Anyway, thank you for surviving throughout the day. Looks like there's more than I was expecting. I was expecting like two people here. That's cool. Anyway, first thing I wanted to say is I want to thank my co-presenter who's actually not here. She ended up being somewhere else in another continent. So that was interesting. So this was actually her idea and her brainchild. But I'll try to keep it in her spirit. So anyway, to myself, I'm actually a bilingual person. I look around and I actually see a lot of bilingual people or trilingual or omnilingual people where I tend to do work. And I think that that's a really big valuable asset that we have because it changes your perspective, right? I also know a lot of computer languages from Ada to XML, like really everything in between. And I think that's valuable for any developer to have. And I actually did invent a language which I would say that everyone should try to do but it's really a tough thing. And if you're gonna do it, good on you but it's a very challenging effort. All right, so what is a polyglot? A polyglot is somebody who can master multiple languages. And it's really somebody who can kind of dive in from one language and one perspective into another perspective. And it doesn't really just mean programming languages. It really also means things like backend services, right? So if you have a SQL server or a Redis cache or something, you know what that means. And you actually have a perspective of why is this important or not important? The other thing is that's weird about programming languages is if anyone of you have taken any comp side courses when it comes to language theory, you know that one language is actually equivalent to any other languages as long as it has some sort of constraints. And in general, the programming languages that we deal with really do follow these rules. So it's kind of strange that we kind of intuitively know that this is a possibility but we don't utilize it.  And why is that? It's pretty interesting, but I think that there's definitely power in that. So why do we do polyglot? Or why is it important? Again, it's the different perspectives, the different systems that are involved. I find that it's a better use of our intellectual capacity when we can actually find, hey, maybe this is better done in one language versus another. And it's a good way to actually communicate between your own teams, right? So if you have a Java developer or .NET developer, you might have different perspectives on how to talk to them if you are an AngularJS developer. And having at least a glancing understanding of what those people are trying to do and what they're capable or their systems are capable of doing is pretty valuable. All right, different perspectives. So this is kind of the interesting thing. I've seen so many organizations that have leadership at the top that say, you know what, we need Java developers. And that's kind of an interesting topic to me because I don't think I look at a developer and say, you know what, you're better at a Java, being a Java developer than a .NET developer. It's kind of an arbitrary conversation. And I don't think that the business leadership should necessarily be driving, hey, I just want this platform or just want this because it means that you can't really adapt to change from that top level. If you're a developer, I don't even think that you can be a non-polyglot, especially now. Maybe if you're a cobalt developer doing mainframe stuff, but that's kind of a dying breed right now. And architects, I see it all the time, these really beautiful drawings. I actually saw it from our room sponsor yesterday in their keynote, this beautiful drawing of all these nice little boxes of how everything's supposed to interact. And it's really strange because I never see software that's that beautiful. I see software that's kind of cobbled together and kind of, you know, it works. We want to make it better. And I think that the architects really are, you know, kind of fooling us when they go out there and say, this is how the system's going to work because it never comes out that way. It's never a recipe. We're not making cakes here. We don't take a recipe and just make the same thing over and over again. We have to change and adapt depending on our business needs. The last thing is the operators seem to be a forgotten entity within polyglot, right? These are the people that run this application day to day. If you're not going up to them and saying, hey, by the way, I'm writing this Java application and I would like it to do X, Y, Z, you know, maybe the operators don't know what that means or maybe, you know, it's exotic to them and you should bring them in. So, you know, when you're thinking about a language to use, think about those guys too. So who here is a polyglot already, right? Who thinks they are? Well, congratulations, right? We're all done here. What are we doing here? The point is that we are. We should realize that. We are polyglots. We always have SQL databases or some other exotic database that has a different language or a CSS style sheet or something that's in a different language and that's good. And once you start realizing that these are different things, that's good. But let's break it down. So we got this application, right? This is a simple application. Has an angular front end, maybe a spring boot for the business layer and to facilitate all this, we've got bash, something to facilitate that. But, you know, we're actually not done. We can't go out there and say, hey, we got a polyglot system here because we also have other services underneath, right? We've