest inconvenience and suddenly don't know how to stop crying or lash out at the people around you for no apparent reason. Unable to control your anger. Psychologists call this emotional volatility and it's very common in people who suffer from depression, severe anxiety, and loneliness. Number three, you feel like you're too different from other people. Even around your closest friends and family, you still feel like an outsider, like nobody really knows or understands you. You struggle to connect with others and you feel you don't belong. This is because all too often our loneliness can drive a wedge between us and everyone around us, blinding us from their warmth, friendship, and compassion. Until all we're left with is this nagging fear that we're too different for anyone to ever accept us for who we really are. Number four, you question the meaning and purpose of life. Some people tend to become more introspective and philosophical when they feel lonely, so if you've found yourself questioning the meaning and purpose of life lately, this might be the reason why. Sometimes we might try to confront our loneliness head on and dive deeper into our own psyche to get to the root of it all. Regardless of whatever it is you might find there in your innermost thoughts, fears, and desires, you're more than likely to come out on the other side a wiser, more insightful person with a new perspective on life. Number five, you're always exhausted. Another warning sign that you might already be feeling a deep loneliness without even realizing it is if you find yourself always feeling exhausted. It's like all of a sudden even the simplest tasks like returning a phone call, going out to buy groceries, or cooking yourself a meal seem too overwhelming and tiring to do. You tread your feet all day long, putting things off for as long as you can, only to collapse on your bed exhausted and completely spent every night, which brings us to our next point.  All your time has been consumed with these activities, and sure they might be fun and even relaxing in moderation, but indulging in them too much will only leave you feeling lonelier than ever. Why? Because while all these things might seem like a good way to distract us from our loneliness and make us feel good about ourselves, at the end of the day, it'll only remind us that we don't feel like we're doing anything worthwhile with ourselves or our lives. And number seven, you stop taking care of yourself. Finally, but perhaps most importantly, the moment you start to neglect your own needs and stop taking care of yourself is a trouble sign that your mental health is taking a turn for the worse.  Do you no longer do the things you used to enjoy like going out with friends or indulging in hobbies? Do you go for days without taking a shower or constantly leave your room in a mess? All of these things are common side effects when we struggle with a deep sense of loneliness in our lives. We feel helpless and unfulfilled, starved of meaning, connection, intimacy, and purpose. So we just stop taking care of ourselves altogether because we feel like it's pointless. So do you relate to any of the things we've mentioned here? Have you personally experienced a deep sense of loneliness? If you are struggling with your mental health, the best thing you can do for yourself is seek help and reach out to a mental health care professional today. Just the fact that you're aware that there is something missing in your life shows that you have a good idea of who you are and what you want, even if you can't clearly define it just yet. Take this as a call to action to start soul searching and rediscover what makes life meaningful for you. What's your experience with loneliness? Talk about it in the comments below. Don't forget to leave a like and share this video with a friend who may find some insight in it too. As usual, all references used are added in the description below. See you next time. Take care.


