Hello you guys, what is up? I am so excited to hang out with you guys today.  We're gonna be going to North Vancouver. I'm gonna show you guys a little bit around my city Yeah, I'm currently just still my PJs, but that's gonna change. I'm just trying to pick out an alpha right now I think I'm just gonna run like sweatpants and a sweatshirt because the weather is kind of cold So I think I want to keep it comfy but cute still so I think that's gonna be the fit for today I just finished doing my makeup. So we're gonna change. I think I wear this along I've literally been losing stuff. Oh, it's right there. It's blending into the bedsheet just there So I'm gonna wear just a hoodie with sweatpants and put a cute jacket over top And I think that's gonna be the fit. There's not much you can really wear when it's cold weather I mean you only have a limited amount of selection when you want to become beads sweatpants or naked stuff We'll put some pants on today. So here's the fit today I think I'm actually gonna put on this bucket hat because it kind of just makes this look really cute So I think I'm gonna keep this on even though it's not summer like whatever and I'm just wearing a tracksuit with my Green puffer jacket just reminder that today is what you make it if you wake up And you think that this is gonna be a bad day then you're only gonna recognize the bad things And if you wake up and you think this is gonna be a great day then it's gonna be a great day So wake up have that attitude or even if you're watching this at night set that intention for the next day and be like You know what tomorrow? I'm gonna have the best day ever I'm gonna choose to look at the stuff that I'm grateful for so just reminder the day is what you make of it And today is gonna be a good day. So let's go I don't know what purse I'm gonna wear to be honest. Maybe this cow print one But I don't know we might be like going in the forest. So it might be a little bit too like, you know Not matching the foresty nature vibes. You know what? I think I'm just gonna wear my classic beige purse That's downstairs. So they're waiting for me to leave.   So we didn't want to leave the car I ordered the new it's like the brown sugar oak milkshake drink. I don't really know It's called so I can't wait to try that and yeah, it's iced so it should be good I've never really had anything from Starbucks that I don't like so it should be good and it's good to try new things Literally has a fast food microphone on like you know this one's that had the earpiece with like the buttons I don't know what he's doing. I really don't know what he's doing. I don't want to stare, but no judging Oh, they make pre-mix it for me. Did you ask for it like this?  Oh, I love it. Okay. This is so nice because shaking espresso Whenever I get the caramel macchiato, it's so annoying to mix it to be honest. It's so good. Let me try. What do you got? Let's drop your side lemonade. This is so good. Anyways, we're gonna drive now. So 10 out of 10 would recommend. Anyways, okay, we're gonna drive now. All right, so we just got here. We're at Deep Cove in North Vancouver, and it's my first time here I think. I don't think we've ever been here before. So we're just gonna explore around. Look at the beautiful Mountain View. It's literally so gorgeous here. So It's taking on a tour even though I've never been here myself. Actually, I really need to go pee, so we're gonna do that first. The washrooms are right here. What a cool thing. We didn't even try to find them and they just appeared. I actually cannot believe that I've never been here before. It's kind of funny because I feel like when you live in your own city you don't discover it, like you want to go discover other places. But then you just don't look around in your city and I feel like this pandemic has pushed people to discover their own city, which is good, because there's just so many places here in Vancouver that I've never even been to and they're so beautiful and it's like how I've never been here. So yeah, this is a sign for you to go and discover your own city and discover some places that you've never been to. That should be the first thing, like you should discover your own city before you go anywhere else and discover that because you live there. So yeah, so beautiful here. It's Madison's birthday on Sunday, so it's in four days. She's turning 18. How does it feel? I mean it feels like my birthday was last week because of COVID. Like I just went skip from March to March, but yeah. There's been no separation from last March to this March. It's actually crazy. He's like watching us. He's watching us. He's literally watching us. What if he pushes us in the sky?  I need to tell you guys after, but I'm scared right now. Where are you from? Right here. Let's see, middle of a pandemic and you're leaving that area to come to this area when everybody's isolating? Smart move. We're just outside though. Okay, and the kids aren't getting it now neither, right?  You're right. Carry on. Okay, now that we walked far enough away, I'm gonna tell you what happened. So there was like this little boardwalk and it was just like on the water so we wanted to go walk up it and it was like narrow, but there was no one on it except for this one guy who was walking off of it. So we start to walk on it and then he like approaches us. He gets this close and he's like six feet. You guys are not six feet away. Look at how narrow the boardwalk is. You're not six feet away. Do you have a boat? Are you going on your boat? Then why are you on here? And he was like coming up to us saying we're not six feet away. When he was like coming in our faces, like you're the one coming close to me. Meanwhile, there are no signs that say that you can't go on it. He's like no boardering. No boardering. And like obviously if it was full we wouldn't have just walked on it, but if there was nobody on that little boardwalk Joel started saying something like what like you're the one coming close to us. And then he just cussed us out. And then he left the boardwalk and he was watching us walk along it. And then when we came back he started talking again. He's obviously like drunk or he has something wrong with him. Honestly, I just feel bad for him. He was definitely drunk or something because he was swearing. There was no one on there like social distancing from who.  Like that's your problem, but you know what? I'm gonna send my good vibes his way. If you're watching this, would you definitely not? I don't think he has an internet. I send good vibes your way anyway because you need to recuperate from whatever's going on. Anyways, we're leaving that in the past. We're gonna continue our venture out here in Deep Cove. What are you doing? I'm trying to skip some rocks.  Oh, that was good. That was really good. So Makilla just told me to film her skipping one. I don't know. We'll see what happens, I guess. I cut a rock. This is probably not gonna be successful at all, but how do you do it? Just like a frisbee? Yeah, yeah. Let's see, folks. Oh, plop, it goes. We're gonna need to try again. I think this is good. Okay, ready? Yeah. It was okay. Hold on a little skip. It's okay. All right, you guys. So we're down at Deep Cove. We walked around. It's such a beautiful day. Gotta be thankful for that. And now we're about to go to British Properties. Yes, it's basically a neighborhood where very rich people live. And there's apparently amazing houses there. So we're gonna go and take a look at those houses. And they're probably like what, 10 million each. So I'm excited to see these houses because apparently it's like a rich, rich, rich neighborhood. So I'm gonna be coming in here with my Mazja 3. They're gonna be like, she doesn't belong here. It is literally insane up here. Like the view that these houses have overlooks all the Vancouver. Like it's literally echoey up here because we're on a mountain. This is insane.  I wish you guys can see this in person. This is where you're gonna catch me living one day. These are definitely at least 10 million. Like especially like the bigger houses. These aren't even like the nicer houses behind me. You should like, oh my gosh. Oh, and there's literally a private lake in the middle of like these houses. It's so sick.  And it's so low key. You can't like just go there because it's literally like your own private lake. Wow, you can see everything. So we're currently at what's it called? Lensale Key at Waterfront Park. You're just gonna walk around, browse and watch the sunset here. So we are currently in like this building at Lensale Key.  And it's so cute. I don't know how I've never been here. It reminds me of when I went to Newport and it's just so cute in here. Oh my God. Don't. Oh my God. My face is like, no. Everything just a blur. Hello, you guys. What is up? We're at Waterfront Park and we just set up a blanket. We have some snacks and we're gonna watch the sunset. It's literally such a beautiful day. So, you know, gotta be grateful for that. In my first video that I did of moments by Mikayla, I meant to do moments with Mikayla, but then I just accidentally said bye. So we're changing it, okay? Moments with Mikayla. So a little episode of moments with Mikayla. I wasn't gonna do it in this vlog, but you know what? It just feels right. And you know, when something feels right, you just gotta do it. Don't let something negative affect your whole day.  And then it makes you in a bad mood. Don't let that bad mood affect you for the whole day. Because like I was saying earlier, you are the director of your life. You can control your mood and not let it affect you.   Once you let it ruin your day and once your energy becomes negative, then negative things are just gonna keep happening to you because that's the energy that you're gonna be attracting.  Only positive things can happen to me from here. And then you will have a positive day. So yeah, that's just something that I've learned. But yeah, so just don't let negative things that you can't control that happen affect the rest of your day. Let it pass, let it move on. Your attitude does make a difference. And that's how you're gonna attract more positive things instead of more negative things coming your way.  Hope you guys enjoyed.