got our data services with SQL. Maybe it's got a JSON store or something like that and then infrastructure. You know, we're a cloud foundry so let's talk about bash a little bit. So we might have other infrastructure needs. And then we also have these things like CICD pipelines and maybe it's got a build system there so it's using Maven. So we actually have really a whole diverse set of languages that we are using every day. And they're all different. They all do different weird things and we wanna make sure that we're enabling our developers to have the freedom to do that. So again, here we have multiple layers. It can get messy pretty quickly. So why do we use different languages? Well, we use them for obvious reasons, right? They're different. They do different things. So it's better to use things that are in certain domains versus other domains, right? We wanna do a machine learning algorithm in R versus in JavaScript. It seems intuitive, right? Well, I don't wanna go out there and make an octave website that just seems arbitrary and wrong. These languages were developed for very specific use cases. And if we use them correctly, they're incredibly powerful. If we don't use them correctly, well then we get this spaghetti mess of stuff that we're not really satisfied with and we kind of go around in circles. But we can also make any language better than another one, right? So the classic example here is C++. If anyone uses C++, who uses Boost? Probably anyone who does anything in production, right? But this whole thing of programming is actually fairly new to humanity. It's only like a 50 year, 100 year endeavor for us. So we're still as humans, still pretty new at this. And the future is unknown at this point in time. We have machine learning coming up. Maybe we'll create a machine learning language coming up there. And as a developer, you'd be like excited but then fearful of it. But we have to make sure that we're prepared for that. And that's gonna be interesting. So let's talk a little bit about how do different languages interact, right? And it's kind of obvious. We all kind of realize this. We use REST services and whatnot. And we use those interfaces as the conduits to change. These are those contracts that we negotiate between ourselves that go out there and say, this is how my system is going to interact with the world. And it's really important and it's so trivial at the same time, right? We go out there and we say, hey, this is how my services act. But we don't talk about how the client is going to, or we might talk about how the client is going to interact with it, but we don't understand necessarily all the clients that are going to interact with the system. We just say, okay, here's one, here's another. And then we force people to go through that one channel. And that's okay, but it's not always the answer, right? So let's talk about when you wanna change something, right? So imagine you have a bug with your interface itself, right? We wanna do this thing called an anti-corruption layer, right? So an anti-corruption layer is just basically a layer to help you change, right? So the first thing we do within anti-corruption layers, we go out there and we put something in between this, right? And both sides can understand how this thing works. So it's, you know, your interface is going in the same and it's coming out the same just like it was before, but you put that layer in there. This is where interfaces really can help you out. Because the next thing you can do is start routing your calls into another place, right? Into maybe an upgraded version of your application. And it seems, again, so intuitive, but people don't use the power of, you know, Cloud Foundry or these other applications to actually create that shim.  So this allows us to actually go out there and do massive changes to something that we used to say is steadfast, unmoving, unchanging. We can actually go out there and change it, which is something that a lot of companies feel are paralyzing them. So, you know, that's one pattern that's really been effective and I think it's been underutilized a lot of places. The other thing is, is breaking up a monolith. This is probably, everybody's done this a billion times, right? But okay, we're in a polyglot talk here. How do we break up a monolith and why does polyglot even matter in this conversation, right? And the thing is, is what we can do is we can find the actual heart of this application. And I've done this at a client site where I've figured out, okay, this is the central piece. This is the thing that connects everything together. And you really rip out the heart of this thing and change the language. It sounds weird but it's very empowering to do because what that does is it basically takes this core feature, changes the languages and now everybody has to figure out what to do, right? And it seems weird but it's a very big catalyst for change. So what we have is we eventually go out there and we take that heart out and then we can start fragmenting out those little pieces in whatever language we choose, right? So in my particular case, I took a .NET application and changed that heart into Golang, right? Very exotic thing for that company. And it was the catalyst to change. In fact, I talked to them today and they said, yeah, you know what? This thing is actually moving forward a lot faster than we were expecting.  