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Welcome to drinks made easy today We're taking a look at a cocktail by Lee Clark one of our viewers who sent us a comment asking if we would make it now Lee submitted this to the difference guide and they accepted it and published it which is pretty friggin cool It's an old-style martini variation called the Amster Damage and when he requested it. He got Mike pretty excited He even thought it was a love letter Yeah, I think you might have thought that Lee was a girl's name Shut up Hey, it's better than the usual troll comments we get that's true to build the Amster Damage We'll start with one ounce of dry gin London dry style Now Lisa when he first proposed this recipe to differ It's he suggested either vodka or London dry style gin But they switched it to a Geneva to have more of a connection to Amster Dam since the name of the cocktail is Amster Damage makes sense Next we're gonna add one dash of orange bitters One ounce of triple sec and One ounce of dry vermouth Now this is considered a wet style martini You might be wondering what the heck does that mean a lot of martinis today are considered dry martinis? Because there's only a small bit of vermouth in them But traditional martinis would have a lot of vermouth sometimes equal portions And there's lots of different cocktails that play around with that aspect. So that's why this is considered a wet martini Give it a quick stir And with a drink like this This is where the strong technique really comes in and if you've forgotten what I've mentioned in the past Strawing is super simple. All you're doing when you're making a drink is you're simply Strawing To see where the dilution is and how that's affecting the flavor if you need to start a little bit more you do so and And then pour it into your glass and garnish with a little peel of orange that you express over the top of it Now you might have noticed I didn't stir all that much and that was because I'm using some pretty small ice Which leads to very quick dilution if you have large spheres or blocks This is a great way to control how much dilution you have in your martini But in a pinch you can even use Ice and here you have the Amster Damage martini delicious Thanks so much for watching Please be sure to like subscribe and click on the bell icon so you be notified anytime we release a new video and special Thanks to Lee Clark for submitting his Amster Damage If you have any cocktails that you've made or have any requests for beverages Alcoholic or non that you'd like to see on the show leave a comment below cheers from drinks made easy


Greetings and welcome to the Introduction to Astronomy. In this video we are going to talk about stars, and specifically we are going to look at the brightnesses and the colors of stars and how we go about measuring those and what they tell us. So let's go ahead and get started. And the first thing we want to look at is talking about the brightnesses of the stars. Now when we talk about the brightness of a star there are two specific things we want to look at.  Now these two are quite different. Let's start off with the absolute brightness and that is what we also astronomers will call the luminosity of a star. So the luminosity is the amount of energy being emitted at all wavelengths by a star every second in all directions. So it is a real measure of the amount of energy a star is emitting at all times. So it doesn't count just the amount of energy for example of the sun heading towards us here at Earth but it would count that heading out elsewhere in the solar system and that elsewhere into space. And it would look at all of the wavelengths not just visible light but would count all of the energy. Now for a star like the sun most of the energy is being emitted at visible light wavelengths. Some is in the infrared and some is in the ultraviolet but the vast majority is in the visible. Now what kind of measurement units do we use for this? Well we can give it specific units and astronomers sometimes do but for most cases it's much better to refer it to the luminosity of the sun. So what we say is that the sun has a luminosity of one solar luminosity and for the sun we use a circle with a dot at the center. So that is the luminosity of the sun so a very faint star might have a tenth or one one hundredth the luminosity of the sun. Very bright stars might have hundreds or thousands or even more times the luminosity of the sun but it is all compared to the sun as a convenient measure. Now that's the absolute brightness that is how much energy a star is actually putting out. However when we look at the stars at night we don't see the absolute brightness. We see only the apparent brightness or how bright they appear to be from the earth. Now that depends on a lot of different things. It can depend on the distance from the star the further away a star is the fainter it is going to appear it can depend on whether there is dust in the way dust could be making the star appear fainter than it otherwise would be. So the luminosity is what is actually being emitted from the surface of the star the apparent brightness is what we actually see from the earth and since it does depend on these things there are some questions. Is a faint star really faint or is it a bright star that is just very very far away? Well that is something that we have to consider and that we will use later on. Also dust will make stars appear fainter than they would otherwise appear. So in some ways dust can then make a star look further away by making it look fainter we could think it is further away than it actually is if we did not understand that there is the dust in the way. Now in order to measure the brightness astronomers use the system of stellar magnitudes. These were started by the Greek astronomy Hipparchus astronomer Hipparchus back in the 2nd century BC. What he did was to group stars into categories by brightness so he put his brightness stars in the first category here these were the brightest stars and then he had category 2, 3, 4, 5 and 6 and 6 were the faintest stars that were visible. Now that would be what would have been visible with the naked eye as we are long before the time of the telescopes. So he did those into 6 categories and the brightest stars being stars of the first magnitude and the faintest stars being stars of the 6th magnitude. Now this was