They are beautiful and bring true warmth and feel of a holiday into your home. But don't let that Christmas tree be a source of a holiday tragedy. When selecting your fresh tree, ensure that it is green. The branches should be hard to pull back and the needles should not break. Water your tree daily. Don't place your tree close to a heat source, including fireplace or heat vent. The heat will dry the tree out, making it more flammable. Happy holidays from U.S. Army Europe.


I would also like to echo everyone's thanks to the barns, to Alia, and to Martha, especially for hosting us. I'm Nancy Locke from Penn State University, and I'm very pleased to present my doctoral advisor, Kerry Mangeluso. Kerry received her BA summa cum laude from the University of Florida with an honors thesis on August Zander's Man of the 20th Century. She worked as a K-1 teacher for Teach for America, and we like to joke that while teaching K-1 students, she learned a lot that she can apply as a TA with college students. She has now tackled a wide range of subjects in the history of photography, including a very fine MA thesis called Framing Death, Mirror's Masks, and the Objectness of Man Ray's Photographic Portraits. Work she drew on for a presentation at Surrealisms, the inaugural conference of the International Society for the Study of Surrealism last November. Kerry has been actively pursuing projects in digital art history at the Penn State Libraries, and she has curated or co-curated four exhibitions at the Palmer Museum of Art, including Myth Meets Modernism, the Manuel Alvarez Bravo portfolio, which will open this summer. Her dissertation, Bow House Dream House, The Uncharted Surrealism of New Vision Photography, will remap the boundaries between these two artistic movements as they intersected at the most famous art school of the 20th Century. Her paper today is entitled Reflections for Sale, Making Sense of Vegen Adjei's Bon Marché Photographs, 1926-27. Please welcome Kerry Mongeleuse. Again, thank you to everyone at the Barnes and Nancy for that lovely introduction. After several decades spent peddling his views of old Paris to members of countless professions, Eugen Adjei turned his camera toward the glistening facade of the department store. Three photographs of the Bon Marché display windows from 1926 to 27 signal a rupture in Adjei's production, evading scholars as to their function in the photographer's large-scale project. Absent are the frontally oriented storefront views of shops that fill a 1912 album of trades, boutiques, and displays. In their place stand conspicuous images of bourgeois consumption. Plate glass windows suspend reflections of the street, subsequently producing a disorienting montage of commodities, mannequins, and passers-by. Optically permeable but materially impenetrable, the shop windows of the Bon Marché operate as sites of collapse, where interior melds with exterior, display blurs with street, and glass surface fuses with that of the photograph. Despite their frequent reproduction in texts and exhibition catalogs, the late shop window views of the Bon Marché have yet to receive much critical attention. The immense size of Adjei's body of work alone poses problems, rendering close-looking and formal analysis of individual prints difficult. The scholar Mollie Nesbitt even denies the fruitfulness of the close examination of individual photographs by Adjei, stating, quote, the decoding of a single document leads nowhere in particular, end quote. Nesbitt instead advances an argument, first initiated by Roslyn Krause, suggesting that Adjei's images of CD alleyways and street kiosks operated as documents, which contributed to a range of professional knowledges. Not included in Nesbitt's discussion, however, are the views of the Bon Marché with their complex networks of actual and reflected images, questions pertaining to the kinds of knowledges, which could possibly be culled from such documents remain unanswered, as do those regarding any potential buyers. Around the time that his prince garnered unsolicited attention from the surrealists in the mid-1920s, Adjei turned away from the derelict shops discussed by Nesbitt in favor of the shimmering surfaces of the department store. This paper foregrounds the Bon Marché series as contingent upon the politics of the display and consumption of commodities in interwar Paris as a means to explore questions of interiority and identity formation. Drawing on the writings of Vaughte Benjamin, I argue that the shop window reflections in the Bon Marché series metaphorize, one, the demise of the interior as the repository of one's individual existence, and two, the interior subsequent refashioning into the constitutive site of the masses. The glass windows pictured in the Bon Marché photographs dissolve the plane separating viewer and commodity, while their sleek impersonal surfaces resist the accumulation of one's bodily traces. In contrast to the documentarian's early views of storefronts and Parisian interiors, which operate as inventories of things, the Bon Marché photographs substitute a physical glut of material goods for a superficial spectacle of visual excess. Since its inception, the Bon Marché marked a space of consumption quite different from that of the small shops photographed by Atché. With the opening of an annex in 1899 and an expansion in 1912, the store stretched across the intersection of the Chaudesève and the Chaude d'Houbeck in order to accommodate the displays of increasingly varied categories of products for sale. In his history of the Bon Marché, Michael Miller notes how the department store stood at the center of consumer culture, which in turn intertwined with bourgeois culture. Rather than merely showcasing one's wealth by wearing the most up-to-date fashions, members of the bourgeoisie performed their class with each trip to the department store. Although the Bon Marché, in theory, welcomed Parisians of all classes with its policies of free admission, no purchase necessary, and standardized pricing, it unequivocally promoted the bourgeois consumption of luxury goods. Atché's early prints of small shops and street kiosks, however, forego glitz for grime, passing over the high modernity represented by Haussmann's Grand Boulevard in favor of the low modernity of old Paris. A product of the photographer's early morning sessions and his relatively long exposure times, views of empty streets account for a large percentage of Atché's early work. In his 1931 essay, Little History of Photography, Walter Benjamin upholds Atché as the busoni of photography, the forerunner of surrealist photography who, quote, wiped off the mask and set about removing the makeup from reality, end quote. After emphasizing Atché's preference for hand carts and rows of boots over Parisian landmarks, Benjamin equates the city in Atché's photographs with a tenetless dwelling, quote. Remarkably, however, almost all of these pictures are empty. They are not lonely, merely without mood. The city in these pictures looks cleared out like a dwelling that has not yet found a new tenet. It is in these achievements that surrealist photography sets the scene for a salutary estrangement between man and his surroundings, end quote. In the place of human figure stand material objects, ephemeral goods, refuse, and architectural details. It is within the surfaces of material things that Atché reveals the human element in a kind of subjective interiority. Atché's later work, however, complicates matters as the Beaumache photographs seemingly dissolve the distance between viewer and commodity and yet obscure the material surfaces of things behind an expanse of reflective plate glass. The photographs in Atché's 1912 album of shops highlight overflowing displays, both in and outside, which predominantly catered to a working class consumer. Eventually, these kinds of displays grew so large as to spill out onto the street and incite cries for regulation. In the name of hygiene, the current prefect of the Seine levied ordinances that restricted which goods could be sold and how goods could be displayed. These limits on display targeted the small shops, but hardly impacted the department store. According to interwar critics and consumers, the display of goods as shown in Atché's early prints would be deemed quote unquote vulgar and repellent since quote, objects need to be isolated for the display to be considered in good taste. Rather than spilling out onto the pavement of the sidewalk in the street, however, the Beaumache displays in Atché's photographs exhibit restraint and their containment of goods to the interior. Following the influential exhibition of boutiques at the Salon d'Oton in 1924, luxury shops and department stores grew increasingly invested in staging quote unquote discrete displays. Tag Groenberg summarizes this change in early 20th century approaches to display, noting that to be considered a modern, a store must be parsimonious in its presentation of goods. This new preference for sleek displays, however, posed a challenge for the department store tasked with selling to consumers in large quantities. Although their displays eventually featured fewer goods in the 1920s, the department store continued to rely on the reflective potential of polished surfaces to offer multiple views of commodities for sale. With the aid of mirrors, the Beaumache substituted the physical glut of goods for a kind of visual excess. Albeit in aid to surveillance, the mirrored surfaces of the department store equally afforded shoppers, the ability to see themselves reflected among and thus identify with a sea of consumers like them. Consumers who were trying on identical hats, perusing similar fashions and standard sizes and paying fixed prices. This, quote, unquote, theatrical element of commerce as described by Benjamin was exclusive to the department store and consequently generated the conditions under which, quote, consumers began to consider themselves amass, end quote. Ashes Beaumache series showcases one such mirror-like surface, the plate glass window. These glazed facades mimic the mirror reflecting views of the city and merging them with commodities and mannequins. This overlap of space at the site of the window not only challenges the viewer to confront the objects for sale behind the glass or the reflections of the exterior world upon it, but forces the recognition of the glass itself as an object. Both transparent and reflective so as to simultaneously render goods visible and present the window shopper with one's own gaze of desire, the glass surface proves indispensable to the process of capitalist seduction and the fetishization of the commodity. Apprehended in the Beaumache window, reflected images of additional display mannequins across the Chaudubac and behind the photographer further compress the space and heighten the illusory character of the display. Sandwiched between mannequins and glass panes, the window shopper on the street unable to escape is thrust into a world in which real and unreal merge. Classifying the window reflections as accidental, Man Ray and his off-sided comments on Ashes' work frame the documentarian as an amateur who was frankly unaware of what he was doing. In a 1955 letter sent to fellow photographer Minor White, Man Ray writes, quote, Ashes worked with an old 18 by 24 centimeter camera and a brass rectilinear lens, probably F8, which he stopped down for depth. No shutter was used, just a cap over the lens. The blurred figures were not intentional any more than the reflections in the windows with his limited means it just came out that way. End quote. Although Man Ray perpetuates a common myth of Ashes, the older photographer's body of work demonstrates his skill in preventing unwanted reflections. One image from 1910 to 1912 reveals Ashes' astuteness