And quite honestly with the pace of change and pace of technology, it can allow you to pick and choose the things that make sense for you that enable you to move faster. And with that, because I'm blowing through these pretty quick quickly, that's it, that's all I got. So if there's any questions, feel free, I have a microphone. So, oh, thanks Mark. Any questions, you have one? You gave an example whereby when the program you try to convert into Golang and that sort of thing. Do you suggest that a big legacy monolithic application, it should be translated into multiple type of languages, means the part of it in Golang, part of it in Node.js, part of it in Java, is it pragmatic and means really giving values, that sort of thing? Okay, so the question really comes down to is, would I suggest doing this, right? Like this, and the answer is for me in this particular case, yes. The team was first of all energized because they were learning something new. So that's really like the human aspect of it, right? The second aspect of it is we were converting something from IBM BPM, which is a very massive application and we took out the actual workflow engine part of that and made just our own custom thing to do that. So that's the background of what we did and we used Golang because we could actually get that up and running into Cloud Foundry within two weeks. We could get that core done. That said, do I think that we should always just change languages? No, I think you, we have to be pragmatic there, right? We have to go out there and say, does the team have both the energy and the discipline to do it, right? Is it a fit? Is this a Node.js application doing machine learning? Probably not a good fit, but in general, I would say, yeah, like shake it up a little bit, if you can get the team to do it, yeah. Asynchronous, say some portion, which we are from the asynchronous city of the code and then some other portion, which has a very complicated logic, so retain it in Java and the other portion which might benefit from asynchronous call, convert it to Node.js and that sort of thing, break it down and that sort of thing. Absolutely, use the right tool for the right job, right?  So I'm telling you, yeah, if you have something that fits more of a front end aspect of it, definitely consider Node. That's a perfect example. But that requires a very high level of maturity of the architects and sort of hands-on architect who knows the different languages and their actual benefits and that sort of thing. Absolutely, you can't do this with people like novices right out of school. Like you have to go out there and have some competence in it. That said, when you, even if you don't have competence, at least have the discipline to do it, right? The biggest problem I have is that we try to adapt too quickly sometimes and that's great, but if you kind of lose your way about you, that's a problem. In the back. So I understand the concept of polyglot, but in an enterprise, having too many people who know different languages, it didn't become sort of a management nightmare. Why not, you just put APIs over what we have so that we have a standardized way to access the systems that enterprise already has. Okay, so if I understand the question is, becomes a management nightmare just to have the various different languages. I actually would disagree, right? We have a lot of different reports that we generate for various applications or various parts of the company. It really comes down to using the right tool for the right job. If you're a very crud-oriented organization where you have just database transactions doing that, you might not have a very diverse background in various different languages. It might not make sense, but to go out there and not enable you to have tools and lock you into one platform versus the other, I think you're putting the organization at risk, right? Because there's two aspects of it. There's the human aspect of it, which is can I find Java developers to do this, right? And if you go in the marketplace, you might not be able to find those people, right? Finding a COBOL developer is a pretty hard task nowadays. But that said, all right, you wanna somewhat standardize, but let the developers be free to choose whatever they, in their professional opinion, they believe is the right way to go. But if you look at it in a different way, companies can have multiple projects happening at the same time. And there may be multiple projects who need the same resources who know a certain tool that would create a bottleneck within an enterprise. So, and that would actually slow down the enterprise considerably than doing the benefits. So what my point was that maybe having an API over what we have, at least gives a standardized way to interact with the system. And even say two years down the line, if the system goes away, that API needn't change. Does it provides you with a technical model to access a certain system? Yeah, so all of the rules for doing microservices and doing specific things, they still apply, right? It's just what is the language that that API is built in, that's really what we're kind of talking about. We're not talking about that having the resources to build something is a much different conversation than going out there and saying, what is it built in? If you don't have the resources to build applications or maintain them the way they are, then that's a risk. Having it so that your developers can jump into this code line or this code line or this code line is how to mitigate that risk. So as a developer, I would say, or a company, I would say I would want all of my developers to be a little bit more polyglot versus going out there and saying, hey, you know what? I've got this API that's Java based. Sure, it might be screaming fast and perfect for the application, but polyglot isn't