based on naked eye observations so there were no telescopes or binoculars or any other devices to help you observe at the time so all that could be done was to look at them with your eye and what that does is because this carries over to what astronomers use today it gives us two difficulties that can often confuse people learning the magnitude system. First of all the system is backwards numerically a larger number means that a star is fainter that's not how we measure most things if we measure the height of an object the higher the number the taller the object if we measure the mass of an object the bigger the number the more mass it has if we measure temperatures the higher the number the hotter it is. However in magnitudes the bigger the number the fainter the star. The second is that the system is what we would call non-linear and that simply means that typically if we look at two objects and one is one meter long and the other is two meters long we know that the two meter long object is twice as long as the other so we can easily tell comparative distances if we have two temperatures and if it's 40 degrees versus 80 degrees 80 degrees is twice as hot as something at 40 degrees so those would be examples of linear scales non-linear scales like this means that there are not a sixth magnitude star even though we know that it's fainter it's not six times fainter than the brighter star this is actually 100 times fainter so the five magnitudes in between first and sixth would be 100 times fainter so those are two of the things that can cause difficulty as you're learning the magnitude system now let's look at how this was expanded and over time astronomers expanded this scale but they still built on what Hipparchus did so in the 1800s it was expanded and now ranges much further remember that Hipparchus only gave us this range from about first magnitude here to about sixth magnitude here and what we found as we've been able to make more detailed measurements and develop more technology that binocular objects if you look at an object with binoculars you can actually see much fainter you can get down to tenth magnitude a one meter telescope gets you down to about 18th or 19th magnitude four meter telescopes get you down to about 26th magnitude and the Hubble telescope can get you down to 30 or even 31st magnitude for the very largest telescopes so they've been able to expand the scale but remember when we're looking at magnitudes in the 20s and 30s these are extremely faint objects even though they are the largest numbers numerically now we've also some things that were not considered as Hipparchus was only looking at stars there are some objects that are actually brighter so Jupiter and Mars would actually then have negative magnitudes Jupiter, Mars, Venus can all have negative magnitudes the full moon has a magnitude of about negative 12 the sun has a magnitude of about negative 26 again very small numbers mean very bright objects now the way it was expanded and the way it has finally been formalized based on what Hipparchus had originally done is that each magnitude represents a factor of two and a half in brightness so if you have a first magnitude star and a second magnitude star the first magnitude star is two and a half times brighter than the second magnitude star and if you go to a third magnitude star that would be another two and a half times so two and a half times so the third magnitude star the second magnitude star would be two and a half times brighter than that the first magnitude star would be another two and a half times brighter meaning that between the first and third magnitude it would be 2.5 times 2.5 or 6.25, 6 and 1 quarter times brighter now we don't need to go into all the details of this here but one of the important things to know is that the difference in the magnitudes is two and a half times and that five magnitudes if you multiply two and a half times two and a half and you do that five times you will find that five magnitudes is a factor of 100 in brightness so this is what Hipparchus found between his brightest stars of first magnitude and his faintest stars at sixth magnitude there was about a factor of 100 in the brightness and this is what we still use today so we still use this scale and everything is converted to this if we are measuring magnitudes with the Hubble Space Telescope it still uses the scale that was originally developed by Hipparchus so how about other wavelengths how else can we measure these well typically other wavelengths radio waves, gamma rays use luminosity instead of magnitudes magnitude scale is used for ultraviolet and infrared wavelengths in some cases especially when those are very close to visible so there are some cases where we use the magnitude scale radio astronomers, gamma ray astronomers x-ray astronomers do not convert things to magnitudes but instead use measures of luminosity or at least of apparent luminosity again how bright the objects appear to be from the Earth now the other thing we wanted to look at in this section is the colors of the stars when we look at images like this we note that there are very distinct color variations in the stars there are some stars like these that appear very red there are other stars appear that appear very blue that is very that tells us something about the surface temperature of the star and what we find is that hot stars appear blue cool stars appear red now if you remember back Wien's law told us this Wien's law told us that the peak of the radiation depends on the temperature of an object so a very hot object is going to emit more blue and ultraviolet light a very cool object is going to emit more red and infrared light so just by looking at images like this we can tell where the hotter and the cooler stars are all the red stars you see are relatively cool all the blue stars you see are relatively hot however it does not give us a way of measuring the temperatures directly we need to get more detailed measurements to be able to determine that we find that the color does not depend on the distance so it helps us learn about the stars regardless of distance however it is affected by dust dust is very good at absorbing short wavelengths of light so it can absorb the bluer light and if a star's light is coming through a lot of dust it can look significantly redder than it otherwise would be so a red star could be a bluer star