Hello everybody, Andrew Maesky here. So I'm doing a video again. I kind of seem to do like one of these every two or three months or so where a Lot of genus or I should see dental professionals as a whole, but definitely hygienists are Talking about oh my goodness. Should I just retire? Should I give up? This is just too much I think it's just because of the whole stressful situation. Obviously, we were kind of forced to not work With the whole COVID issue a lot of us don't want to work because we're nervous Because there's still so much unknown But we kind of feel forced to go back If you work for a dental office if the dental office is open and saying everybody come on in It's time to get back to work. Is there enough PPE? We have to you know Have a lot of PPE now. So we used to have masks gloves safety glasses now It's safety glasses masks. It could be a level three mask It could be an N95 mask and those ones are very hard to breathe in A face shield a hair cap a gown these things are very expensive for offices to all of a sudden start having So a lot of people are just simply saying like enough is enough like things are just so confusing Especially if you do have to work for a dental practice The dental association guidelines are very different I shouldn't say very different, but they seem to keep changing from the dental association guidelines to the dental hygiene guidelines So you kind of wonder well, which one do I follow? You have to follow your hygiene guidelines because that's who You're licensed with but a lot of dental offices aren't okay with that So then things can be very very stressful My thoughts are you guys honestly if this is stressing you out so much? Maybe it is time to look for something else. Maybe it is time to retire Because I completely understand if I was working for a dental office. I think I would be kind of thinking Oh my goodness like things are so up in the air You might feel like you're forced to go back to work. You might just feel like this is too much Having my own practice really makes a big difference to me because I feel like I'm in control If I don't have the pp. I don't work. It's as simple as that I can manage my own schedule. So I don't have to worry about overbooking myself to make money back Silly things like that But I think a lot of offices are starting to deal with now where they might be overbooking themselves Even though we do have to wait the three hours At the moment in between patients If they have proper air filtration systems HVAC systems and that can be changed to But all of that can be very confusing as you can imagine I'm primarily a mobile dental hygienist. So that is a little bit easier I mean easier might not be the right word because it's actually very difficult Where now we have to change out of our uniform for every single household makes sense Wipe everything down. We have to do prescreening.  So things are definitely not easy We have to do more than ever before but how I think about it is our patients need us We need our teeth cleaned. I mean even you if your teeth are super healthy doing great even me I need my teeth cleaned So I would love to find a dental hygienist to come to my house to clean my teeth Because I would even feel more comfortable doing that than me walking into a dental office And being confused of okay, where do I stand? How do I pay? Okay? This person's looking at me funny. What do I do?  I'm talking about other patients, but not the staff because I'm sure they'll have full PPE right, but they're probably limiting patients in the practice You know, it's just kind of so many unknowns. So I feel more comfortable myself going into a home Seeing patients because I feel like that's just less exposure So if this is really stressing you out, you want to quit look for something else If this is really stressing you out that much then that's just what you have to do And you shouldn't have to feel bad about that But there are some of us out there who do want to work do whatever we possibly can To work and help our patients If you're caring for somebody who is you know ill Um, um What's the word I'm looking for? Um, immunocompromised then you probably shouldn't be going back to work because you have to be very Very very careful too.  Thank you guys so much for listening and I'll talk to you guys in the next one And stay safe stay safe


My name is Vicki Borisk. I live in Portland, Maine. I married to a deaf man named Alvin Toby Borisk. I went to the Governor Baxter School for the Deaf in Falmouth, Maine. I graduated from the Governor Baxter School for the Deaf on June 7th, 1970. My first job was here at Mercy Hospital from February 1970 to the present time, which is a total of 45 years on the job. 45 years. At the Governor Baxter School for the Deaf, they sent me here to Mercy Hospital for the training in the laundry in 1970. That's when I started working here part-time while I was still going to school. And after I graduated, I worked here in the laundry full-time after that from 1970 until 1990. I don't remember exactly which year, 1991, 1992, maybe. Now, I no longer work in the laundry, and I work in the department called Environmental Services since 1991 or 2002. I clean. I mop. I dust. I wash the windows in the patient's room, as well as in the x-ray department and radiography. So it's cleaning. I had an interpreter from Pine Tree Society for the Deaf who helped me a lot. Those interpreters have been coming here for a long time. I only need interpreters for meetings on the 3rd of every month. I was recognized for my 30 years of employment. And at the 30-year mark, I got recognized. I also won an award as employee of the year and won a cruise to Bermuda. And the special parking lot, a parking spot at State Street. Free parking, priority parking for one year for being employee of the year. I'm still working. I'm not ready for retirement yet. I'm not sure when I will be. Perhaps one or two more years of work. I've never gotten SSDI. And in fact, I'm learning about the retirement process and my options from the employees here at Mercy Hospital. I've been saving for my retirement and on top of that, Mercy Hospital also puts in some money into my retirement fund.  And that helps me a lot on the job. If I don't understand a word, then I ask people to write it down on paper so that's how we can communicate. There's a few nurses who know a little bit of sign language. They may be know their alphabet. They're not really skilled at American sign language, but they can finger spell things so we can get our point across. Okay. When I started in 1970... There were a few people who I knew well, who work with me regularly in the laundry. And those same people were some people who did learn some sign language because it was just the group of us together all the time. And I taught one person, one woman, who became quite skilled at sign language. So now I'm all over the hospital and not very many people know how to sign. Well, every once in a while, you know, there might be somebody outside on the sidewalk who might have fallen. And because I'm so visually oriented, I saw through the window that somebody slipped on the ice last year and fell. And I noticed it and I mentioned it to the nurse who then called people and we brought a stretcher out and brought that person into the emergency room. I think it would be great if we had a few more deaf people and more people who could sign here. I mean, there's very few people who know how to sign and I'm the only deaf employee. I am very happy that the people here, the staff at Mercy, are so helpful and they've all taught me. They're willing to have me teach them signs. And they've put in safety measures for me, like if there's a call to 911, if there's a fire in the lobby, there's adaptive devices and phones for deaf people to use. So it's been a lot of help. They've really gone out of their way for me here.


Hello, thank you for joining me. We're in Lisbon today. We're at one of the main metro stations I'm not quite sure how to pronounce it, but I'll show you how it's written in it Remember these to get Barry's swash swoosh ones. I called them. I don't think it's anywhere in the UK that has them Ireland has them. I remember when a few stations like Romford and Portsmouth and Southsea South Huntsham Central and the final station to have them was Epsom in Surrey, but now No railway stations in Britain have the swash swoosh to get Barry's They're called that because of the way they kind of they open they sort of they don't open like a gate They kind of go like that. So Yeah, we're at the one of the main metro stations The track is actually just down below me. So there's platforms. You can hear a train coming in. There's actually two lines Below me is the green line. So over there is the blue line So we're gonna go down. I'm going one stop to the end of the green line. It's not my trains. I haven't got a rush and we're actually gonna go out of Lisbon and Across the Tages to River Tages or Talgus and on a boat. I've got to go one stop to the end of the green line So this is the green line platform, you know, look here Here is the blue line And here's our first few of them at the same time. So it's two free car units together I've noticed that this would be two types of very similar trains. One's like this that have the walk-through carriages like the London Estock Trains And one's a dope railway station there and there was even a few local trains. So really quite nice now That's with the name of the station. I'll show it to you. So you can see how it's pronounced I'm not even gonna try and pronounce it, but that's where we are And as if I can find a map, where was that map? I've just seen a map of it. I'll show you where I'm gonna take you today So we're here We're going to there That's also a railway station which goes to the town called Cascais I'm not doing that today. We're gonna go across to Almada and ride the tram system now Of course Lisbon's got its own very fascinating tram system with old four-wheel trams Let's do that in another video, but today it's about going to Almada on a metro Just arriving at the final station on the green line. I'll just show you the interior of the train As you can see it's got a seating, so you can look out the window which I've got a live rather than the seats in their faces inwards I said the other train we saw on walk-through carriages This one has more like the London Underground AC and D-Stock Trains have where you have a door between each carriage So the train we came on, where's the number? I don't know, that's behind the door 391 I'm just gonna walk up here because I like to know the number of the other unit that I traveled on I've got Boudapest Metro shirt on today I'm going to show you Lisbon one Perhaps you should get one There's a lot of tiles in Portugal. Wherever you go in Portugal, boys have tile viewers Look, trains going out into the reverse 699 So that's the end of the line There's lots of the reversing signs Three platforms here They're probably in the business of time So they can have, this must be the arrival of that platform My student there too The departure of the platforms I've now got to find my way out If here's another cut and cover concrete box Going by the Ceilings, they must have dug this out as a huge sort of oblong shape in the ground and then they've covered it over So also this is a railway station on the line to Cascais Which might do if I have time But the main point of this video is to go across to Talgus And explore the Almada tram network Because Lisbon's very pleasant It's very, very touristy So what I kind of want to do Is show you some of the not so touristy areas Oh, this is interesting So that's a fire exit only Looks like the ticket bar is down there We've got this travelator to go along I suppose most people probably If they wouldn't would go up the stairs of that And look, as I was about to have a look So I can walk really fast So yeah, we're going to go up So this station as well as being a railway And a metro station is also very terminal So that's the point I'm up to today getting to There's lifts down onto the platform So railway stations are accessible No, this travelator's not going I can see ticket bar is on this level I've also some up stairs So maybe there for the main line station I've noticed some railway stations here in Portugal As opposed to railway stations not metro stations Have ticket bar is others don't So a bit like UK really But I've not yet seen a metro station That doesn't have ticket bar is So soon as we get ticket bars I'm going to stop filming So I need to find my ticket and get out I'll explain a bit about how the ticketing system Works here later on So here are a gate line Of what I call the swashwoosh ticket bar If you try and see how they open You'll see I mean they kind of go down and up So just come up from where we were That's the departure platform for the metro That's where we were where the travelators were Came for a set ticket bar is now Here above us is the main line station And as you can see it also has ticket bar is Much taller swashwoosh ticket bar So I'm not catching a train now I'm going to try and find the ferry terminal So you go and look and see how they open You don't want to go open but They said they go swashwoosh Interesting that's possibly like the Wide aisle one There's actually two sets of barriers Anyway I need to try and find my way out of here To the ferry terminal Which I think is probably over there So I've got to go down and up To get out of the station So We've got to get out and see the terminal Same boat over there So I've now come upstairs This is the main platforms at the railway station There's about seven platforms Which for a railway that only goes 16 miles Seems quite a lot It seems they've possibly just made The trains here When they're not in use maybe They run 60 miles to Cache Skyce Mainly along by the sea To me it's a bit like Lisbon's Equivalent of London Tilbury and South End Railway It's kind of like a little self-contained network That only goes to one set of places I've got to go and find that now And hopefully soon we shall be Crossing the Tages So I'm on the ferry about to cross the Tages So we're going just over there And then when we get there Do the trams off Alamard There's free tram routes So we're going to have a look around And see if we can find any interesting sites My plan is, I don't know if you can see it To come back over the bridge Just about to see the bridge in the distance It's a road bridge but there's a railway underneath And our plan is to take the train Back to Lisbon later on today So time to cross the Tages