having photographed the shop from a frontal perspective across the street. A second frames a collector's cabinet. It's two glass covered front doors thrown open to avoid any interference and further call attention to the knickknacks on display. Ashes' very decision to open the cabinet doors prevented the obstruction of tactile objects, objects stripped of their use in exchange values and thus liberated from the cycle of capitalist consumption. As evidenced by the photograph of the collector's cabinet, the fontesiecle interior oozes with traces of its occupant, indexing forms of contact upon its plush surfaces. Furnishings, mirrors, and objects crowd the residences of a range of artists, collectors, working people, and members of the bourgeoisie. Benjamin discusses such interior furnishings in relation to identity formation and his essay, Paris, Capital of the 19th Century, quote. The bourgeois has shown a tendency to compensate for the absence of any trace of private life in the big city. He tries to do this within the four walls of his apartment. It is as if he has made it a point of honor not to allow the traces of his everyday objects and accessories to get lost. Indifatigably, he takes the impression of a host of objects for his slippers and his watches, his blankets and his umbrellas. He devises coverlets and cases. He has a marked preference for velour and plush, which preserve the imprint of all contact. It is the style characteristic of the Second Empire. The apartment becomes a sort of cockpit. The traces of its inhabitant are molded into the interior, end quote. In contrast to the bourgeois interior, which functions as a cockpit or control room of sorts for the individual and its capacity to indelibly record one's bodily traces, the modern city epitomized the impersonal for Benjamin. Sleek facades and with mesmerizing display windows dissolve the boundaries between exterior and interior, between consumer and commodity, ultimately resting control of the process of identity formation away from the individual. The reflections in Asche's Beaumarche series metaphorize this shift while unmasking the deceptive transparency of the photographic medium. Whereas Asche's early prints seemingly offer up objects, the Beaumarche series with reflections, fashions and equivalents between plate glass and photograph, rendering their mediating functions visible.  In contrast to the earlier storefront views, Geographic Specificity, which was afforded by the inclusion of signage and street addresses in both compositions and captions, the integrity of the department store deteriorates in Asche's series. Absent are logos and signage while the camera crops out almost all of the window's architectural frame. Several buildings meet in the background as mannequins gaze out toward the street. Asche's placement of his camera at an oblique angle, inches away from the facade, dramatizes the glass surface's capacity for reflectivity, indicting the shop window as a key player in the cycle of capitalist consumption and identity formation. In another print from the series, graphic signs plastered above the parallel display windows across the street reads sold Beaumarche many times over in reverse. Sales, sales, sales exclaim the signs to the window's shopper, tempting him to wander inside, to try on a suit, to test out a cane. Hand on the lens cap, eye on the ground glass, Asche gazes at his camera rather than the merchandise for sale before him. Instead of a boater's hat or a polished suit, Asche isolates a common moment from a consumer's daily life. Whereas Asche's interiors and early storefront views document the traces of one's individual existence through the display of tactile objects, his Beaumarche series littered with reflections, metaphorizes the demise of the interior as the site of identity formation at the hands of the department store. Upon the display windows and within the spectacular indoor environment of the gold magazine, consumers come to constitute themselves as a mass. In his Beaumarche series, Asche takes hold of the very methods employed by department stores to seduce bourgeois window shoppers, spectacularize consumption and entice a purchase only to subvert them, preventing a clear view of what can and cannot be bought and sold. Thank you.


For most human beings, they're genius sparks once in a way. Can somebody be in the zone all the time? Of course. I can tell you one secret but I'm on camera. There are three ways to function in a way that other people think is miraculous. So they become the great players that they are. They even mentally deciding how the other guy should act. When I've felt a real sense of joy where there's been a slight switch in my experience or at least a different kind of experience has been what sports people might call being in the zone. Of course. And maybe an overused expression but at least there is an experience there where momentarily you feel a little bit as though your influence is reaching further out than your small space. See, you may be in the zone and throw this… what do you call that one? Which one is that? The pear. The rugby ball, yeah. It's not a ball. Yeah, it's a ball. Yeah. But it's not round. No, it's still a ball. Still a ball. Yeah. Okay. When you're in the zone and you threw it perfectly well and I'm on the other side with soap on my hands or butter on my hands and it went off, zone doesn't work, isn't it? You may be in the perfect zone but it's a team sport. Everybody's got to be in the zone. There might have been situations where everybody were boom at one moment, all right? So why is it it's happening only once in a way? Because for most human beings their genius sparks once in a way. Suppose the sun which is the living source of energy for all of us, no it's a only source of energy for this planet, if the sun came up once in a way, not every day, what would be life? Right now that is what it is even with the individual. Every day, oh maybe the English won't agree with me, every day the sun doesn't come up for them but it is coming up. It may be shrouded by the cloud but it is coming up all the time. I'm saying everything that's life process here, let's say like your zone, if your heart beat once in a way, what would happen to you? Yeah, even last long. Yes. So this once in a way you're in the zone is something that must go or can somebody be in the zone all the time? Of course, you must be in the zone you want to be because when it comes to physical performance in the world, there are many factors, okay? There are many factors which all of it may not even be in your perception but when it comes to inner nature, being in the zone must be every moment of your life, isn't it? That's right. Because there's only one ingredient, just you, outside see this many people there in the room. If this room, this atmosphere has to be pleasant, all these people must cooperate, otherwise if she starts freaking what do I do? We can manage her but still the atmosphere in the room will go. But my inner atmosphere, there's only one person, is that person willing I'm asking? Is a willing person or unwilling person?  Rest of it in the world we do something. It's really interesting because my position specifically, there'll be moments where it's absolute chaos and you're performing the most difficult, challenging skills with all kinds of interfering factors coming in from opposition teams to everything and you do it effortlessly in a flowing, beautiful way and then the referee blows his whistle and says right now you have a penalty which involves me having to kick a ball through the post in a kind of golf fashion. I would go from being that genius kind of version of myself to suddenly to something I'd practiced so many times and felt like I knew so well and yet I've moved from chaos and all kinds of complexity externally to simplicity externally and make it so complex because suddenly from that moment you go from a clarity like you said a simplicity to an absolute complexity internally whereby it's suddenly about what will people think if I miss this, what if I haven't forbid I let my team down etc, etc. If you think what people will think, the ball will go into the people only. Yeah, it's true, very true, yeah. So I can tell you one secret but I'm on camera what to do, I'll tell you anyway. But the opposition may also learn that. That's okay. We'll work that out when we come to it. When you want to kick that dead ball, what you do is you exhale with your mouth open and use this as a way approximately 17 to 20 inches somewhere there. You focus your eyes there, that empty space, okay? You can do this three times. There is something else which is called as akash which gets activated because of this. In this you are naturally in the zone. See there are three ways to function in a way that other people think is miraculous. One thing is to become all body that you don't have a mind at all, just all body. Like I don't know, I shouldn't use names probably. There are some great players in soccer where you see them, you can see they don't have a mind, they're just all body and they'll do miraculous things that nobody ever thought they could do at that moment when they're like that and they're getting into that zone more often than others so they become the great players that they are. Another way is a very powerful mind which visualizes and creates what it wants. That's another way to be there which is powerful but I don't know how many people have the necessary discipline and focus to do that. A few do that. Some people who build the game have this thing, they even mentally deciding how the other guy should act. Many times you've seen this in rare moments particularly in soccer and also in cricket game, the bowler decides how the batsman should act, you know? It's really wonderful to see that because like Sachin Tendulkar was saying, you know, he was asking me a question in a conference.  Even before I play the shot, I see that this is the ball, the ball will roll and I'm already ready with that shot and that is how he will bowl and that's how I will hit. So this is using the mind to see that guy does what you want. All right? That's another way. Another way that I just now told you is to not worry of any way body is well trained, may or mind is trained for the game, don't mess with that in the game itself. That preparing the body and mind should happen before the game, okay? You don't go and train on the match pitch. So there is another type of intelligence called consciousness. Consciousness is that intelligence which is unsullied by your memory.  It's taken this form only because of its evolutionary memory, genetic memory, karmic memory like this. Because of memory, this body has formed a shape. Because of memory, your mind has taken a certain shape. But there's another intelligence which is untouched by memory, which is the fundamental and the most powerful form of intelligence in the universe.  But once you touch that, you play in such a way which is magical for other people. There is no answer with anybody around you. There are many times certain sport reaches that place knowingly or unknowingly the player gets in and he did themselves a surprise. I've seen this sometimes, the tennis players, they surprised, did I make this shot? They can't believe it themselves because they got into that space. That's for me beautifully explained. Thank you. Segary, thank you very much for being part of the I Am Podcast. Thank you very much. And we couldn't wish you better with the Conscious Planet, the Safe Soul movement and for sure we will be at your support. The 100 days. The 100 days. Get all the sports people in this country. We shall push that message. To say something about short. We shall definitely push that message for short and I will be involved too. Thank you very much. Thank you.