with the light coming through lots of dust on the way to Earth in the case of a cluster like this that is unlikely because all of the dust would not just block out one star but would likely block out all of them but it is something that astronomers have to consider when making measurements of individual stars one of the other color changes that we sometimes talk about is due to the Doppler shift and this was originally thought maybe this was one of the reasons for these changes that if something is moving towards you or you are moving towards it that the colors will be shifted towards shorter wavelengths or bluer colors and if something is moving away from you or you are moving away from it the colors would be shifted towards longer wavelengths but will we know that that cannot be the case because in order to actually shift something from say red to blue you would have to be moving at a significant fraction of the speed of light in order for the Doppler shift to cause that kind of change and with the cases of stars within our galaxy that does not happen however out further in the universe when we start talking about the expansion of the universe certainly when we look at quasars we do see in very distant galaxies we can see some that are moving so far and so fast that light that was emitted in the ultraviolet part of the spectrum ends up being shifted in to the visible so let's take a look at what astronomers call the color index and the color index is a measurement that is used to get a better idea of the temperature I've told you how the color can give you a vague idea of whether something is hotter or cooler but we can use the color indices to be able to measure the brightness through three different filters now the most common of those are the U, B and V filter U for ultraviolet, blue for blue and V for visual now what that means is that they're filters so this lets through just a certain range of ultraviolet light this one just a certain range of blue light and this one the V or visual lets through actually some yellow light and what we do is we make a color index so we measure the magnitudes and the most common one is B minus V so we measure the magnitude in the B we measure the magnitude in the V so we essentially take a picture of the star through the blue filter measure the brightness, the apparent brightness we take a picture of the star through the visual filter measure the brightness again calculate those magnitudes and then subtract them that determines the temperature very specifically and in fact a negative or very small value when you subtract, take B and subtract V means a very hot star a positive value, larger values mean a cooler star so we can use the B minus V values by taking pictures of stars through these various filters determining the magnitudes we can then use that to determine the temperatures of the stars not just say one is hotter or cooler but we can use those exact numbers to really be able to determine precise temperatures so let's finish up here with our summary and what we find is that we looked at two different measures, the absolute and the apparent brightness of stars this is what we see from Earth the apparent brightness this is what the star is really putting out the magnitude scale that astronomers use has two problems and two confusions one it's numerically backwards and the second is that it's not linear and those are two things that can cause confusion for new learners the color of a star would tell us something about this temperature the bluer star being hot hotter a redder star being cooler but we need to use the color index to determine the exact temperature and make more detailed measurements so that concludes our lecture on the brightness and colors of stars we'll be back again next time for another topic in astronomy so until then, have a great day everyone and I will see you in class


My name is Johanna Fung. I'm working at Northern Institute and the College of Indigenous Futures Arts and Society at Charles Darwin University here in Australia. For my presentation today is going to be discussing a couple of my findings from my PhD that I finished this year, earlier this year, focused on open educational practice with Northern Australian Indigenous workforce development, connecting culture and knowledge communities. Before I begin, I want to welcome the owners of the land on which we are working and meeting today. I'm on Lerakia country here, beautiful Saltwara country at the top end of the Northern Territory in Australia. I want to extend my special respect to the elders past, present and future and acknowledge the authority of Indigenous people who are joining us today and the authorities in the land on which you're joining us from. Just a bit of context where I am. Northern Territory in Australia is this section here. We have a life expectancy lower than many regions of the world and the rest of Australia puts us on par with some of the more unbothered nations and states around the world. We have a population of 250,000 people and that's just under one and a half million square kilometers here in the Territory. 30% of those people are Aboriginal and Torres Strait Islander or at sea, as the acronym is, and 30% of the people that live in the Territory were born overseas. Australia has a remoteness score that goes from 0 to 15 and most of the cities on the Eastern Seaboard here are a 2 or a 3 on that scale whereas up in the Territory here we're up at the top of the scale around 12, 13, 14 depending on where in the Territory we are. 30% of our households have no Wi-Fi and mobile signal intranet or even a landline. Many of the remote communities in the Territory have a payphone, one payphone in the center of the community. Employment participation of Aboriginal and Torres Strait Islander population in the Territory is 37% and we have a legacy of some pretty interesting policies regarding respecting people's rights to self-determination. We wanted to look up the Northern Territory emergency response and boarding schools students across the Territory as early as the middle school years as well as the economic aspects of living in a highly transient population as well as reliant on extractive and industry sector and big expensive infrastructure projects that coming though. We've got a very particular and very unique culture and democracy and policy landscape that we're working in when it