Hello everybody, welcome to my channel. It's Eva from Bohemian Crafting and today I'm coming to share with you my flipbook and I will flipbook. It got a little bit bigger than I expected, but the base those two pages, they are two pages and each of one it's made from nine by six top-loaded envelope and I will have tutorial after this show and tell so for those who are interested how I made this base and I would like to show you what I have created. This is for swap with Marley design. We decided to do small swap the theme should be like secretary and the the field of where she's working. It was totally about us. So I choose patent office because I do love clever things Here I used few Tim Holtz stamps. This can be open and there is my small note for Marley I do have that decoration using Tim Holtz stamps and here I made kind of like moving a little bit moving It doesn't move now. Oh, come on move. Yeah, it's moving, but you have to be very careful it's from paper, but when you're rolling this this gear it should be moving a little bit. It doesn't work the way I want it but it moves a little bit. I used Tim Holtz stamps here as well. I think here I don't have any pockets. I have to think. No, I don't have any pockets but I try to decorate it. It's just this movable part, this moving message. I found tutorial. This is not my idea. I found tutorial on Jennifer McGuire ink. She's amazing with cards So I will put link down below where I saw the tutorial for that moving part And here are my two flip flip pages So first I do have pocket here on the top and because it's from patent office, we do have there some mini patent and some page from patent law and you know guide for inventors. I do have here few tickets most of these ephemeras which are inside I meant to put there. They are not distressed too much because Marley creates so many amazing things. So I was thinking maybe she will like to use them so they are not even glued they are mostly just slide behind the paper clip so she can take them off and use them in head projects. So here I can open it. I'm gonna take this off to make sure I can open the flap and here we can open this this page and in the front I do have pocket with so many folders because as we know in patent office, they do have so many folders with all kinds of ideas. So here is nice large pocket and in those folders most of them are holding some goodies which Marley can use in her projects. So I'm gonna slide it back. I'm not gonna show you what is inside. That should be surprise for Marley. I hope she already have her her package. I do have here this patent patent ephemera again some small folders and I hope she will also use those small folders that's why I didn't distress them because she needs to you know match it with her projects. So those pages those edges not pages. Those edges are not distressed. I just left them the way I cut them and glued them with all kind of old papers. So that's what we have here. I hope I will slide it right way. It's in this first pocket. Then when we open it, we do have another pocket here. Here is like a writing space and I do have pocket here and in that pocket it's old ledger paper and some stamped ephemera and I do have here another ephemera. She can use in her projects and this kind of like mini folder or sliding folder. I do have few of these mini folders or holders in this book and they are clipped together with those rivets, but there is only one which I hum it together and then I realized even this she can used in her project. So most of them they are just clipped together that cup from that rivet. So it can be unclipped, take off that rivet and used all of it in a different project. So that is here. And we do have a report of new patterns here. Small booklet. So that it's in first pocket. Oh, not yet. Not yet Evie. Sorry. So then we can open it this way. I forgot. And here I clipped. This is one of those paper clips I showed you in last videos. And I put here bunch of different type of papers. They are new. He died or very old like this one. And this one. And this is handmade paper. This is from very old book. Also, this was between pages in very old photo album. And this is from from diary from 1924. So there is loads of proper ephemera, very old book pages. And also because it's from patent office, we do have one patent here. And here we do have another opening. And I do have pocket here with mini folder. And this can be used in a new project as well. I just left it the way I cut it. I used Elizabeth Kraft die, Planners Essentials. I will put names of all kind of dies I used in description of this video. We do have another pocket here again with mini folder and tag. And here I do have clipped some stamp label and frame. All kind of these things can be take off and used in new project. And because it's about secretary. So here we have one lady from patent office. And I do have here a few few patents. This one is good. And this is daily use. So I do have here a few patents. It's so amazing to have a look on these patents on those drawings. And I do have loads of ephemeras in this pocket. Again this holder with some ephemeras. Here we have a patent from patent office, some booklet and again mini folder which can be used in project labels. And in this envelope I do have a few few words. Maybe she can use it in her layouts so that it's in this pocket. I'm gonna put everything back. Do not fold those things. So this flipbook it's loaded with goodies but they are not glued inside. They are ready to use. And I'm gonna close my envelope and we will have a look on other side of this flipbook. This was first side and from that opposite side we do have this page with pocket, this page with pocket and two another pockets. So here we have envelope. This is from my country. So something can be stored inside and because inventors getting paid for their ideas, for their patents. Here we've got bank checks and in that top pocket we do have another picture of secretary and forms, I mean forms note for inventors. So that it's in those two pockets. Here is like writing space and I do have pocket here. Again just clip together, page from how to make your patent go through all that process and here again with that paper clip few papers Marley can use in her stamping and stenciling projects. If you haven't seen her channel, please go to have a look. She's amazing with her art. So I will put link down below as well. Here again some ephemeras. So I hope she will use them in her projects because it's amazing to watch her. And we do have another page. It's exactly same folding, exactly same scoring, exactly same pockets.  I do have this mini pocket. Here I stamped with M for Marley and I do have few pockets here. So in this front pocket I do have these ephemeras and some forms and in this mini tag I do have those mini file folders. They are also cut out using dies from Elizabeth Kraft's die. All names will be down below. And I do have here a few acetate pieces. I'm gonna show you this way so you can see. Don't forget. This is like a clear decorated documented file number and this decorated. So if Marley will like to use them. And now for all those who would like to know how I made those pockets I'm gonna add the tutorial how you can do those flip outs using six by nine or nine by six top loaded envelope which means from the top. If you want to know how I made this this pocket now it's coming tutorial I hope you will enjoy it. So I'm gonna work with these envelopes. They are top loaded envelopes and measurement of the envelopes is gonna fold it this way otherwise it will get glued. It's nine by six and one quarter. I'm gonna take that envelope and score on this long side I'm gonna score three quarter of inch. I'm gonna flip it over and score again three quarter of inch like this. I'm gonna take that envelope and fold the score lines and garnish make sure we will be nice and strong like this. Now I'm going to take a knife and with my knife I'm gonna cut those long sides this one and this one. You can take a scissors or paper trim and cut it with cut a little bit of those envelopes using scissors or paper trim or guillotine or if you do have a flatter opener use that that should work so I can open fully my envelope. I'm gonna take scissors and with my scissors I'm gonna cut of these bottom corners from the score line to the edge in angle here those corners corners again in angle it will help me to make it will help me to make those pockets more easy to you know to put the goodies. I'm gonna fold the original flap of my envelope to see where it's folded and now I'm gonna cut off these small corners here hopefully I'm not gonna cut it the wrong way and here again in angle I'm terrible with scissors never strong a strong straight not sure what's wrong with me and in angle and I think that's all yes that's all now I'm gonna fold these and now I'm gonna flip it over because what I would like to see inside of my foldable thingy it's this white thing white one white side not this one this will be covered with decorative paper so I'm gonna think from this this view and I can choose either of these two ends I think I'm gonna choose this one as my sewing point or spine side so here I'm gonna take sport tape sport tape is this fabric self adhesive tape it's wonderful for book binding because it's already sticky yeah like very very sticky and it's fabric so it will reinforce your spine your paper it's just ready to go and I'm gonna put this sport tape over this piece but I think I'm gonna do it from inside so it will be not visible this will be inside of my creation so I'm gonna place it from inside what did I do here oh slowly easy easy good so I do have reinforced the side of my envelope where there will be spine of that creation and this I will put together with the decorative paper so now I'm gonna take some decorative paper I'm gonna take this office paper this is from my paper but I sold last year so I'm gonna take one of these papers this is a four size of paper but you can take I guess any bigger paper than is your envelope and this side of my envelope will be covered with this paper so just try to imagine which way you want to you will place that paper this way I will place that paper so I need to score here this measurement and I will fold this inside to make sure you can see what I mean so from this corner here I will score this measurement and from this corner here I will score this measurement without the flap so here we have how many four and three quarter and I need to score it from this side four and three quarter that's gonna be here four and three quarter I'm gonna flip it this way and I think it was sorry for the chicken it was nine inches if I'm not mistaken yeah nine inches nine inches is the size of my envelope without a flap open so nine inches here so I do have scored the two score lines four and three quarters here nine inches here and because I do have envelope with a window and I would like to kind of enjoy the that profit that window gives me already now so I'm gonna have a look