just about the one application, it's about the entire ecosystem. And can you get those resources and shift them and move those humans to fulfill those tasks? I have a question on how DevOps should be handling this situation because I can give an example, like we were breaking down a monolith and we were trying to do one of the components in Go and DevOps came back and said, hey, you cannot do Go, we cannot maintain Go programs or Go applications. We can only do Spring Boot and Node. So how do we handle this kind of a situation in the enterprise? I'm actually, if I could speak to that one. One of the things that as we've seen from Cloud Foundry now for the last three and a half years or so is a powerful agent of both freedom for the developers but also governance for the organization or the language build packs inside of Cloud Foundry. And so what several of my large enterprise customers have done have said, hey, we're gonna support both from DevOps all the way up through release management and production. This subset of languages, so long as they have a build pack that's got governance around that. And then because of the standardized behavior both in from the developer experience and from the operations side, then that gives organizations both the enterprise architects as well as the operations folks a comfort level that this is a build pack is just a governance set of dependencies for a particular language framework. And so rather than kind of throwing the door open and saying, well, you can do anything anytime, what we're really doing is using the constructs of the Cloud Foundry platform to be an instrument of governance. Now we typically discourage clients from tinkering with the build packs other than using configuration parameters to inject enterprise-y kinds of things in there. But at the same time, as long as they're using that then you get a lot of value on the governance side that you were talking about, which is important. But from a developer experience side, you've given them a broader toolbox but a very consistent experience in terms of how they interact. So I don't know if that's helpful or not, but that's how I've seen several of my large customers. So they don't say, well, you can do anything. If you can go find some language that no one's ever heard of, you can do that too. That's not realistic and that's not what we see. However, in a Cloud Foundry environment at least, we have seen, hey, we're gonna do these three, four, five kind of enterprise languages that are all supported in the foundation and we're gonna pay attention to the build pack itself and what goes in there so that we understand how to vendor dependencies and how to manage what's under there. So what was that? Yeah, and the other thing to tack on to that is, I did bring up the fact that operators are stakeholders, right? So that's a big problem with a lot of organizations right now. They don't necessarily think, they think the developer is king and that the operations people are just another wing of the organization. And that's not the point, right? Like the thing is, is like you said, DevOps is about the operation side of the house too. So there's a negotiation that has to happen, right? If the operations people aren't competent or they're not willing to do something in a different language, well, that's a different set of opportunities to either learn or to, you know, maybe that's not the right tool for them. The whole point is, is operations as part of this as well, right?  It's the only thing to do and go forward. Because I think you're gonna have problems, again, with operations, with personnel in general, finding those people, making sure that they're competent. But if they can swing in and out of one language versus the other, nobody's really scared. It's just the way it's gonna be. And I think that's powerful. Good, we have time for a couple more questions. Anyone else? Sure. So just my perspective to kind of add to yours, I think with DevOps, one of the challenges is a lot of companies think that DevOps is a team and not a mindset. Yeah. And I think in a cloud native world, the development team actually would own the operational responsibility for that application, cradle to grave, which means you're getting the pages at night, not the ops team. So I think that solves part of the problem. However, if you're structuring your company is set up where you do have a DevOps team, then it would be the responsibility of that product owner or development team to actually either train or embed an individual with that language skill set into the DevOps team. So that's kind of how I would tackle it and how we tackle it at our company, but it is a concern. In terms of your statement about the polygop programmer, from a systems background, I know having somebody with multiple disciplines and multiple sets is extremely powerful. It allows you to see things differently in different ways. And I think from a programming perspective, if you know three to five programming languages, you're just amazing. So you would wanna keep pushing that boundary of learning and pushing new languages because not one language rules them all, right? Well, and it can't, right? Like if we think about it, it's like we could mathematically prove that you can't, yeah, you can't possibly create the perfect language. It's just not gonna happen because what my definition of perfection is in that language can easily be changed by your definition. So it's powerful to learn how these different perspectives. Thanks, some great questions. Anyone else? All right, well, thanks a lot for coming and have a great evening. Thanks.