comes to understanding the impacts of how workforce development and indigenous populations here might be affected. So in my PhD I studied and developed and was a part of these four main projects. This is called Juleware and it's a page on the Bauerberg platform which is a citizen science website which my supervisor Cathy Kudziaka and I populated with biodiversity sightings from the homeland in traditional language and knowledge. PreVet is a pre- vocational education training set of digital magazines showcasing role models in different vocational job pathways and talking about the kinds of literacy and university they needed on the job. The indigenous fisheries training framework was a larger kind of set of practices and bundled and unbundled skill sets to help support people to business fisheries business and agriculture businesses on their country and kind of mainstream traditional livelihoods and involved a lot of videos that staff members in these communities made themselves. And this is an indigenous engagement model made as part of an international project for biosecurity with New Zealand and Indonesia as well. The Australian version and this is a way to instruct government if employed scientists to engage with traditional owners on their country and open the conversation up a little bit to them. So the way I analyze these is that a very particular cultural context that we're in is that the majority of a lot of institutional led education and policy programs don't always acknowledge how learning is done in especially indigenous communities. There's an assumption that they need to kind of come to the mountain so to speak. So my question was who are these resources and practices actually open to do? How do we make open education functionally successful for use with diverse sets of learners such as this very significant population that we're working with? What is open about these resources and practices really? I mean, how can we think about openness when it comes to different cultural understandings of what learning means and how it's done? So I went and I looked into a bunch of the resources. I put them through a big evaluation process and you're welcome to look at my GOGM presentation on my PhD in more detail. It's just a lot of steps that I won't belabor today. But I also tried to find the best practice and successful outcomes and how that was defined in a number of ways and how that contributed to an understanding of openness for use in these. I found these three principles to come out of the evaluation and I want you to just think about this. This was going to be my meant meter interactive poll, but because of the place I'm in, we had a huge power outage today. And I got a taste of what digital and power poverty is like just for four hours. So I'm very much living the remote life at the moment. So I thankfully had an asynchronous option to record an upload list for you guys today. So I'll do this this evening. I hope you believe if my bandwidth can handle it. So what I wanted to invite participants in my presentation to do is kind of consider these two questions about which of the principles from my findings you would use in your own settings. What communities or learning settings that make you think of and how can you see them being facilitating international international cultural and knowledge cooperation. So I found that language use develops consent and dialogue, so not just the spoken languages, but the ways we establish understanding and meeting across different knowledge systems. We kind of take for granted that we understand what open might mean in certain communities, such as our own open education. But I've had lots of rich debate with people about open being a copyright definition or a technical thing, but I'm kind of looking at openness as a cultural aspect and how it's expressed. So the ways that we understand and use language when we're learning with other people, how we can appropriate platforms with authorship from the learners, which I'll show you in a minute, and represent their narratives. Situated practice was another thing that I found to be really important. Practicing and positioned and placed knowledge in context really recentered the learners and their meaning for their learning. The local knowledge and sovereignty thereof to maintain the primacy of country based knowledge to keep knowledge on country. And you'll see an example of that as well. And also the final principle I found was this kind of transformative idea of the digital sphere being a cultural interface. And if claimed by authors of their own learning, we can come transcend this kind of content delivery idea of open and online and digital learning into authorship and authority and learners can actually practice their knowledge authority, which is a big term here in cultural knowledge discussions. So that would distinguish content from processes and learning through processes, promote traditional knowledge authors to use tools to retain knowledge sovereignty and learners authority. So really claiming some digital territory and appropriating it for the learners that have tens and tens of thousands of years of worth of knowledge of practice. So one example of the first principle is language use. So the previous magazines I mentioned before, this is the vocational pathways. They opened up a new dialogue about workforce participation territory. So they changed the discussion around indigenous employment, just by featuring and privileging indigenous role models as experts in their own field. Many of the students in such a small, small and sparsely populated part of Australia recognize a lot of these people as their cousins. And so it was actually pretty cool for a lot of students in the middle school and higher even older students that were accessing these resources to see authorities on employment, talking about living in those two worlds. Julia, this is my wonderful Nandi or mother, she was one of my supervisors as well. She used her understanding a deep knowledge of traditional language of seasons. So in northern Australia, especially in central Australia, all over Australia, we have seasonal calendars. Here in the territory, we have up to seven sets of seasons that have been identified by different cultural groups. So it's more than just winter, summer, dry, wet. We have yeah, seven different seasons. So it gives a bit of a nuance to seasonal understanding and understanding the elements, which of course, may have been responsible for the big power outage today again, so very much a life part of our lives every day. So with the views of a lot of indigenous common names and language, pardon me, covering it up down there. And Dorodorf is the season in December and she noted that this particular species was used for certain things. This is a paper bar tree. But then she talks about usage in indigenous culture. So she's kind of claims that are based with language and the fishery resources. This is an oyster farm out in an island community.  