how far from the bottom that window ends and it will be it's ending somewhere here four and three quarters so I'm gonna give it five I think okay I'm gonna score one more time from the bottom of that paper five inches but just oh I'm gonna score it all five inches that is the space where the window in that envelope will fit nicely I'm gonna fold it in those five inches I'm gonna fold all these score lines first where is my own folder there you are and burnish to make sure I can see so all these folds I'm gonna score score the fold so here I do have bottom of my paper oh have I I did good so what I'm gonna do I'm gonna first cut what I need to cut here it will be from the bottom and this will be flap so here where I do have that score line I'm gonna cut it with my scissors on the side where I can see where I do have where I made that score line right on that green side I couldn't see that so so this will be flap of my of my pocket so because this one will be flap I'm gonna fold these two corners together and with my scissors I'm gonna make just teeny tiny small cosmetic surgery here just a very small cosmetic surgery and it's in the shape of the flap of the envelope which I like this I can leave as it is it can be something extra some extra opening and here this I'm gonna cut also with my scissors again from the side where I can see where is that score line so I'm gonna cut it with my scissors to that first cross just here just here so now what we have it's this flying thingy this flying thingy flap of the envelope and here will be that paper to make sure I can add there something I'm gonna make slot slots for the pockets so I'm gonna fold that paper here where I made those five inches score line from the bottom of my paper I'm gonna fold it and here I'm gonna use this tool this is called slot punch and it's cutting just really small slot so what I'm gonna do I'm gonna slide my paper to the end of that slot punch and punch then I'm gonna move that paper a little bit and punch again move that paper a little bit punch again a little bit more so now I will have entry to my bottom pocket here so if I will slide something there I can see that from here but if I will keep this open anything what I will slide from the top it will slide out or I can put something from here but it will you know it will catch up together with this so this one I'm gonna pretend that it was meant to be like decorative element I'm gonna take this very light a packing tape sorry I got stuck glued I'm gonna take this very light clear packing tape this is bottom of my paper and this entry I need to use for my window but that second entry I need to cover so I'm gonna take that clear packing tape and I'm gonna glue it over that coated window or entry or slot and from opposite side because here it's sticky of course it's sticky I'm gonna take some washi tape yeah some washi tape I do have these cute strips so maybe I can use some cute oh these numbers I like numbers and I do have these cute stripped washi tapes so I'm gonna take one of these and just glue it over first of all that packing tape clear packing tape will help to hold this masking tape because of that stickiness you know and it's decorative I'm gonna hold it here where there will be flap of my envelope I'm gonna fold it and I'm gonna do exactly same I think I'm gonna do it from this side you are on my way fold yourself and again I'm gonna slide paper to this spot or slot paper punch and I'm gonna punch so I do have this now I do have slot slot and slot before I will do anything any other steps I'm gonna flip it over and here between those two slots I'm gonna apply a glue so I'm gonna apply the glue here between those two slots and all around of my of my pocket flap and I'm gonna take book page and I know I'm using book pages quite often because I like them and I'm gonna glue the book page on that paper between those two slots and on the dress like this I'm gonna take my scissors and cut the book page all around like this and if I put glue right way I do have pocket here in the flap of my envelope so now I'm gonna let it dry properly to make sure the glue it's dried and it's not wet and I will make some sewing effects before no I think I can first glue it together and then make sewing effects so before I will glue it on my envelope paper or envelope piece I'm gonna take my paper punch and punch the corners of these two flying thingy like this now I'm gonna take my base envelope base and I'm gonna fold it this way and this way so I can see the edges of the base so all folds are folded they will don't misleading me I'm gonna take my prepared paper and I'm gonna put glue here it's good if you will fold it a little bit to see where to go or you can put glue here on all that side put glue here on opposite side put glue here on the bottom between those two slots and if you are not sure about the top where the flap is put the glue make sure you have the right side where it's opening so put the glue here on the top that will make sure that it will be glued on the right spot now take your paper flip it over and place your paper on the envelope base and let it dry properly I would like to use sewing machine and make some sewing effects so to make sure my machine will don't get dirty from you know from leaking glue now I have to wait to let it dry properly to make sure that nothing will get to my sewing machine and also before that all that sewing I forgot those two here is that reinforced side with the sport tape the other side where I do have those two flying thingies and of course the original flap of my envelope I'm gonna glue to that base I mean this recreated flap I'm gonna glue it here and I'm also gonna put glue here on this one and glue it to my paper that will a little bit reinforce all that space all that folding like this and if you did wrong scoring like I can see that now I'm gonna cut this peaking piece cut it off and then I will fold it the way you know how it will come and here I need to cut it to the end same as I do have those two flying thingies so I'm gonna take my scissors and just cut to that score line that should do just that small piece and I'm gonna let it dry before I will use my my sewing machine here I just want to show you if I will slide something inside it should be visible from here and then we have this pocket here I think it's all dry now hopefully so I'm gonna make sewing some sewing I'm gonna sew this flap and the back over the top of this entry you have to make sure you are sewing the right right side not here because that is the entry to your pocket but just this top one right under that folded part and then here all around and back and again here on the top not this entry but this top one which should hold on the background so I do have that base this will be folded there there and this one will be folded here and here we have the flap from that envelope so I need to create some pocket here for that I'm gonna take you have many piece of papers this one it's gonna tell you measurement eight and one eight the white then fold it half right and on the high it's eight and one oh yeah eight and one quarter here to make it like opening thingy and because I do have here that flap I would like to make also some closure and for that I'm gonna add another card stock that will be glued here on the top and I'm gonna make that card stock like another pocket to kind of build it up I'm gonna take this large paper punch it's from woodware and it's this large tack and I'm gonna cut the window for my for my pocket so I'm gonna slide this card stock I'm gonna tell you measurement of this card stock as well this is a seven and seven and seven eighths by three and seven eighths this card stock and it's 300 gramash card stock and I'm gonna slide that card stock to my paper punch the way there where I can see a little bit of that corner and I'm gonna punch the tuck now I'm gonna take that card stock and slide it opposite way and here I'm gonna make sure the sides are matching and punch again that way I just created beautiful window with exactly same edges here because that paper punch punching all the time same way and I do have decoration for my mini-tack I can distress it with some color and just glue it here on the bottom and I believe it will looks amazing so I do have window we will need some acetate piece I'm gonna cut the corners because I think those curved corners are more like more friendly gonna cut those corners here as well I have decided to add embossed effect to my frame and it will I can't do it this way that I will put my plate or my frame to the embossing folder because I want to have this number here on the bottom and if I will place it this way it will be upside down so what I'm gonna give it try I'm gonna open that embossing folder this is that valet uh part this is that uh mount part where you can feel the letters and here are those holes kind like ish so I'm gonna place it on my paper and instead of folding it I'm gonna use this silicone mat and try to use that silicone mat like that opposite which will press my paper so I do have that embossed effect and now I'm gonna place there some uh acetate piece I'm gonna use one quarter of inch double-sided tape and here is top of my card so from bottom of my card I'm gonna add double-sided tape around my window and I'm gonna glue my acetate sheet and I do have nice beautiful print I'm gonna distress all the edges on all those pieces so I have distressed all the edges on all those pieces I used uh t-dye distressing and I also add a little bit of embossing effect all around of this piece and I use this collection from Cizix this is mail set it's from 2011 so I'm not sure if you can find it because it's pretty old but it's amazing so I added that written address and that strip all around so I'm gonna put the glue here and I have to be careful do not put that too much so this one I will need to take off a little bit on the bottom here is kind of too much so I'm gonna have it open like this and I'm gonna put that extra glue here on the bottom of my paper and place it right here I'm gonna put the glue where I do have that international letter embossed edge on these three sides I'm gonna put a glue I'm gonna place it on my paper and how about if I will realize later that I wanted to put there some closure so what we can do if right now I will think oh I need some closure for my flap so I do have prepared that I cut two similar pieces from some paper I put there these are three quarter of inch circles I punched from some sreali box I made a hole in the middle and then put those circles on exactly same spot those pieces are exactly same and those circles are on exactly same spot on both those papers and I use those brats to keep them there so one I will glue it right here I think this way and that other piece I think I'm gonna place it I can place it right here actually oh it will be cute now I'm gonna take the string I'm gonna wrap it around one under that one circle and make a knot put the shorter side and wrap it around the way you want to see it so I think this way it's enough here I'm gonna cut so I do have a closure so we have that outside and I'm gonna make some pockets inside I want to keep that window here at least part of it so I do have here this school paper it's with the teacher's program and I think I'm just gonna fold it by hand to the measurement I need here for this side so I'm gonna slide it to the end and here on the top I'm gonna fold it a little bit under this fold here and I'm gonna place it here kind of like in the middle and use that top one to fold the sides no I'm not gonna use the top one I'm gonna make a measurement not folding I'm gonna make it by hand to make sure it's straight you can score it to the size of your kind of like folder or booklet flipbook so here and the other side again I'm gonna slide it here and fold the other side to make sure it will fit inside and I'm gonna cut this strip off yes I'm gonna cut this strip off I'm gonna keep this one here so I'm gonna take my ruler because my cutting with scissors it's not straight so from this fold I should take longer ruler now this one so I do have this strip and here I'm gonna cut between just from the fold to the end so I do have this gonna fold one up one down here I need to cut a little bit of the bottom to make sure there is space because it's too bulky that way it will be better yes I think this way it will be much better and with this I should fit here I can fit in there so I'm gonna have a look where is the window good so if I will go and I'm gonna rip that paper here I'm gonna take distress ink first I'm gonna cut the corners to make it a little bit more decorative is I can keep and this one I guess yeah I'm gonna take a distress ink and I'm gonna distress all the edges so I do have distress all edges and now I'm gonna fold this one