Okay. Thank you guys. Sorry for the delay. Now we've got things running. So, Sunil has already introduced me, so I'll not bother with that. I'll just get with it now that we've already wasted time. So RedRefile is something that we have built on top of Refile as a rendering library. And before I get into, you know, details of RedRefile, let me just give you an overview of how RedRefile came to be. So, FusionCharts is traditionally a flash charting component. It is known as a flash charting component. It was known as a flash charting component. We're trying to change that image. We had built our credo based on charts that we had created which worked really well in the flash ecosystem. And, you know, for a long time things were going really well. So, we all know that Steve Jobs was, he was very vocal about how he felt about flash. And when iPad and iPhones came out and they did not support flash, we kind of had a lot of catching up to do in terms of, you know, supporting, getting our charts on iPads and iPhones. So, there were already other players in the market who were, who had JS charts. So, we partnered with high charts and we created a fallback JS module which we, which would render the charts in environments where flash was not available, like iPad and iPhones and stuff. But when we started doing that, we realized that a lot of people were complaining about how our flash charts looked a lot better than our JavaScript charts. So, we spent a lot of time and effort trying to make our JS charts look like our flash charts. And that is when we realized that what we were doing was probably not, you know, the right way to go about it. And we decided that we should stop doing that. So, then we decided that, you know, this was more of a temporary arrangement. We should do something that is more long-term. We decided, we decided to have our own graphics renderer. We wanted to build on top of something that was already available because we did not want to obviously reinvent the wheel. There were, there were a lot of good frameworks available, Bonsai JS, Paper JS, Dojo GFX, Rafale. JS was something we looked at. And among all of the frameworks that we had looked at, we liked Rafale. So, I'll, I'll tell you why we chose Rafale in a bit. But, you know, the story doesn't end here. So, we chose Rafale and then we were, like, super excited about having our own graphics renderer. We, we got the source code. We started developing, we started porting our fusion charts framework to the Rafale library. And that's when we started realizing that, again, you know, there is something that we have overlooked in terms of the, the, the capabilities of the library itself. So, then we figured that we could either fix the issues that were there in Rafale or maybe invest time in looking for something else that was out there which would suit our needs better. But we decided that we had already invested some time in Rafale and it really, it actually, fundamentally is a very good library for rendering graphics. So we decided we'll fix all the issues that were facing, that we were facing with Rafale. And yeah, that's how Red Rafale came to be. So, Red Rafale is basically a graphics library that we have built on top of Rafale. And it is, so Rafale is not for advanced graphics. Red Rafale is totally for advanced graphics.  Right now that was the history. Let's get to the boring technical stuff. Why was Rafale the obvious choice? So, Rafale and fusion charts have one thing in common. The most is that they are very focused about providing cross browser support which is not ignoring VML-based browsers which are IEN, I6, I7, IEA, etc. So, as a developer myself, I have a lot of pain points about, you know, giving cross browser support. But having said all that, it is, we cannot ignore the fact that there are a lot of people who use VML-based browsers. And as a matter of principle, we decided not to ignore them. So, we have always wanted to cater to everybody.  It also has a really cool library of functions where you can perform mathematical operations like path transformations, bounding back box calculations, just using math. So, that was another cool thing. It extends, it lends itself to being extended very nicely. I will talk about that later. And last but definitely not the least, it was open source. So, you know, total control on the code. Right. So, how many of you have actually heard of Rafale.js here? Awesome. How many of you have actually used Rafale.js here? Oh, still pretty good. So, for those who don't know Rafale and don't know how it is used, I'll just give you a brief introduction. So, we put Rafale.js is a graphics library meant for SVG and VML-based browsers, uses JavaScript to manipulate, create and manipulate the graphics. So, the Rafale constructor, there is a Rafale constructor which creates a paper which is, in a sense, a blank canvas, I mean, to help you understand better. So, you can use the paper object that you get when you create a Rafale instance, and create more shapes in the canvas. So, there are a lot of ways of creating the paper object, the number of, the kind of arguments that the Rafale constructor takes, etc. There is the link is there to the reference. You can go check it out. Apart from the paper, so, once you've got the paper created, so, you've got a blank canvas and an object that you can use to create elements in that canvas. So, then you start creating elements in it, right?  Apart from shapes, the element class also is used to create something called as sets, which are collections in Rafale. They're actually pseudo-collections. I'll come to that later. Here's a couple of examples of how you create a shape. So, if you want to create a rect, there are some predefined shapes. So, rectangle, circle, ellipse, path. If you want to create a rectangle, suppose you say paper.rect pass the parameters, if you want to create a circle. This is how you create a set, and this is how you add elements to a set. So, you say set element.push, you pass the element that you want to be, that you want the set to contain, and that's that, right? So, I was talking, as I was telling earlier, Rafale lends itself to being extended very well. So, attributes are, you know, attributes are used to kind of modify and manipulate, you know, the shapes, objects, or the graphics that you create using the paper. There are certain predefined, there is a set of predefined attributes that Rafale already has, like x, y, width, height, depending on what kind of shape you're using, what kind of operation you're doing. You have certain, a set of attributes, but with Rafale, you can actually create your own attributes and define behavior about how you want that attribute to affect the element that it is being applied on. So, there are some performance issues with the way Rafale actually implements these custom attributes which we have addressed in Red Rafale. I'll come to that when I'm talking about Red Rafale. So, this is an example of how you can create a custom attribute. Fill is a standard attribute. The return that you see. So, it creates a custom attribute called hue. The function actually governs how that, how the value of the attribute is going to affect the shape. And this is how the attribute, the custom attribute is being used. You say .attr which is the attribute function and pass hue and the value to it. Okay. Apart from custom attributes, extending Rafale also includes adding custom shapes to it and adding methods to the prototype of the element class. So, when you want to add a new shape to it, right, you say Rafale.fn.arrow, you create the function which actually creates the shape based on the parameters that you passed to it. And like, you can see in the example, this is an arrow shape. So, I'm creating a new type of shape called arrow which requires certain parameters. Once I've defined it, I can create, I can call paper.arrow pass the parameters and get an arrow shape, right? Similarly, Rafale.el will allow you to create methods or add methods to the element prototype. So, when you suppose you want to create a function called red, right, which automatically fills the shape with red color. So, you say Rafale.el.red and then inside the function, you just set the attribute or the fill attribute to be red. And you can just say paper.arrow.red and the shape will become red in color. So, this is about Rafale. So, this is, this should be good for you guys to now understand what we have done with red Rafale as such. So, with red Rafale, we've kind of borrowed all the good parts of Rafale. We've, in fact, not even renamed the constructor. We've kept the constructor also as Rafale. There are, the way you create shapes, the way you create elements is still the same. There are some differences in terms of, you know, now we have something called groups. Now Rafale has a very flat architecture. So, you create a paper which is the blank canvas and all the elements that you create are directly the children of the paper. So, you have one level at, you have one level of paper and you have all elements. The set that, the collection that Rafale has is a pseudo collection. So, as in, it exists only in the JavaScript sphere. There is no manifestation of the set in the DOM tree as such. So, there is only two level and set is purely in the JavaScript level. Groups, we have changed that in red Rafale. We have added groups. So, the architecture of the, the, the final paper that is created is now a multi-layered tree architecture. Apart from groups, we've also changed the way custom attributes are governed. We have changed how we create custom shapes and we are now working on providing canvas support also. So, as I was saying, groups and sets are collections. Our collections in Rafale and red Rafale. So, groups, sets exist in red Rafale also but we don't generally use them because we have groups and we can do everything that we can do with sets and we can do more with groups, right? So, because sets are pseudo, pseudo collections and they don't have a, they don't have an existence in the DOM structure as such. Whenever you perform an operation on a set, in order for that operation to trickle down to all the children, it actually has to iterate over all the children that it contains and perform that operation individually on every element, right? With groups, because they actually exist in the DOM tree, there are a number of operations that you can just perform on the group and can, you can just, you know, let the browser take care of the operation being trickle down to all the children elements. Transformations is one of the operations that, you know, groups has a big advantage over sets. I'll just show you some demos. Excuse me. I need the internet. Can I connect the internet? Guys, I'm really sorry about the delay. Just give me a few minutes. So you guys can see this, right? Awesome. So what I have on the left side is a collection of randomly generated rectangles that have an opacity to them. And on the right hand side, I have a collection of randomly generated