So they were using a lot of their own language and we used English subtitles there as well. And the Plant Biosecurity Cooperative Research Center project as well. That adjusted the timing in terms of the conversation that always needs to have. And you can see there's a lot of different times to stop, make and prepare and reflect. So really using language in a very nuanced and very clever way of all of these resources. Situated praxis. This is wonderful. So context embedded learning. This is a candle retail being cut up and getting ready for the fire. This is a part of the tour guide resource. So that really something that was very common and understood as a real thing that happens in everyone's families in kind of the southern part of the Northern Territory out towards desert more where people is a lot more kangaroos. And so this is a common thing to eat. And so this is really embedded in the local context of learning. So having students recognize this rather than something that's very city oriented is actually really helpful to situate their learning with them. Do we're also the boxes had a number of different fields that you can kind of fill out. They were very prescriptive in that way. So the way that they used it, she appropriated a lot of boxes and she didn't fill out boxes for traditional information or stories that she didn't have the authority to speak up. But she also appropriated a lot with the next example. I'll show you the FRDC project used a lot of making creating this knowledge and claiming a lot of digital territory again with situating their knowledge here on country. And this is where we do our work. And there's a lot of debt in depth cultural governance associated with who can work on what country is well. And the plant biosecurity also situated dialogue, resituated the dialogue between stakeholders. And there are some beautiful videos in an association with the resource to talk about ways of doing things and with the featured in that as well. Use a bit of a star. So final principle is transcending the cultural interface. So this is my yeah, this is with the jacket daughter and she is the Aboriginal police community police officer in Galloway. She's quite a key feature in a lot of a lot of a lot of roles in society, both Yomal and territory levels of governance. So she really spoke to the camera and got a lot of the role models to offer what they wanted to say in each of the videos and featured of job pathways. So there was a way that the actual role models really just spoke through the screen to students because they knew who they were talking to, they knew who the audience was going to be with the also kind of appropriate created the taxonomy area for whether or not the species belong to the get a chat or do a plan. And that is a key feature of organizing the world and the ontology in the world is understanding plan membership of plants and animals, as well as people to and parts of the country. This flipping the terms of the relationship and the discussion between compliance to partnership was what a big job for the engagement model and how that kind of opened things up. And the choice of resources for the videos, the fisheries videos. Participants who made the videos did not choose an entirely open license. And I, you know, discussed all the options with them as well, that a lot of the knowledge that they created has already been culturally appropriated in lots of different ways. And so I think, you know, when we understand the definitions of open is purely license driven, and not in context of how knowledge in that community has been dealt with prior to this, I think that understanding the appropriateness of some kinds of level. And you may be thinking about traditional knowledge badges that came from cultural context. So again, which principle would you use and how would you think about language use and how how that kind of nuance language use and appropriating and flipping of the terms of conversation, establishing consent and authorship and narratives, effectively, and negotiation and time? How does that make you think of a learning situation that you might use these in? Situated in context, embedded sources and processes to re center your learners. How does local knowledge and knowledge sovereignty of those communities help to maintain the primacy of that local knowledge and the textualized knowledge that stays in a place and is significant to a place? What makes you think what what communities or learners does that make you think though? And finally, transcending the digital sphere and the cultural interface. When you think of the stuff that happens in the sphere, when we do remote learning and digitally enhanced learning and open practices, especially this year, what happens between you and the learning design and the resource that you're using and the people that use it on the other side of the screen? How and what happens in that space to transcend the relationship from passive delivery and acceptance to authority and authorship of learning and participation and partnership, where people can practice knowledge, sovereignty and learner authority over their own learning and manage their knowledge with traditional with respect to their traditional convention? How can we distinguish just content and engagement in content from the processes that are significant, not just to us, but to the learners as well? So I would love to have your thoughts if you have the time and mental mental bandwidth to to engage with me on this. And once again, so sorry about the power. I would love to have met everybody in the session today. But that's life in remote parts of the world. Thank you very much. You're welcome to email me or get me up on Twitter. And I'll be posting this in my session record today. Thank you very much.