in and this one out and I'm gonna fold this here and I'm gonna make a sewing from here all the way across here around and back here and here and probably here I'm not sure but I will sew it all around to make sure it's holding everything properly and here with that sewing I will make pocket here and pocket from other side so I do have it sewn all together I do have pocket here pocket here pocket here and when I will glue it on the page I will have pocket also on the so I'm gonna put glue thinking if I will do some stamping I think I'm not gonna do some stamping I will see how it will looks like maybe I will add something later so I'm gonna let it dry so now I do have pocket here under one here and one here so I have put some goodies inside and I made two of them exactly same just the papers I used a little bit different but they are exactly same with all those folds and pieces and we're gonna put it together so I think this one will be first and this one will be second so I'm gonna flip it this way I'm gonna put the glue here on my fold with that sport tape I'm gonna take my second piece and now I'm gonna lay them together and put these pieces together like this I'm gonna let it dry and I'm gonna start to create a cover for this for the cover I'm gonna use this empty box from yeah pork ripped back that they were really tasty nice and tasty I'm gonna use this box from from those ribs because what I just measured my signatures on those pockets they are actually exactly as the box is without those side flaps so I'm gonna cut the box just in the size of my pockets of this leg high leg leg so I'm gonna measure my pockets this way I think it was nine inches if I'm not mistaken that start the envelope I started yeah nine inches so I'm gonna cut that box here that top one and then nine inches here so I have cut cut it to my piece I cut not nine inches but nine and one quarter I just added just a little bit and I'm gonna this is that you know from the box and it's in the middle so I'm gonna score that part perfect it's one and a half inch so I'm gonna score it every one quarter of inch if it will be possible this is quite thick for scoring I hope I will don't jump to the next score line good I'm gonna make it like you know make it work I'm going to use these product invoices they are old invoices and I'm going to cover all that piece with these papers so I put the that paper all around and I do have here piece of cheese cloth it's that 90 grades cheese cloth and I'm gonna put a piece of that cheese cloth in inside of my book so I'm gonna put the glue all around and I will make sure that there is a lot of glue like this and I'm gonna put it all around so I do have my cheese cloth cut it all around with just small edge peeking out this one will be inside of my book so I would like to have as a base I would like to have their book pages so I do have my book pages glued and to secure all those layers I'm gonna try if my sewing machine will be good enough to sew it all around so my sewing machine did sewn all around I'm gonna take my pockets and I'm gonna put a glue here where I glued them together so I'm gonna use uhu glue again and I'm gonna uhu place my pockets to that spine and with a ruler because it's a little bit longer than my putting tool I'm gonna press it all together I think it's all dry so I'm gonna take my ruler and with ruler I'm gonna make marks first I need to make position exactly in the middle so it will be here and here and I'm gonna make a mark I think one and a half inch no one inch from the side one inch from the side from edge I mean and then two inches and two inches so one and two one and two from edges I mean from the top and from the bottom I'm gonna punch the holes and put their brats uh brats eyelets so I'm gonna punch the holes where I made those marks what do I think here I will probably more successful if I will make it from outside I guess so I'm gonna make marks again yeah I think I'm gonna make marks again exactly in the middle of my spine first I need to check it yeah yeah on a good spot so I'm gonna make new marks from outside to make sure I am in the middle which is this line here I'm gonna kind of reinforce it for myself you know those score lines I made so this one is middle one and on that middle one yet that will be much much better on this middle one and again one inch and two and one inch and two and I'm gonna place it from outside to make it nice and even punch the hole and fix the brats uh brats again eyelets should so I do have fixed the bra eyelets what I'm saying and I'm gonna take elastic band and I'm gonna go from outside the inside and from inside outside and here and there and back so I added that elastic band and I think I'm gonna keep it this way I'm not even sure if I will add here some another pockets because it's like nicely full I will see I still have a few things to add so I will see how it will go and you probably already saw in the end in the intro or entry to this video so this is my short tutorial I hope you enjoy it this is collaboration with Marley Design I will put her link I will put link to her channel down below if you haven't seen her channel yet go to have a look because her her mixed media techniques her stamping techniques they're so awesome so this is my sharing for today have a beautiful day take care about yourself and I will see you soon bye


So I'm really just going to summarize pretty quickly my pre-circulated paper that I think you can download from Middle Savagery or whatever. I apologize in advance for being a little bit self-referential. I've been working over the last few years on ideas that I think first about practice. I'm interested in digital practices, but really digital practices on, and I don't really like this term, but I'll use it anyway, the edge of the trial in the field, like in that particular space, that particular interpretive space. And I became interested in performativity and the way in which we improvise, and I was interested in thinking about that in terms of punk rock and the way in which punk rock creates this kind of performative space that has on the one hand certain rules that dictate what it is, but on the other hand has opportunities for egalitarianism, radical freedom, whatever. And so that was kind of my point of departure and the way in which I became, I do digital stuff first off, but I've become very anxious, which I think are profoundly human, not transhuman emotion, about the way in which our digital world is transforming that practice at the edge of the trial. I'm actually a survey archeologist. I don't really, I hate digging. I'm a terrible excavator, so I say on the edge of the trial and I'm just like totally lying to all you people, like really what I'm talking about is like walking through a field with a clicker, right? Which for some of you maybe is the only kind of marginally archeology to begin with, but anyway, so I became very concerned about the way in which digital practices affect that. Just drove me back to read, and this is kind of the second part of my little paper, drove me to two mid-century thinkers. They're both Christian anarchists. They're both burdened with tremendous problems, and I'm aware of all of those problems. One is a cat called Jacques Eleux and he writes about efficiency and he's very concerned about the way in which efficiency has come to dominate the justifications for all practices in modern society. That everything we do is driven by this kind of relentless drip of efficiency that we're always, and I don't know if y'all are like this, I am, but like when I get up in the morning, I'm not quite Steve Jobs or something, but when I get up in the morning, like the last thing I do when I get out of bed is plan what I'm going to wear. And I think about my lecture in the shower, like I'm never just doing one thing. Cause I have this, my father's German might be the issue, but anyway, I have this like constant push of efficiency and I think that shape, practice is really shaped the way in which we at least rhetorically approach arguments for digital practices, right? That digital practices at least rhetorically in terms of practice in the field, right? My very narrow sliver of the world. There's almost always, we can do this more accurately and we can do this more efficiently. We can do this more quickly and then we can have, I don't know, maybe more days off. Actually, that's not ever the case. We can do more, we can dig more, whatever. I'm also interested in Yvonne Illa I think is enjoying a little bit of a resurgence and very small, probably quite odd part of the world. Ilitch is another one of these Christian anarchists and he worries about modernity undermining our ideas of conviviality, which for him is that those radical spaces where individual ideas emerge from conversation and engagement. Part of the reason I don't use PowerPoints, I've stopped using PowerPoints is because I think they kind of, first off, they take a long time. And I didn't have time to do them. But the second thing is, they tend to distract people from what you're saying because you're staring at something. And I'm sure many of you are still staring at the white screen, but that's fine. I can't control that. But on the other hand, there's this kind of spirit of conviviality that Ilitch approaches. And so, and conviviality to him is one of the things that organized society. And I think Alil would have argued the same, argued in different ways the same thing. And so the final part of it, and so, oh, this was all part of this larger kind of agglomeration of ideas, which I termed slow archeology, like getting back to those moments of conviviality in the field. So we're not all looking down at our iPads or filling out our form, our context form, our survey form, that this doesn't become the driving thing that the first step of engagement when we should be really engaging our colleagues and what we're seeing on the ground, but instead we're actually engaging a damn form. And I know everyone doesn't do this, but I do think that there is an element of this in almost all of our practice that's only being pushed further. By our, the affordances offered by our digital tools. And then the final part, and I promise I'll be done, is I became interested in the way in which these things shape ontology, right? And I began reading people like Manuel de Landa, but more importantly, I read a book on logistics by Deborah Kellan, she's not an archeologist. Let's call it the deadly life of logistics. And I began to realize that the transformation that's happening in archeological practice is our shift from the assembly line, right? So efficiency was largely funneled in this assembly line, which begins at the trench or the survey unit and ends in the monograph or book or report or agreement, whatever, right? Like that is the process. To one that because digital tools have tended to fragment knowledge at the edge of the trough or in the field allows us this granularity, it also allows us to have this transportability, right? And so the model for archeology has shifted particularly in the last 20 years from one driven by this linear assembly line that's very hierarchical and very well organized, the one that's driven by logistics, which is increasingly mediated by digital tools. So this is something that comes along to transhumanism that digital practice becomes increasingly transhuman because we're increasingly engaged with not simply the affordances of the tools we choose to use, but probably we're gonna have PowerPoints that I put together some. I just like, why find my apartment or the hotel I was in here was terrible and I was like, screw it, I'm not gonna do these, right? So this entire network of things that connected the way in which we get some very simple piece of an archeological talk is interrupted, right? But how many, I'm sure many of us when we're in the field, we run into those same things. And it's not just in the field, it's when we're transporting our data from our trench or survey unit all the way back home, in my case, to the center of the US when we're sharing it with a colleague who is in another continent that we've begun to create a destructured and an assemblage, right? This vast assemblage that is logistics and logistics, I was walking through one of the neighborhoods down here, has a logic of its own and the logic of its own has recently come under so I think fairly compelling critiques. I mean, after all, the beauty of logistics is the thing that drives forward, the potential of Uber, the potential of Airbnb, the potential of us to export a kind of neoliberal regime of economy and utility that may not be Jacques-Galut's efficiency, but might be actually something much more pernicious. So while Ruth's talk was uplifting mine, I'm afraid it kind of ends in this sort of cul-de-sac of anxiety and dread.