rectangles that have an opacity to them. Here the collection is made using groups. There the collection is made using sets. And what I'm going to now do is what I essentially want to do is kind of apply a fade in animation on the entire collection, right? Let me just do that. So if you see what happened on the right side, because sets have to iterate over all the elements that the set, that the set contains and change the attribute of the element itself, the original opacity that was applied to it gets lost, right? In the group, in the group that doesn't happen because the opacity is being applied to the actual group element. I have another demo to show what, how transformations are more intuitive with groups rather than with sets. Okay. So now I have a bunch of rectangles are drawn inside a group and all these rectangles have been translated to their position. So they've already been transformed and moved to the position that they're currently occupying, both in the case of the group and the case of the set. Now, if I try to animate, now I want to rotate the entire collection as a whole, right? So as you can see the behavior of the set, the collection as a set is very unintuitive. I want to rotate the collection, but the individual shapes are rotating and the collection is moving in a completely different direction. So this is, this is some of the disadvantages of using sets that we have overcome by using groups. The reason Raphael did not support groups natively was probably because our VML has poor support for groups, but we have kind of supported groups wherever possible and fallen back to, you know, iterating over the individual elements and performing the operation on them. If it is not available, but we've made sure that the behavior stays the same. So this is sort of an ideological difference between Raphael and red Raphael as in, we are trying to cater to as many user groups as we can. And Raphael just wants Raphael has, it's, it's, it does a few basic things, right? And few, it does those things really well and it doesn't really want to do anything else. I mean, if they're not even thinking of providing canvas support even now, right? So when I was talking about custom attributes in Raphael, I told you that custom attributes in Raphael are defined per paper. So when you define an attribute, a new attribute that you want to use, that attribute will actually be defined, will be available for every element that you create in that paper. This is not always desirable and not an ideal case scenario because there are, there are, there might be some attributes that you're defining like, say, thickness for, for a pseudo 3D shape or a 3D shape that you're creating, which will not make sense for a normal shape which is, which is two dimensional, right? So we have created with red Raphael, we have now given the ability to create custom attributes on a per element level. So you create an element and you can define the custom attribute for that element only. And this actually allows you to override existing attributes also, which I will show you in a demo. So this is an example of how you create a custom attribute in red Raphael on a, on an, on an element, right? You create, so this, the border color is the name of the custom attribute that I'm giving to the wreck. When I say wrecked L dot ATTR border color and I pass the color, it actually applies that ATTR as a stroke and the entire wreck has a red border. Okay. So, yeah. I mean, I'm, I know Jase who does not allow followers and stalkers and stuff. There was this huge mail about the code of conduct at Jase. So I'm not sure if this is allowed, but followers and stalkers exist in red Raphael as a special class of elements that actually can follow another element in the sense that whatever the target elements attributes are, the follow, the follower element will emulate all those attributes. So a classic example in, from a real world scenario is you have a text and you have a border around the text. So in, in HTML or it, something like that some to do something like that is fairly easy.   Having a text bound becomes much easier than, you know, having to do that using normal Raphael, because you can actually follow an element. So I'll give you an example of how you can do this. So I've created a text element and I have drawn another rectangle element around it. Now, if I, the, the, on the click of the, on the mouse click, I just move the text to the new position. But because the rectangle is actually following the text element, the rectangle also moves along with it. If I edit the text, the rectangle actually changes its own dimensions to match the new text that has been provided, right? This is taking time. Okay. I wanted to show you the code sample also so that I can show what, how followers are implemented, but I guess I'll have, I'll skip that for now. Right. So Raphael in itself allows you to extend the framework by providing custom attributes, by providing new shapes, and, and providing elements, functions on the elements themselves. Now we have unified all these different ways of extending an element in red Raphael by providing API called Raphael dot define. So using the Raphael dot define, you can create a new shape type. You can give custom attributes to it. You can give functions to it. That will, the custom methods that will be defined on the element that gets created. And in a sense, this is actually not just creating a new shape. This is actually kind of creating a new graphical component itself where you have along with the shapes behaviors associated with the, with the shape. So this is another demo for how I, we can create a cube using the file dot define. Let me just write. So the object that actually creates the cube is about 50 lines long, right?  You have to, you, you tell how the shape has to be drawn. And then you, then you have to provide custom attributes depending on your own idea of how the shape should behave. So you provide a fill and a cube function. And yeah, that's it. So in about 50 lines of code, you can create an all new, you can create a new shape itself, like a 3d cube. And that shape will behave like a normal element. So you can perform operations that you'd perform on a shape on the, on the custom shape. So like, scroll down. I want to be able to, right? So if I want, if I want to change the fill of the shape, okay, this is, this is taking too long. And so basically this, this, if you change, if you apply any attribute to the shape, it would behave exactly as if we were applying the attribute to a normal shape, you can rotate it, you can see there it changes, right? You can apply a transform to it. You can change the fail, et cetera, et cetera. So you have a custom shape using the file dot defined, you can create a custom shape, not just a custom shape, but a custom component and, you know, in fairly easily. So right now we are working on supporting canvas also as part of red Raphael. And like I said, this is something that we want, we are doing because we actually want to cater to everybody. So there are people who have, who want to use canvas for rendering graphics. There will be no change in the way the library is used. You would still be able to do exact all the things that you can do, except the only difference would be instead of SVG, we would be using canvas to do the, the rendering. So there are a lot of challenges in doing this that we are currently working on like mouse interactivity and drag and drop and stuff. So it's still work in progress, right? As I said, we are trying to develop red Raphael for those, for those users who want to use the graphics library extensively and like they are going to be the super users of the library. So we want to make sure that the performance of the library is really good. So a lot of effort is going into optimizing the performance of the library. We are, as I said earlier, we are working on canvas support also and we'll add more features. We've made it, we've made red Raphael open source very recently. So we'll come up with a guideline for contributors because we want people to use, not just use, but contribute to red Raphael as well. So yeah, this is about red Raphael. If you guys have any questions, please. Hey, nice to have you. You talked about the group element. Is your paper thing a wrapper around kind of the traditional SVG group elements that we already have? No, no, the paper is actually the, is an, is, is just an object that you get when you instantiate the Raphael class. So when you instantiate the Raphael class, it will create the SVG root node, the SVG or a VML root node and attach it to the paper and return the paper object to you.  Right. And the groups you talked about is just an abstraction of SVG group, right? Yeah. Yeah. The G element that you have in SVG. And how does this compare to a library like D3? So D3 is different in the sense that again, there is, I'm not, I don't think D3 supports VML. So as I said, we want to support all kinds of people, all kinds of users, people who are using VML, not using VML. And in fact, some of the features that we are providing also, I don't think D3 has them yet. There are a lot of things that D3 has that we don't have yet. So, so different library. All right. Hi. Hi. Yeah. So the, you mentioned something about performance in the beginning. Yeah. Right. And the cube, the blue cube took some time to become an orange cube. So was that performance of Raphael or internet connection? Internet connection. That was the internet connection. Okay. So how is performance like, how many nodes or how many elements shapes can we hold in the browser using Raphael at any point of time? So we have created, so we use Raphael in our infusion charts and there are, we have rendered close to a million points. So that is a million points and that, more than that, in fact, it takes some time, if to render about a million points, it takes about four or five seconds. Okay. But does it like choke the system? Have you tested it like to its extreme? At what point it breaks, kills the browser? No, I'm not sure about that. Okay. Till what extent can we push Raphael? It actually depends, differs from browser to browser. So somewhere around that we send it. Okay. A million point works though. Yeah. Thanks. Thank you. Hey, I have a question. Yeah. So can it also be used to make interactive stuff like markers on Google Maps rather than just the canvas? Yeah. So if basically red Raphael still works in the browser and requires SVG and or VML right now to be able to render graphics. So if your target environment allows SVG to be created, then we can definitely use red Raphael to create any kind of graphics there. And the graphics will be interactive. So all kinds of mouse interactivity and gesture works. Cool. All right. A big round of applause for Sushant, everybody. Thank you. Do check out the code. It's up on github.com slash fusion charts slash red Raphael. Awesome. Check it out. It's an interesting code. We are checking it out yesterday. Thank you, Sushant.