Hello friends, welcome to today's video where we're going to show you probably the best spot to level up your Pokemon in Brilliant Diamond and Shining Pearl. Yes friends, I can speak from experience, I can relate. Leveling up your Pokemon in Brilliant Diamond and Shining Pearl is a pretty annoying thing because there isn't that many places to do it. We've just finished a 19 and a half hour sleep lock in Brilliant Diamond and Shining Pearl and I genuinely wish I had this method available to me to level up for the Elite Four. But as you are going to be in post-game to do this method, you're going to want to be doing this for the Battle Tower or for online battles. So hopefully this method is useful for you. Some prerequisites before we get into it, obviously you're going to need to be in your post game.  Also to maximize this technique, you're going to really need a lucky egg. Now there are a couple of locations where you can get the lucky egg, but rather than explain it, let's jump into game. And I'll show you everything that you need to do to do this method most effectively. To get the lucky egg, what you need to do is come to Snow Point City and then you need to go into the underground so you would need your Explorer Kit. Once you're in the underground, you want to be heading to the top left hand corner of the map. And once you're here, it will be called the Icy Cave. And if we can avoid this Taurus, I'm not going to be able to avoid it. You can swim around, you can walk around, but if there's a Pokemon in the way and you want to avoid it like we are, you just want to head over to this middle section of the cave. And it will be literally sitting right here and you'll be able to pick it up and collect it. I have already got it in my game, so that is the reason why it's not here, but it is in this vicinity where we are right now. The next place to get a lucky egg is going to be by heading to the fight area. Once you're here, you want to head up towards the battle zone. You're going to need some battle points to actually obtain the lucky egg and you're going to want to go into the battle zone or battle tower shop. And you will want to speak to this NPC here, which is on the left of the counters. And once you spoke to her, you'll see in the selection here that the lucky egg is available to buy, but it is 77 battle points. So it is a big grind to actually get to the point where you're able to buy it. But if you are wanting an additional one from the one you've already got, then that is your option for being able to buy it. So when you're ready to head over to battle the trainer that we're talking about and this guy, you want to have your Pokemon in your party ready to go, the one that you want to level up, you want to come to the survival area, which is just up from the fight area. And you want to make your way east and just take this route here. And I'll take you exactly where you want to be going. You want to be heading towards route 228. And there is a trainer there that we're going to be using the versus Seeker on to get the biggest XP payout possible. I think in the game, to be honest. So once you're here, this is route 228. You want to take a, I guess it's a ride, but just come straight down. And this is the trainer right here. This ace trainer is the one that you're going to want to battle on the map. You want to be at route 228. This is where you want to be to do this method. I've battled there already before. So what you want to do is just go into your bag or if you've got your versus Seeker set up on your controller. So to set it up on your controller, you can come to your key items and then register it with one of your. Obviously I'll use a different item, but you want to register and then set it to one of those toggles. So if it's the only one when you press the plus button, then that will be the only thing that activates. So just pressing the plus button and you can see that the markers came up. So we're ready to go. As you can see, we've got our Gible level one in our party with the lucky egg and we are ready to go. So when you interact with this trainer, she will be able to battle. Bear in mind if you've completely elite 4, got your national decks and encountered Hitran, she will level up after the first time of the versus Seeker round. So it will maximize her levels. The first time round, you're going to battle Pokemon are all about level 54. The second time round, if you have done all the prerequisites that were talked about beating the elite 4, which you obviously have to have done to get to this stage, got your national decks