Welcome back to our lecture series Math 1050, College Algebra, for students at Southern Utah University. As usual, I'm your professor today, Dr. Andrew Misteldine. I want to continue our discussion of power functions in section 4.1 from our lecture series here. Chapter 4 is going to be all about polynomial functions, and so monomials are going to be our first focus in this chapter here. Instead of tackling just monomials, we're going to focus on the general idea of a power function. We say that a function is a power function, basically, if it's a transformation of the form y equals x to the n here, where n could be any real number whatsoever, so we're taking a power of x. This is going to be by power function, so we might slap in a coefficient in front of that a. We could maybe shift it. All those are acceptable here for our power functions. Now, of particular importance in this chapter, number 4 here, we're going to focus on when n is a positive integer, for which we then call this a monomial function. In this lecture alone, we'll focus a lot on monomials, but the general power function will be treated in this situation. Some things I wanted to show you. First, we're going to switch over to Desmos for a little bit to do some graphing. If we consider the function y equals x to the a here, and you were to graph it, you see right here a function where only the domain x equals 0 and greater is included. Now, the reason why I'm going to limit the domain for a little bit is issues like the following. Let's say that we have a power function like g of x equals x to the one-half power, because, again, the x one, it could be any real number we want. The issue is like, what happens if you take g to the negative one, or g of negative one here? This would be negative one to the one-half power, which, as a reminder, when you take fractional powers, this actually gives us a square root. In this case, it would be a square root. It gives you radicals in general. So in this situation, the function outputs the number i. So with quadratic functions in this series, we did see that we do allow for non-real solutions to equations and such. But when it comes to graphing, we are going to stick with the domain convention that we've introduced earlier, that we only will accept real numbers inside the domain. But then we also will only accept those numbers in the domain so that the output is likewise a real number. So for the power function y equals x to the one-half, we would only allow non-negative numbers. Now, that's not going to be the case for everything. Like if we take f of x to be x squared, for example, well, then there's no issue with negatives, right? So you get negative one squared. It's just going to be a positive one right there. No big deal. So what I'm trying to say right now is let's just kind of consider the general power function. And so we can talk about all of them in harmony. Temporarily, I'm going to restrict the domain just to be positive numbers because I want to show you a pattern that happens. If you take a general power function right now, I set the exponent to be one. So this is just y equals x at the moment. One thing that's going to be true about power functions is that this power function, assuming there's no shifting whatsoever. We didn't shift it up. We didn't shift it down. No left or right shifts. Your standard power function, it'll go through the origin zero zero because if you take zero to any power, you are going to get zero. Likewise, this graph will go through the point one one because again, if you take one to any power, you're going to get back one. So those are going to be points that are true for every power function. Now what happens, see what happens as I increase the power. If we allow the power to get bigger and bigger and bigger, you can see that the curve starts bending upward. Right. So we take it all the way up, for example, x to the 10th. You see this type of behavior right here. And so what's happening is the following. When you get past x equals one. Right. So if you get past x equals one, this thing is going to get steep and steeper and steeper. It's steep, steep, steep, steep. And this happens the bigger, the bigger that you make things turn out to be. The bigger the power is, the steeper this part gets. On the other hand, though, when you get close to the origin, it's going to get flat. The bigger the power is when you're between zero and one, it's going to get flatter, flatter, flatter, flatter. But when you get away from one, it's going to get steeper, steeper, steeper. So in general, you're seeing this type of behavior that you have zero over here and one over here. It kind of looks really flat when you're between zero and one, it looks really steep when you get past one. Again, this is what happens when you increase the power to be bigger and bigger and bigger. All right. So this is for the, this is something true for power functions.  If you take like small powers, right, going back to one. At A equals one, it's actually going to be a perfect line. But then if you pick something less than one, it actually bends downward. And we see we actually have the reciprocal behavior going on here. Let's take, for example, A to the point one right here. What happens in this picture is that when you get past one, it gets really, really flat. But when you're close to zero, it gets really steep. So in general, you get something like this. Again, the exact opposite of what we saw a moment ago.  That is something between zero and one. And this, these two dimensions will change. This will get more distorted. The bigger, smaller you make the A values get. And another thing to mention here is what happens when you get a number less than one. If you're less than one, you see something happening here. Let me erase this other part that's still on the screen. I'm also going to zoom in a little bit so you can see it a little bit better. When you get a value less than one, kind of what happens at zero is you get a perfectly horizontal line. It doesn't touch the origin anymore. Because if you take something that's zero with power, remember that's going to be like A to the zero. That's going to equal a positive one always. You just get this horizontal line in that situation. And so when you get something that has a negative power, you see this very different behavior. It gets really steep when you are to the left of X equals one. It gets really flat when you're to the right of X equals one. So you're getting something like this. So you get all these different shapes going on here. But what's going on is that as you get closer and closer to X equals zero, you don't actually touch X equals zero in this situation. Because negative powers mean reciprocals. If you have X to the negative A, this really means one over X to the A. And so when you plug in X equals zero, you're going to divide by zero and get... You would actually get something undefined at that moment. This function is going to have something called an asymptote. Something we'll talk a little bit more about in the future. Again, this is just kind of giving you a general idea of how these power functions behave. In this lecture, though, we want to focus on two specific families. So the first one is what happens when we take only odd integers, positive integers. So take, for example, n equals one, n equals three, n equals five. The standard graph Y equals X to the one you can see in front of you right here. Let's label this. So this would be Y equals X to the first. This is just a standard line. It takes the point zero, zero, zero and one, one like before. It also goes to the point negative one, negative one. As we increase the power to something like X cubed, we see that the graph will change. We get something like this. So now there's some curvature that's going on here. We can see that the graph still does go through zero, zero, one, one and negative one, negative one. That part is still the same. But the things, the things, the graph got steeper when you got away from one and when you got away from negative one, but it gets flatter when you're closer to X equals zero. And this is going to happen when we increase the power some more. So if we go up to Y equals X to the fifth, you see this thing happening again. It gets steeper near one. It gets flatter at the origin. Let's do this again. You get even bigger. Here's seven. X to the ninth, X to the 11th, X to the 13th, X to the 15th. Again, this behavior you see happening over and over again. When you get far away from the origin, that is when you get past one or negative one on the other side, the graph gets really steep, but it gets really flat near the origin. Let's watch this again in real time. So we're going to get three, five, seven, nine, 11, 13, 15, 17, 19. I hope I didn't skip anyone there. And so these things will get distorted the more we increase. And this is always for odd powers. Be aware that if you take a number to an odd power, positives are pretty obvious here. But if you take like a negative number here to an odd power, the thing is since you have an odd number of negatives, like if you take three, for example, negative, negative, negative, this is a triple negative. And so the net effect is you're going to have a single negative when you're done. The odd power of negative one is in fact a negative. And so that's why you get some numbers on the left side of the graph there. Let's summarize what we've seen so far with these monomials here. The properties of monomial functions, y equals x to the n when n is a zero. Well, one thing I want to show you is that this graph is symmetric with respect to the origin, right? So we go back to the picture here. Notice that if we were to reflect this graph or if we were to spin this graph around the origin by a half spin, we get the exact same picture again. So this graph is symmetric with respect to the origin. This is will be referred to as an odd function. And actually the word odd function comes from this observation right here. The odd monomials are exactly the odd functions for the monomial families, right? The domain is going to be all real numbers and so is the range. So coming back to the picture right here, you can see that going to the left to the right, it doesn't matter. This is going to be defined for all real numbers. There's no issue with domains. Also, this can go as far up as you want and as far down as you want. We see that as X goes to infinity, Y will go to infinity. And as X goes to negative infinity, we see that Y will go towards negative infinity