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Namaskar I often meet people at work going in private that are sort of always victims they say they are victim of people behaving bad to them how deal or how to react to people with this victim mentality there's one word which comes to my mind when I heard you say that and that is that the first thing is always compassion you know it's a hard life it's a hard life out there and there's a lot of suffering and there's a lot of also trauma childhood trauma that people carry with them many people are just simply unable to cope so you as a spiritual seeker are already much stronger than most of the people walking around so when you come across people who are exhibiting that victim mentality it is not your job or your duty or even your right to try to change them or correct them the quiet way the steady way the truth way is to simply center yourself when you are confronted with a person who is in that victim mentality the best way that you can diffuse that situation and transform it also is if you tune in to your center it is not about the other person it's about you in that moment and when you tune in to your center you'll see a change in everything around you because when you tune in to your center that is the source of compassion so the other one feels this is a compassionate person this is not somebody who anyway doesn't want to listen to what I'm saying who's anyway deaf to what I'm saying so when you do that you immediately diffuse the situation because the person feels heard because if you tune into yourself it means you're tuning into the other that is a fact that is a indisputable fact that when you tune into yourself you tune thus into the other you know so immediately the person feels understood and that victim mentality expression of it in any case reduces as a spiritual seeker as a spiritual finder it is your bound in duty to tune into yourself in those moments and therefore tune into the other and therefore also alleviate the the pain that a person like that encounters I mean it's a nice phrase victim mentality but what is it that lies behind that that is also human being undergoing something so when you move into that state of compassion it diffuses everything it quiets everything down it brings a sense of balance and a sense of equanimity and a sense of clarity and a sense of peace into that whole moment and then things quiet down you can try it out and see it is actually like that it works like that yes thank you and victim mentality is another way of saying a suffering person that's expressing something it's another way of saying that every year hundreds of seekers come out of their existential crises during their love inspirations free open door satsangs with maharashika please support this noble course by donating generously click the link in the description box below


Hello, my name is Justin. I'm here with my colleague Kathy, and we're here from the University of Vermont Medical Center Community Health Improvement Department, and we are promoting the health assistance program or HAP program the HAP program is really great for really anyone Who is looking for some sort of assistance? They help with the uninsured and underinsured individuals in Vermont as well as in New York and parts of New Hampshire Throughout the health network service areas some of their services include affordable Meds program which helps folks with prescription costs We work with co-pays and sometimes we can help with a full cost while somebody's working on getting insured We also have a very small durable medical equipment fund and we can also Potentially help somebody with a pair of eyeglasses if needed. That's a very small program. So it's really, you know once per lifetime per person And the other main thing that we do is we help hook people up with other resources When when we're initially screening them as well Yes, we highly recommend if you have any questions that you go to the UVM Or you could probably Google health assistance program at the UVM Medical Center Or you can give us a call at<PHONE_NUMBER> And lastly we help individuals who are uninsured get insured in our health service area primarily in Vermont in New York


Hello and welcome to our Armada playthrough. So in this video We're going to be showing you how to play Armada. This is our new game It's the game of epic naval warfare, and I'm joined by Matt He's the studio manager. So I'm Rob. I shouldn't use myself and I'm joined by Matt who's a studio manager And he was responsible for taking the Black Seas rules and giving them a fantasy makeover Yes, so basically adding wizards Okay So what we're going to do in the video is we're going to show you some of the main concepts So we're going to go through the turn structure. We're going to go through things like movement Shooting and boarding actions as well for some extra bits that we might need So just in case people haven't heard of Armada. I don't know who that might be Can you explain a little bit about what it is and what people will be doing in the game? Yeah So Armada is based on Warlord games Black Seas rule set But we've Ported those rules into our fantasy world of Panathor, which is where Kings of War set and Dungeon Saga and all those all those great games So putting out our spin on it. So we've introduced new obviously new fleet types You don't get orks traditionally in historical games So orks, Bacillians and some undead dwarfs the first ones are bringing out to start with and obviously we've got plans for plans for more So we've taken those rules introduced all those fantasy elements and obviously the things around that like magic and Crackens and all that sort of good stuff. So it's a it's a ship based war game So typically it would be one fleet versus the other in a variety of scenarios capturing Crackens plundering treasure all sorts of stuff. Okay, and we're so we're taking on I'm playing as the orks and you're the the Bacillians at the pious kind of religious Holier than now. So holy, they're bad. Is that kind of what it is? Okay, fine Normally how many ships would you have in a in a typical game? Would you say this will be quite a small game? Which is quite good for you three or four ships on this size size mats like bigger mat four by four Maybe six to nine if you've got lots of smaller ships in there as well as a typical fleet size Right, okay, and there's different sizes of ships. I guess which ones have we got here We've both got a single small ship each. Yeah, and then two medium ships and what size the ships go to there's a range of five range sizes So tiny which are the little squadrons represent just a small number of two or three boats Then you've got small ones Mediums then you've got a large and then you've got extra large as well Okay, five categories of ship. Cool. Okay. So now we know basically what the game is We'll go into what the turn structure is


good morning folks this is Steve Rhodes coming to you live from the shores of very sunny Delray Beach Florida this year 11 am update we got a bit of a mixed bag out there that makes really coming from this S&P and Nasdaq 100 they're both trading just a bit lower the S&P seven points about two tenths about half percent for the Nasdaq 100 that would be 59 points to the upside the Dow is trading up 35 points one 10th two tenths for the Russell four points nearly five the semis up four tenths 11 points trend is up eight tenths 120 points to the upside gold's up nearly 12 bucks silver's up a nickel lights recruit up 56 pennies natural gas is up a couple of cents and a 30 treasury down nearly one point trade out a 120 305 let's go try to figure out what all that means jellybean if we begin by take a look at the ES mini it did not form that profile that we took a look at yesterday so it's a profile level of sport is down at the 40 86 I'm sorry at the 38 44 level now if price can spike below the 39 47 50 level today we've been down what 39 50 yeah 39 50 even but if we do spike below the 39 75 75 level that will generate nuts today that will generate or that will trigger bar number 8 of a TD 9 count and then that would require price to close above tomorrow close below tomorrow I'm should say you'd have the ES mini would need to close below 39 75 75 tomorrow so there's two things to be looking at and it's worthwhile to pay attention to that possible TD 9 count specifically because we've got that spotball attendance which is now below its 50-day exponents moving average close just below it yesterday tested rejected it so far this morning and another close below 2080 or 2068 that will be bullish for the ES mini the NQ also needs a spike below this should be today or tomorrow needs a couple things set up but a spike below 11 9 23 today would set up bar number 8 of a TD 9 count and of course a bullish reversal candle would simply confirm a garterly buy pattern US dollar index does have a TD 9 count top that means you need to see a close above 105 32 to negate that pattern it suggests higher price otherwise right now we just have a consolidation with inside its daily profile between 103 84 and 104 82 Goldilocks it's got that TD 9 count bottom price trading up into resistance which is in the 1856 level I'm sorry the 1818 5640 to be exact that is the top of its daily profile new profile did form in silver that's above price that's really a bearish message out there like we proved consolidating between support of 74 40 and 79 24 folks they do for the traders that show but if you have to start to maintain please have a wonderful one will important speaking with you get soon take care