exactly. But beating Hitran or encountering Hitran will allow you to get to that next level, taking them to 59, which does give you an even bigger payout. So you kind of just want to plow through these early ones. The first Pokemon is going to be Arbipom on level 59. You can see the payout here. This isn't going to be the biggest payout of course here. So we're going to just take a look at what the payout is here. 6000 for the Gible here with the lucky egg. So it's a nice increment for the first one, of course. So that's just the Arbipom. And then the next Pokemon up is going to be a Rapidash. Again, all the Pokemon are going to be on the same level. But you're going to get about the same payout. But it's the final Pokemon that you're going to want to be a little bit more concerned about. Because that's the one that's going to give the payout. And I believe it's the only trainer in the entire game that has this Pokemon where you can use the Versus Seeker on. The other trainers that have Blissies and Chancey's in the game, they don't have access. They're not going to be able to be utilised with the Versus Seeker because they're in caves or elsewhere. So here we go. Chancey is the last one, level 59. And we're going to see how much of a payout we're going to be able to get from the Chancey as well. There we go. We could use Mach Punch there, but anything strong against the Chancey, physical attack is going to be able to take it down pretty quickly. You're not going to have to worry. And then you can see the XP 8000 there for the Gable. And making a huge, huge from level 1 to level 25 in that first battle. So we're not really concerned about learning moves just now. So that is the first time done. So once you've done it once, you get 7000 pocket dollars as well. If you've got the Amulet coin attached to the Pokemon in the first year party, because it just makes sense to do it. So you can get a bit more money while you're doing this process. Again, you just want to do this process over again and just do that 100 steps. Recharge your versus Seeker. Once you've recharged it, just hit it again. She'll activate. Sometimes she might not. So it would mean just recharging the versus Seeker again. But you want to just do this process over and over again, like I say, until you have leveled up the Pokemon to the desired level. For this one, we are looking at getting Gable up to a Garchomp at level 50. So it's ready for the battle tower. That's the idea for this one. And then we can also use it in competitive play. It's also worth trying to EV your Pokemon before come to do this. So you don't have to reset EVs afterwards. And you can just kind of level up your Pokemon without having to the hassle of having to EV or get rid of EVs after you've leveled it up and then re-EV them. And once you've done it over enough times, you can see that eventually you're going to get the Pokemon to the level that you wanted to. This took about nine times for us to get Garchomp up to level 50. We had already EVed it, so we didn't have to worry about having to EV it once the battle was done. You can see this is a super quick method of leveling your Pokemon up. Probably one of the most effective ways in-game to do it that I know of. The only issue is getting additional Lucky Eggs. There is one free, but the other ones you're going to have to pay for with Battle Points, which is a little stumbling block, but you've got one and it is going to be able to do it. So friends, I hope you found this guide useful. Remember, it is 2-2-8. Try and get a Lucky Egg. Try and get multiple Lucky Eggs if you can. And then go to town with the Versus Seeker on this trainer. You're going to be getting about 13,000 to 14,000 XP for a Pokemon that is in your party that doesn't take part in the battling. But if you do start battling with that Pokemon once it's level 2 starts getting higher up, then you're going to get an even bigger payout for that. So it is definitely one of the best spots in the game. I think it's the only spot where there is a chance that can be utilised with the Versus Seeker in the game. Other chances or blessings that are available in the game are in locations where the Versus Seeker cannot work, Versus Seeker cannot work in caves and things like that, for instance. I don't know why, but this is one of the best ways and best spots in the game. So have fun with it. Hope it helps. If it has helped, please drop a like on the video. Do consider subscribing to the channel for more guides like this. And I will see you all for another video very soon. So until then friends, take care and bye-bye.