as well. So the domain is going to be all real numbers here. This graph will contain 0011 and negative 1, negative 1 like we saw. As the exponent N increases in magnitude, the graph becomes more shallow near the origin. It gets flatter and it gets steeper when we get away from the origin. So when you're past 1 or negative 1 like we saw before, we just talked about the in behavior a moment ago. And so this gives us, this right here gives us the standard picture for an odd degree monomial. The basic picture is going to look something like the following. It's flat near the origin, steep and steep. This is what an odd degree monomial looks like. What about even degrees? So let's turn this one off. Let's turn on an even degree. So right now you see the graph Y equals X squared. Notice some important differences here. This function is actually an even function. That is, it is symmetric with respect to the Y axis. That's actually why we call even functions even because even monomials are like the typical even function. It's symmetric with respect to the Y axis. Some other things to notice. It does go through the point 00. It does go through 00. It does go through 11. But this one goes to the point negative 11. It doesn't go through negative one, negative one down here. It actually goes through negative 11. And so notice that as X goes to infinity, the right hand side of this thing is going to go up. So we see that Y will likewise go towards infinity. Now as X goes to negative infinity, notice the graph is still going up. And so we see that Y likewise goes to positive infinity in this situation. We don't see this opposite here. They're both pointing up on this graph. So that's another important difference with this graph. But some things that are the same, notice that as we increase the power. So right now you see Y equals X squared. If you see Y equals X to the fourth, you'll notice the same pattern happens. The points that are far away from the origin got steep. And the stuff that's close to the origin is going to get flat. Let's look at the next power, Y equals X to the sixth. You'll see it again. The part near the origin got flatter and the parts away from the origin got steeper. And this will just continue to happen. X to the eighth, X to the tenth, X to the twelfth, X to the fourteenth, sixteenth, eighteenth, twentieth. That same basic pattern is happening. You get steep here and you get flat here, making sort of like this bucket shape when we talk about an even monomial function. So let's summarize what we discovered right here. The properties of a monomial function when Y equals X to the n and n is an even number. Well, in terms of symmetry, it'll be an even function. This is actually why we call even functions even because they're mimicking this behavior right here. The domain is going to be all real numbers, but it turns out the range is not all real numbers. The range is only going to be non-negatives. Coming back to the picture right here, you'll notice that in terms of our domain or range, the domains for all real numbers, you can take any power of a number and that'll be a number again. But you don't get anything below the X axis. Because of issues with complex numbers and things like that, if you square a positive, or if you take a positive to an even power, you're going to get a positive. Zero to any power is zero. A negative raised to an even power gives you something positive. And so it's not possible with a real input to produce a negative output for these even monomials. So its range, in fact, its range is only going to be zero to infinity. We'll contain the point zero, one, one. We also get negative one, one in this situation. This part's also true for all power functions that as the end gets bigger as you increase the exponent, it'll get shallow near the origin, but it gets steep away from the origin. And as X goes to infinity, like we saw, Y goes to infinity. And as X goes to negative infinity, your graph also will still approach infinity right there. And so that describes some basic properties about the graphs of monomial functions. In the next video, I'm going to take a look at how we can apply graph transformations to these basic pictures and start graphing some very primitive polynomial functions.


وأقول في القرآن ما جاءت به آياته فهو الكاريم المنزال وأقول قال الله جل جلاله والمصطف الهدي ولا أتأوله الحمد لله رب العالمين وهل الحمد الحسن والثناء الجميل وشدوا لا إله إلا الله وحده لا شريك له يقول الحق وهو يهدي السبيل واشدوا أن محمد أن عبده ورسوله صلى الله عليه وعلى آله وأصحابه والتابعين لهم بحسان إلى يوم الدين أما بعد إن شاء الله تعالى انت ريز آية that we are going to go through is قوله تعالى the statement of Allah وأنفسهم فهم لا يؤمنون الله سبحانه وتعالى He says قول say to them محمد الله is speaking to the Prophet صلى الله عليه وسلم أن الله says to them قول أيام محمد محمد صلى الله عليه وسلم say say to who لهؤلاء المكذبين these who are disbelieving in you who don't want to believe in you say to them لمن who is ملك جميع ما في سماواتي وجميع ما في الأرضي who is the king of every single thing in the heavens and everything on this earth who's the king of all of them who is the king of all of the creations that are in the heavens who is the king of all of the creations on this earth the answer is what brother and sisters الله سبحانه وتعالى it is Allah which the answer will come soon and then الله تعالى when he asked the Prophet صلى الله عليه وسلم to ask him this question الله تعالى commanded the Prophet صلى الله عليه وسلم بأن يجيب عن هذا السؤال الله commanded the Prophet to respond to that question himself so then Allah said to him قول say to them محمد يعني قول يا محمد لله say to them ذلك كله all of that يعني ملك جميع السماوات والأرض all of it is for who لله تعالى الله الذي يستحق العبادة وحدة the one who deserves to be worshipped سبحانه وتعالى and that is the view جنيل الطبري وكثير رحمة الناصل السعدي and the great Aima to Salaf mentioned then الله says كتب على نفسه الرحمة ما معنى كتب على نفسه الرحمة it means أوجب على نفسه Allah made it he prescribed on himself he made mandatory on himself الرحمة ماسي so Allah's mercy then became what فوسي عت رحمته كل جيء his mercy encompassed everything ولي ذلك الإمام البخاري المسلم both narrated and the word إن شاء الله تعالى is the word of الإمام المسلم من حريث أبيه ريرا that the Prophet ﷺ he said لما خلق الله الخلق when Allah created the creation when Allah created the creation كتب في كتابه الله سبحانه وتعالى he wrote in the book فهو عنده and that book is with him فهو عنده فوق العرش إن رحمتي تغلب غضبي that my anger my anger surpasses sorry my mercy surpasses my anger إن رحمتي تغلب غضبي that my mercy surpasses my anger then Allah تعالى لا يجمعنكم إلى يوم القيامة لا ريب فيه لا يجمعنكم لا مزلام القسم الله is swearing والله لا يجمعنكم الرب والله by Allah you will all be brought together أيها الناس oh people you will all be brought together all of you big يعني from all over the world and where you're buried you'll all come together يوم القيامة the day of judgment and you're going to come يوم القيامة is what لا ريب فيه لا ريب فيه means what الذي لا شك فيه وقوعه that the qiyamah is going to happen there's no doubt about it there's no doubt regarding that and that is the view ابن جلين الطابري mentions ابن كثير mentions رحمه الله الشيخ محمد ابن صالح العثيمي رحمه الله also mentioned then Allah تعالى he says الذين are the ones الذين the ones خسيروا ممعنة خسيروا أي أضاعوا أنفسهم those who have forsaken themselves they didn't يعني فعدبوا فائدة الانتفاعي منها they did not benefit from from their nefs while it was in this dunya they didn't benefit from it how did they not benefit from it بحرمانها تصديق الرسولي by not believing in the messengers and the prophets that were sent والرسالة and they didn't believe in the message that was sent with these prophets خمو الخسيرون حقا they're the ones who truly lost they lost out the prophets were sent the messengers were brought to this earth and instead of believing in those prophets what did they do they chose not to believe it they chose not to what they chose not to believe in those prophets and now they're in a state of what خسيروا they're in a state of خسران they أضاعوا أنفسهم they forsake themselves فعدموا فائدة الانتفاعي منها and so they didn't benefit from the life that they had and the opportunity that was given to them on this earth and so what happened they became from the الخاسيرون حقا when they turned away and they suspected الله and his messengers إذ لما أعرضوا عن ذلك فاتهم الإيمان بالله تعالى وبرسوله عليه الصلاة والسلام وباليوم الآخر الذي هو سبب الفوزي في الدنيا والآخرة what they missed out on is believing in these messengers believing in the message that was given to these prophets and these messengers believing in الله believing in the day of judgment all of which would have been a means for success and prosperity for them and would have been a means for them to enter Jannah they didn't benefit from it الله تعالى says قل إن الخاسيرين الذين خسروا أنفسهم قل إن الخاسيرين الذين خسروا أنفسهم وأهلهم يوم القيامة those who who are the losers who forsake themselves who are the ones who have lost their souls they have lost their souls وأهلهم and their families يوم القيامة the day of judgment they forsake them themselves so this ayah is the ayah that I wanted to insha'Allah to share with you and the benefits in it anything which I have said that was wrong or incorrect is from me and shaytan that Allah has messaged I'm both free from it سبحانك اللهم وبحمد أشهد والله إله إلا الله أستغفروا كوة وبولي رمضان with AMAU make this the best Ramadan you've ever had by joining our exclusive online community with regular private classes digital resources weekly accountability sessions and daily Quran gatherings this is one opportunity you definitely do not want to miss so sign up now at amau.org forward slash Ramadan and we look forward to welcoming you on the other side