arned and we factor that into when we start thinking about if we want full service at more than just wiliston you know can the site actually manage that in in the concept of referring to queuing space and again that's queuing space also leads into time into and out of the facility which those all relate you know how long you have to wait to get into it and how long you have to wait while you're in it in the facility safety again i just kind of covered that um and then the facility's physical footprint which then plays into kind of the queuing the safety in the time the larger footprint you have the more you can spread people out the more you can manage materials the faster you can get people through because you can have deliberate spaces and you can find efficiencies and that's town dependent because we rely on the towns to offer us um this the physical space that we set our facilities up at um and then really when you take a look at a full service setup you know if we've got a full service setup next to another foot you know within a 15 minute drive you know we don't want to layer them on top of each other again and when i'm saying full service that you know that ultimately also costs more money to manage you know it's just a more complex system we also see it as something we should offer as a district because we you know that's what we kind of covered in our historic um retreats so when you look at kind of our footprint in the county on a full service offering if you take that concept of a 15 minute drive we actually only um really reached 32 percent of the county and i threw in you know Richmond there um because they you know in the spring i see them up and running you know maybe even sooner um so that's just a you know another point to stop and say you know as a board and as we develop where we want these drop-off centers to go and what we want them to be and look like with all the things we just considered on what goes into the thought process of a full service of a full service offering out of facility you know based on that 15 minutes we are lacking in that respect to the county i mean if you look at the map Milton, Westford, Underhill, Charlotte, a bulk of Hinesburg, almost all of Shelburne and Huntington are not within that range you know again hence the 32 percent of the county so point being made is just kind of wanting to bring that to your attention i'm gonna say if you have anything to add throw it in no i think it was it's it is startling to see that um and again you know there were very specific reasons and we didn't touch on this Josh and maybe we could have had a slide about you know why we're only at the one full service and you know and that was a result of decisions we made regarding when it came when we had to close down for COVID and as we were reopening and looking at staffing concerns and looking at costs and saying you know well how can we consolidate how can we be more efficient how can we increase safety at these different facilities and what are some of the items that are factoring into those those decisions but so we the reason we're still there is is because in many instances it is more efficient for the district i think for the down we ask the question is should that be the leading factor right you know to what degree should and does do we want customer convenience to factor in and and so so these are where we we definitely from you commissioners to to kind of check us on this but when when John Dwight did this uh this particular slide for for the presentation it was it was pretty striking for me anyway normally i like to do a presentation go through it but alan has a hand up and i suspect it might might might be an appropriate time to let you pose your question or comment alan i mean if if there was a 20 minute drive time in the chart it would be significantly different on all the way up to 30 i bet you we'd have 65 percent of the county within 25 minutes within 20 minutes and that raises the point you know is 15 minutes adequate or do with 20 minutes be adequate is 90 percent of the county adequate is 60 percent of the county adequate you know like what again level of service and everything comes ultimately with the cost right we can we could provide as much as we wanted to but it would cost more money so that's kind of those that that's exactly along the line of thinking that i want to kind of to pose in this discussion can your hand is up but you're muted okay just um just a way in um i really you know being in being in charlotte um i've felt this just um trying to get my you know trailer things in my trailer to to where can i go i'm i'm not about uh you know my my personal leaning is not to emphasize the efficiency um and the dollar amount spent on these things i'd like to see full service um drop off centers for 90 percent of the people within 20 minutes i'm just making that up but i i would drive 20 minutes i think drop off centers with with different acceptances is very confusing to the general public and discourages all the sort of learning um and recycling and reusing that we're trying to encourage and educate and i think you guys could do a great job and it'd be great if everybody could get full service where they needed it it's weighing in yeah no and that that kind of falls under one of our categories of uniformity because it is difficult for our um on call staff to kind of have to look at the book and say well this place to exist this doesn't do that you know and probably one of the things we want to look at is you know how do we make that more convenient to understand um and also you know with adding you know a big key to this is how long you have to wait once you get there right and if you add more full service than that would then feasibly mean that it's spread out more so your throughput would increase so it's it's it's a dynamic scenario and that's why it's it's kind of meandering through this you know carefully because there's a lot of variables that will affect a lot of other variables um but you know one of the things that we will bring up kind of as the synopsis in June is you know kind of coming back to this point you know is you know we can Alan to your point we can look at 20 minutes you know we could look at you know what we need to do but you know that's kind of where we where we want to land and and make these points now so that when we bring our synopsis up you know we'll define here's what we've heard and here's what we'll shoot for and we'll come back with you know here's how to meet those requests um but also as you see at the end of this um we'll get a lot of public input as well because that's going to be really important also because those are our customers so hours of operation and days of operation again um we see a lot of people coming into Williston just because they know it's open six days a week from eight to three thirty that's just you're safe as bet and it takes everything so you know some people just say i'm just going to do it you know i'm going there it's the easiest thing to figure out i don't have to turn around and do anything and that that's important in my opinion but one of the things you know you're looking at is factors that go into considering that um in hours of operation and days of operation you know and i'll walk through this list but you know over the weekend our recycling centers close Saturday and Sunday so management of materials becomes more difficult we have the stage which is doable we just need more space to stage the transfer station thank goodness is open till one o'clock on Saturdays that's really the reason we can stay open on Saturdays is because we do see a lot msw coming through our facilities specifically on Saturdays but they're closed on Sundays winter hours it gets dark really dark so back to kind of the uniformity concept having a shifted hour system might be more confusing to the public you know might cause more problems than not or do we just and again i'm throwing a lot of concepts at you so bear with me or do we just say eight to eight to six you know on these certain days because we know that we can hit the target group um staff but that relates into staffing so that's more than one shift or do we have to do you know four tens so that that plays into how we you know a double shift or a split shift at facilities is difficult to manage it's not unmanageable and we can do it but you know if we're looking to optimize and make it the most convenient for both us and the public we have to take these things into account roll-off efficiency as well right now being open from eight to three thirty allows us our roll-off team gets in at five in the morning and they manage everything before any traffic happens it is a straight shot to the transfer station is a straight shot to the mirf whenever it is they need you know wherever they need to go whatever they need to do or if they need to aggregate back at the wilson facility so we are seeing a highest level of efficiency right now on how we have it set up but again we need to take into account the the public right our customer as well but that will play a role on how we manage if we change hours and days of service and then permit limitations we are currently permitted on the days of the week at each facility that is in part of the town's you know agreement lease agreement with us so if we do make a shift which i'm not saying we can't and i'm not saying towns wouldn't be amenable to that we would have to step through those and also pm road trips right so that's another big factor is that if you influence how the the commute the the the after work commute that is a significant trigger in a lot of town ordinances and you know in the county ordinances because you were adding to that traffic again can we get around that yes can we work with that yes but it's just another factor to play so when you look at our facilities and this is roughly over 145 days i went back to like 419 i thought it was a good kind of snapshot of takes into account pre-covid through covid i guess i wouldn't call us post-covid but where our facility operations are kind of normalizing again and so what we're seeing is you know we've had millen asked for an extra day and really when you when you when you take a look at this these numbers the thing that jumps out of this is that we are most frequently visited on saturday that's because the traditional nine to five focuses their time for us on saturday so if you read solely into this that would make sense then a sunday would make wouldn't necessarily give us more people but might actually level out the amount of throughput we have in it it may increase you know participation because if you had both weekend days to manage your materials i'd see that as a relatively attractive feature you know and then bang for your buck on which day of the week makes sense that that would be more of a town specific request and digging into kind of what we're hearing from the population in the specific town because everybody's real used to what we've been doing for 27 years so again to uniformity consistency between facilities so if you have to go into a facility it's really nice if we color code material management zones if we number them however we need to do it and we are starting that effort but if you were to go to heinsberg or to south burlington and it looked relatively similar and we had signage that kind of covered the same expected directional patterns i think that would also increase throughput because people could then you know go to different sites full service not full service i think it's going to play an important role and then hours and days open again you know back back to that concept everybody you know you can always fall back on wilson because you know when it's open but i do think we need to consider that when we start making decisions on what the next 20 25 years of doc's look like is that we should have some level of consistency between either baseline and full full level service or not and then again materials accepted you know do we want to accept everything everywhere that pushes up against our safety concerns you know and our footprint concerns or do we want to look at a tiered option and a tiered option would be kind of the baseline maybe plus because it doesn't take a lot of room to add in hhw and some special wastes so it would be kind of the big four and the things that we could fit on the site but keep that consistent and then the full service option and then keep those two separate things where you know baseline plus is all the same things full services all the same things so those are things to look at when we're talking uniformity and you know again the lasting cost everybody you know if you were to ask the public you know be open as much as i can be open when i'm ready to come to you make it as cheap as possible take everything we can we can send but we do want to talk to the public because there are tradeoffs in that and so really we've got to look at kind of two different things you know our operating cost our capital requirements and what we want to subsidize also from the customer the convenience and the value for their service so if we are going to charge at a certain rate there should be a service value to that rate that we provide them so really what Sarah had kind of mentioned in the beginning is that we're going to walk you through these months next month will be another level of service discussion and we're going to be collecting data and i think it's on the next slide really we'd like to kind of survey our public to get their opinion on what it is they want to see and how they want to see it our current customers and the general public because again year-over-year you know 70 percent of the population in shannon county uses a facility but they don't necessarily use it for garbage and recycling you know so we do provide a significant service to the bulk of the population of the county and so we really kind of want to get a you know just just check it again get a pulse and and and really with that have in mind what changes would look like and what they would want to see um and then you know the gaps are we need to we need to do just another reassessment of you know how much does you know a pound what is the density of our materials we we manage because we know what that goes out but really you know we send materials out of our site after we manage them based on weight but we manage them in on volume or count so we just want to do another assessment of that to say are our assumptions and our densities for a specific size bag of garbage or a specific you know volume of recycling are those accurate um and then that will work into kind of our economics you know like are we charging adequately for the services we're providing and then what would it cost if we expand you know set a baseline and then what would it cost if we started expanding you know or not expanding you know like where were the c savings so all that said you know here we are kind of just you know really tip of the iceberg level of service a lot of concepts I threw at you um I'm open for any comments and you know since there are any emails on you know your thoughts on this um the level of service too is kind of going to be a blue sky discussion like what money wasn't an option tying up what what is the you know what is the optimal you know what what does the board see us as you know this is the best you could possibly do and that that'll be next month's discussion we'll get into economics in March we'll bring our survey data back in April we'll go into another economics discussion in May which will incorporate kind of what the public has input and what our assessment of a bag volume we'll we'll we'll play into that and then in June we'll kind of go over major themes and next steps like where are we going to go so we talked about it a bunch but what are we going to do with it so that's that's the basics of kind of where we want to go because ultimately we may say hey we're doing great we don't want to do anything different or we may say we want to radically change but you know the idea would be by the end of this year we have that concept vetted and then we start implementing it the following year and it may be over a five year plan it may be a ten-year plan but that's that's the basic framework of where we're going thanks josh my my observation is you've outlined a number of questions you've indicated that you're going to be soliciting public input i think to help answer some of those questions are you how are you looking for board input you're looking for some specific answers tonight or some civic discussion or is the intent just delay these questions out and then come back after we've cogitated a bit and can give you a our reasoned responses i think this latter exactly you know let everybody absorb what they just heard you know think about it and then in the next level of service discussion i can pose the questions or the concepts i've brought up and say yay or nay or is this a direction or a path to go down or is this no let's let's not look at that or this you know set a hierarchy of things you know that are more specifically important to to to meet out and get better answers to and some of those questions before i turn it over to the board members what i heard you asking one was that 15 minute is that that 15 minute drive time relative to the level of service to me that was a key question that you're asking i just want to be clear not to take up more time by me giving you tonight my response like i have some thoughts but i'm comfortable with with waiting a little bit and paul i want to remind um the group too that we're we're not looking for any decisions or or real answers we really are looking for input and reflections and and directions is you know it doesn't make sense kind of where we're headed so even at next month when we bring kind of level two service we're still not looking for this is this is the direction we want to definitely do that that will be kind of presented as a couple of options at the end of the year so i want to just make sure that that everyone is is comfortable and understand that that that was my assumption coming in if there is something different and there are decisions we need to make it along the way then i want to make sure that we're very clear on what those decisions point of time thank you alan yeah you know and you know chinan county has always been head and shoulders above you know the rest of the state with respect to service and programs but it would be very interesting to hear what kind of drop-off service is provided in some of the other counties because i'm pretty sure there's like one drop-off center in washington downy and there's two but uh you know and not that that's critical to our decision-making process but it's it's it's just going to help understand what the rest of the state is like yeah alan that's a good point and in um it's more common across the other cell always management entities in the other districts to have municipalities run local drop-off center type facilities or to have private entities so it would it would be i think really interesting to know is is there a similar drive time expectation you know for example in the other locations or are we are we over servicing are we over serving are we under and what is that comparisons that's a great question kim josh two two questions you you started off the presentations you said there's a state regulation says if you collect msw you have to collect a bc and d correct okay is that for the is that site specific or is that entity specific it's sarin's correct me why it's facility specific if you collect msw at a facility and it's it's so that's that's why um the the holler and jericho has to also collect recycling we can yard and use scraps so if you are any entity um whether a holler facility it's there and you are collecting trash you must also collect these other items there's not was that not clear kim yeah i'm not i'm still not sure but we but we're collecting msw at the drop-off centers and we don't offer the same level of service at each drop-off center and so but are we are you saying we're meeting those four requirements what with the exception of burlington and in burlington we're only collecting loose scraps and that's that's fine we don't have to collect the others because the trigger is trash so if you're going to collect trash you have to collect the others if we only wanted to collect recycling we could only collect recycling if you just want to leave in yard you could just do leave in yard that's why mcneal does not have to collect the other materials because all they're doing for us is accepting leaving yard next question in the drop-off centers do we know do they generate cash for other programs or do they require subsidy from other programs they do not generate cash for the programs how what is that subsidy that our drop-off centers require josh you have that off the top of your i mean yeah last year we yeah we made a point of it was roughly 200 000 and it really came down to the special waste subsidies um you know the big yeah yeah without having in front of me that's the number i remember it's the materials that we don't collect a fee for that we're subsidized you know i strongly disagree with that view of the drop-off centers i believe our drop-off centers cost us about a million dollars a year well um let's stay focused on the level of service i i i hear you tim i think there'd be ample opportunity as we go down this path to continue to hammer away at that right i just don't think we can't make the discussion about expanding services out without uh without a context of cost and that's coming up right so josh's last slide was in in march April and may and march in may we'll be having that economic slash price in conversation can i just jump in and ask a question here yes katie please okay thank you so what tim said actually is a good question about the mandatory collection of food scraps in addition to trash recycling i i was a part of the staff when that became a thing and now i live in westford which has subscription service and i've always wondered about this as to why i don't get food scrap collection curbside from from my ears why does that not happen um westford doesn't have hardly with the exception of front porch forum we don't have any education that comes out our way in westford and i don't like to be at the board meeting and speak to my town only but honestly i feel a little bit um you know left out of the discussion because we don't have curbside collection but and we don't have we have a subscription service so i've tried to make this decision through the town board but i feel like there's me on a soapbox and not everybody in my town knows that mandatory food scrap diversion is a thing so um we need the education here people in westford need the option to take their food scraps somewhere because we don't get it automatically collected curbside i would really like to have some opportunity um to you know have some enforcement maybe come and talk about that because if that's the standard for everybody else and just because we're the town and i understand that you know i would have to go through the hoops of you know bureaucracy but i think there can't be anything that cswd can help us with to to move that forward in the you know local government yeah and it that really is a a factor of the consolidated collection contract in westford right and burlington will be looking at the same same issue and and south burlington so and that gets to tim's point which is are you talking about a facility or you know is it is it required by a curbside collection as well and it's food scraps is an optional curbside collection for for haulers and under that system it's when you're bringing it to