In this chapter, the concepts are mixed up like when the problem comes, they cannot make the problem difficult by having lot of depth in particular small concept. So what they do? They mix up like there will be multiple mirrors, there will be a lens also find together. So whenever you see a J question, it will be mix of the concept. To this question, you have a concave mirror of focal length 15 centimeter, object at 45 centimeter, height of the object is 10 centimeter or let us say 1 centimeter only. If you increase the height of object, you cannot have aperture small approximation. So height is 1 centimeter, you need to find nature of image as in where it will be and what is the size and whether it will be real inverted and all that. U is what, minus 45, focal length is what, minus 15. So what we will come out to be, minus 22.5, is this correct? What we drawn ray diagram, is this according to that or not, where is the object? Object is beyond R. So image should be between F and R, is this correct? So you should always cross check. This is V, magnification will be what? Minus of V by U, V is what, minus 22.5, object is what, U, U is minus 45, this becomes what? Minus half, magnification. So the image will be half of the object size and inverted and this is also according to the ray diagram. If it is real, it has to be inverted, now do the same thing with this type of mirror. The image will be what, virtual or real, virtual it has to be erect, so magnification has to be positive and less than 1, if you are getting otherwise it is wrong. So you can use ray diagram cases to check what you have done is right or wrong. So I am going to use mirror formula here, what is U, it is, what is F, now it is plus 15. What you get V as, plus 11.25, it has to be plus, it cannot be negative with this mirror. So V is this, magnification is what? Minus V by U, magnification has to be positive. So V is 11.25 and U is minus of 45, so it becomes positive and now you can solve it, so 1 by 4 right, 1 4th. So I will just introduce a different kind of problem, now we have done the basics. So suppose you have a concave mirror, fine, you have cut it into half, so 2 halves you have, so what you have done is you have placed the 2 halves like this, you have separated them. This is the principal axis, this was the principal axis actually right and you have moved these 2 mirrors, so that this distance become equal to delta, fine. You need to find out where the image of this object be focal length F, F is suppose 10, R will be what? R will be 20, fine. So where is the image of this object which is at 30 centimeter. Suppose this is a mirror, okay, this is a mirror, if I remove half of it, it is gone, not there. What will happen to image? Think over it, if half the mirror is gone, what happens to the image? Will it shift? It should not shift, because all the rays should converge at the same point, right, but there will be something happening, less number of rays will reach there now. Image will be slightly you know less intense, I mean the intensity of light will be lesser, that's it, that's all, okay. Now do it, yeah the horizontal distance won't change, why? See you can imagine that this is a part of complete mirror, and this is a principle axis for that, but object is not on the principle axis, where the object is here, right, but if you imagine that your object is this extended object, this much, then you can trace where is this point, okay, that is the hint. So I will just give you a hint, you can try it out later at home. See this is the object, right, what is the height of the object, delta by 2, fine, and height of the object you can say it is negative, fine. So you can find magnification for this location, and magnification times the height of object will be the height of the image, so you will be able to find out suppose magnification is let us say minus 2, and location is here, so the image will be like this, so here is your point, this point is this, so actually image is point, okay, similarly you will get a symmetrical point here for this, so there will be 2 images, okay, so if you draw the ray diagram, this was f and this was r for this, now f for this is here and r is there, okay, so this ray will go like this and come back, isn't it, similarly now r for this one is here, so this ray will go like this and come back, okay, and this ray which goes like this, what will happen to this, it becomes parallel, it passes through the focus, right, similarly this ray becomes parallel, fine, so this is the first image and this is the second image like this, okay, so this is like one of the trickiest of the problem you can see in this particular concept, so you can spend some time and try to solve it completely, right, so reflection is done, fine, we have 10 minutes, I will just give you brief about refraction, I will talk about laws of refraction, then we can study refraction in greater detail next class onwards, okay, write down refraction, what is refraction, if light changes its path as well as medium, it undergoes refraction, fine, now at times light may not change the path, but it can change the medium, even that is also refraction, but invariably whenever light changes the path, it undergoes reflection or refraction, so change of path, if it is not accompanied by change of medium, we say that it is reflection and if it changes the medium, it is refraction, now the amount of change of path depends on what, it depends on what is the property of medium and what angle the incident light is hitting on it, fine, now angle is very easy to define, but property of medium how will you be defined, right, suppose there is a material inside, suppose there is a glass, different types of glasses, now how the glass, I mean you say that glass is having some optical property, the optical property of mirror is easy to define, you will say that focal length is the optical property of the mirror and in terms of that you have studied the entire reflection, now optical property of the medium should also be defined, because now ray is going inside the medium, fine, so optical property of medium can be anything, you can define it any which way, but the most useful way is using speed of light, because ultimately light enters the medium, right, when it enters the medium, its speed changes, fine, so if we define property of medium in terms of ratio of speeds, that we can use it further, right, if ratio of speed is this, then that will happen, if ratio of speed of something else, then something else will happen, right, so in order to quantify the property of the medium, we are using ratio of speeds, okay, so refractive index of any material is refractive index, sorry, refractive index of any material is velocity of light in air divided by velocity of light in the medium, okay, now what is velocity of light in air, 3 into transfer rate and nothing can move faster than that, fine, so velocity of medium will be less than velocity of air, right, so this will be always greater than 1, fine, so refractive index which is denoted as n or at times represented as mu also, okay, now this refractive index, I mean you can say that this is absolute refractive index, because velocity of light is absolute in air, nothing can be faster than that, right, so you can say this is absolute refractive index and absolute refractive index is actually a relative one with respect to speed of light in air, fine, now you can also find out relative refractive index, refractive index of first medium relative to second medium, this you can write like this, velocity of light in the second medium divided by velocity of light in the first medium, this can be less than 1 or greater than 1, getting it, so if n1 is absolute refractive index of medium 1, how can I write it as vA by v1 and n2 can be written as vA by v2, right, hence n12, how it can be written as n1 by n2, right, so this is n1 by n2, find out on this, right, so we have quantified a property of medium, this defines what medium it is and how it will behave, fine, write down laws of refraction, first, first law is actually Snell's law, Snell's law says that refractive index multiplied by sine of angle in that medium and that angle is what, angle between the ray and the normal is a constant, fine, so I can say that n1 into sine of i1 is n2 into sine of i2, you know, you can keep on writing like this, this is what the Snell's law is, in our textbook it is written like this, you know, n1 sine i is equal to n2 sine r, fine, so when you draw the diagram, this is medium 1 represented as n1 and this is n2, suppose there is another medium n3, fine, so there is no limit, you can have multiple mediums, so this is n4, fine, so it says that if a light comes like this, this is what, i1, so n1 into sine of i1 is equal to, this is i2, n2 into sine of i2 and that is also equal to, this will be i2 only, fine, this is i3, it is equal to n3 into sine i3, fine, here also refraction will happen, this is i4 is equal to n4 into sine i4, simple, right, so but then if it is only one interface, then you can say n1 sine i is equal to n2 sine r, rather than writing i2 you can say refraction angle, okay, so this is how the Snell's law is, now look at it carefully, if n1 is less, if n1 is less and n2 is more, tell me angle i will be greater than angle r, angle i will be less than angle r, what it will be, n1 is less than n2, now tell me, i and r cannot be more than 90 degrees, between 0 to 90 degrees sine is increasing function, right, if n1 is less, sine i has to be more and sine r has to be less, so r has to be less than i and n2 is more, so light should bend towards the normal to make r less, right, so when you go from lower refractive index to higher refractive index, light will bend towards the normal, fine, if you go from higher refractive index to lower refractive index, it will bend away from the normal, fine, this is the normal direction, it has bended away from the normal, from the from it normal course, so n2 has to be less than n1, okay, we also say that for medium which has higher refractive index, we call them denser medium and lower as rarer medium, okay, denser or rarer does not mean mass density, okay, because there are materials which are mass density wise lighter, but optically denser, okay, terpentine oil and water, they are like one such example, fine, so this is the first law of refraction, Snell's law, second law, write down, second law says similar thing, incident ray normal and what refracted ray now, all lie on the same plane, fine, so these are the two laws of refraction, these law we will use extensively apart from those approximation where angles are small, that I will state again, so we will use these laws extensively to study entire refraction, okay, so next class we will continue from here.


The deeper purpose of relationship is to grow as an individual whether it goes the distance or not. So the purpose of relationship is to share the best version of yourself and if he's lost, not to suggest you ladies aren't lost, are the two of you willing to do the individual work and come together to grow as a couple. And then I said is love enough. This is really critically important. The deeper purpose of relationship is to grow as an individual whether it goes the distance or not.