somewhere and they are operating as a facility so the fast trash operation jericho when they are people are coming to that location to mate's location he is essentially operating as a kind of a daily transfer station on wheel so because that's not the situation in a franchised or a contracted service the rules are different so bald Nate doesn't have a physical facility he essentially for a day becomes a facility and is wrapped into that requirement which is one the chat has some also some some explanations from from Jen and brand that are that are on point they're going to be answered tonight or is it you're just suggesting that down the road it's in the chat so what we'll do okay i'm sorry yeah i i think to katie's point i you know i think you've just explained why it doesn't happen but she's making the case something really needs to be done and then and then that does get to local you know local options and and um many in the call tonight we'll recall the the great discussions and the links that the district went to when we were considering district-wide consolidated collection um so i don't know that we need to to re-examine that but there were a lot of you seen considerations that were talked about 10-ish years ago yeah that was not popular that that all so yeah no falcon and alan can probably remember that um but i i just you know any help from the district as far as like you know we're having a change of guard over at the town clerk's office too i mean i it's it's me versus you know the people that have been there for a really long time so we appreciate that help yeah yeah yeah and we provided um technical assistance to burlington and south burlington um in their process so i i think it could be a similar situation so katie let's connect yeah fine um yep oh we just a matter of their contract they have with them do and i talked with westford throughout the process for consolidate collection i think their take is that people have the ability to back air compost being in a more rural area yeah we can go through some of the options i want to offer my own personal residential observation i live out in under hill um i think by choosing to live in some of the outer districts it was a preference to live in a rural area as opposed to a more cosmopolitan sx or williston or some of the some of the communities down that way um so that kind that kind came with an expectation that i would have to drive 20 minutes to go to a full service grocery store um so factoring that in if you if i want to throw out the caution if you ask people what they want versus what they will accept you'll you'll get different answers and they'll never tell you what they'd accept but you know if we came up with a decision so i would um i mean jericho market came in it's two minutes away from my house i love it um but if it weren't there i'd be perfectly happy going to hanifords and essics a 15 to 20 minute drive away my point is um we need to be careful especially when we go out to customer surveys um we may be getting the answer we don't need um in order to do the right thing that's my speech good point and just my take on traveling and i'm not sure where lives lives in colchester but i'm in like that black hole area porters point road where there's no good way to get across burlington to south burlington or out to essics whereas if we had one in burlington yeah 12 minute drive from my house just saying i'm on holy crossroad i'm on holy crossroad so our our decisions are basically essics or south burlington and and rarely do we ever make it out to williston only when i've been turned away at essics because i failed to look at the website properly so what about milton it's just up the road no milton is 2025 so it's always a lot farther than you think um that we kind of plays oh i was just so that plays into the concept of a full service you know closer because colchester is one of those towns that it's not near a full service area so you know that's you know we'll we'll provide maybe the board you know our we'll re ask the questions next board meeting i think just kind of the big ones what's your hand us up again yeah and just i know i think paul stabler put something in the chat about you know the the reason that there are certain locations that do have a doc and others that don't is that the towns need to provide land and i know that there have been lots of asks to colchester in the past i would still like say put the ask out there to all of these different locations because you just never know what is happening within the select board what land might have come into their community um people change as katie's just mentioned about their changing of the garden westford so i feel that there needs to be also um that kind of communication to say like is this is it's feasible is it off the the docket just putting that out there is that as we go forward that we're asking is there land in your space and is there a need in a want what ellen can't hear you i'm you know having dealt with the issue is a number of times i don't think it's truly the board's responsibility to go to the town it's more you know yours and the taxpayers in town to go to their select board um you know we shouldn't be pushing our desires onto the local select boards um you know we're representatives of those boards and our communications with them should be you know fairly uh and i and i i truly don't think it's sara's responsibility to go to colchester and ask for land but i'm only one voice and this was a presentation and informational tonight are there other items for discussion and i'm conscious of the hour it's been a long meeting nope that's it i'm not seeing any other uh hands raised for this particular issue we'll bring that to a close the uh your next item on the agenda is executive session none was anticipated i don't believe we have the need for it based on tonight's meeting um next item on the agenda is other business i'm aware of no other business at this point to bring before the board fall raise your hand muted you're muted sorry about that uh my space bird didn't work i just wanted to uh publicly state my appreciation for marianne reardon's service over the many many years um i'm grateful that sarah mentioned that in her executive uh summary um but yeah just wanted to say it was always great to have her at the meetings and have her taking our minutes so i appreciate it greatly thank you for bringing that up paul and with that final comment don't enter it entertain a motion to adjourn to move don't move lesford thank you all those in favor of germany please say aye hi thank you all thank you thank you but it was good and worthwhile


It's your time to make 700 grand everybody but the deal is is that if you just want to make there has to be a science I'm laying it out today now if you'll listen by the way It will be a check-up from the neck up I will tell you some things that you'll enjoy hearing and I will tell you some things that you're gonna hate to hear But at least I'll tell you the truth and then you decide what you want to do with it But don't ever tell yourself that you couldn't get there because today. I'm giving you the secret sauce Let's write down six key things right out the date number one and write it down 700 grand next to it write this sounds overwhelming The reason why is because when you look at the number and you look at your 200 grand year to date right now And we're in November or less maybe a little more you like sounds Overwhelming it's not not if you know what to do if I wanted to make a guy came up to me And I was making 700 grand he said Andy you could make 2 million I feel like you don't understand how hard I work to get to 700 I don't think that's humanly possible. Let's go number two write it down do the research David Goggins broke the pull-up record 4,020 pull-ups and when he did how he did it was he got a pen and paper and he did them out There was all he did everybody said hey you want to break the pull-up record. He's like how many is it you're like It's 4,020. He's like oh man. Where's the pen and paper? How many pull-ups is that a minute? How much time do I have the rest? He started doing the math This is where you guys are gonna start chiming in light bulbs in your head thinking man. I've been doing it all wrong So 4,020 he said if I could do five pull-ups a minute Goggins said I could break the record five pull-ups a minute is realistic He would just have to be consistent with those five. Now. Here's what I'm gonna tell you guys We're creeping up on the last 90 days of this year next year 365 days and every year we get till we die you guys do the math Slow down. Don't worry about what anybody else is doing think about what you're going to do starting right here Number one 700 grade sounds overwhelming. I gave you David Goggins number two number three Be open-minded if you're not open-minded to the possibilities that you can do this You can't do it. You've just counted yourself out. You're done.   Your mind is what I need right now. I need your mind I need it. I need everybody to give it to me. I'm gonna ask you guys for something right here I like to be kind of blunt and straightforward.   I need it all gone. Let's talk about some other stuff. Cry some of you guys have had the best year ever You think you're too good good enough get that out of your head You're just getting started when we first started training together You went from here to here because you started believing in yourself. You got a little skill But now you're stuck here now.  I got a dream I tell someone else he's like dude. Listen man. I think it's a little too big Why don't you lower it down just a tad make it realistic the guy does it when you meet somebody who's successful or is Going to be when you tell them what's gonna happen. They're unreasonable. They're like dude. I don't care what you think I don't care the math you did. I don't care who you know I don't care how long you've been doing it.  You don't attack every day and that's bull crap number six This is my favorite break the soul of whatever's I David Goggin taking souls he started talking about you have to break the soul of whatever's in front of you You have to break the soul whether it's a person an object. They're gonna talk about a soul hero I am talking about taking up space in your competition's head very clearly if I'm gonna go fight somebody and we're six weeks out To fight day, you know what I'm gonna do I'm gonna run by his office every day and swinging in the air just making sure that that guy's thinking about big daddy I'm gonna get in his soul. You know why cuz if I do he can't focus and I'm laser focused There is a strategy underdogs take down Goliath's every day the story of David and Goliath all these big warriors Goliath stands up He's like come on come out here fight me win the war just send one man out here.  This is a joke that we're not where we need to be And you know why because you don't want it bad enough yet Okay, you don't believe one thing about David is when David walked up to Goliath He believed there was no self-doubt.  You know why you're not soft You still keep moving you don't quit