All the walk-off wins, great point. A lot of guys had great seasons, career years. For you too, it was a special season, the home run leader in the American League and the RBI leader as well. Yeah, you know what? Personally, I just didn't want to mess it up because we had so much talent. I said, you know what? Let me just do my thing. And I always prided myself as a guy with 30 home runs, drove in 100 runs and played good defense. And that was kind of what I did my entire career. And I didn't want to mess up who I was. Luckily, I got off to a really good start, starting in net. April, none of us played well. I wasn't very good in April. Once May hit, I really caught my stride and had a lot of confidence the rest of the season. But one of the things that I pride myself on is my defense and just the ability for our pitchers to feel better about our infield defense with Alex and Derek and Robson Cano, I think that's the best infield that's ever been assembled in baseball. And so when you can go out there and affect the game offensively and defensively, help your team out in so many ways, it's just a good feeling. That defense, absolutely stellar come the postseason. More so even than the regular season, which is saying something, but I want to focus on the ALDS and that walk-off home run. This is a good demo. Let me align the celebration that ensued. Unforgettable, right? And I remember Susan Walden very memorably told me after the regular season was over, this team hasn't won a World Series in eight years. She's kind of looking, she like paused. And I'm like, I know Susan, that's the goal.  They want another World Series. And so the second game of the ALDS, the second game in postseason as a Yankee, I had a walk-off home run and I'm like, oh my gosh, this is great, but we have two more series to go. I mean, going up 2-0 against the Twins was very important, but we knew that we were gonna have a really tough time beating great teams like the Angels and the Phillies to win a World Series. Wow, that's interesting. You guys own the Twins for several years in there, which was fun to watch. But even in the moment, you were focused at the task at hand and ahead. That's the beauty of the postseason. It's also what makes it so difficult that once that game is over, you turn the page and you have to go out and perform the next day. In the regular season, you know you have 162. So if I have a great game, if I had two home runs or do something special, you can enjoy it for four or five days. You can kind of, you can enjoy those moments. In the playoffs, once you do something great, the next day, you better repeat it. And I did enjoy it for maybe 24 hours, but it was tough going into Minnesota the next day. Well, you did the job as a unit. Now take me to the celebration.  Well, I would say that there are very few times in your career where you get to equally enjoy something with your teammates, because it's always, hey, that guy did something neat. I did something cool. The manager won X amount of games. So he gets, and everyone is kind of passing the praise around. When you win a championship together, the security guard that meets you at the front door to the ownership, all get to enjoy that and all feel like they're a part of it. And what a great feeling to be with a team from middle of February from spring training all the way to the beginning of November, rotting down the canyon of heroes and just appreciating what everybody did from the support staff to the coaching staff, to the players, to GM and ownership. Everyone had their part and that's what made it special.


I can't help it. This is my self-conscious. I have nothing to do with this one. Okay. You know why bartenders don't like to see donkeys walk into their bars? That's right.  Josh!  Today, a new trailer dropped. I believe it's a Hindi, but it's a Netflix original, I do believe. It's called Call My Agent, Bollywood. That's what it's called. Call My Agent. Dash Bollywood. In the jungles that... So read these names, right? Give you this. Watch Ahana, Cumra, Ayush Mera, Rajat Kapoor, and Soni Razdan traverse the messy jungle that is Bollywood. And Call My Agent, Bollywood. Streaming on October 29th, only on Netflix. So I don't know if it's like something like what was that show? I never watched it, but Ontorized. It was about basically agents or ballers is about the sports world, right? Their agents in the sports world. But those were actually like quasi autobiographical and true based on true events. I don't know if this is that or this is just campy. Yeah, I don't know. We'll find out. And I don't recognize any of those actors, but that means absolutely nothing. Exactly. So the dirt under belly, let us know if we know them from something maybe we'll recognize them. Here we go. It was really cool, dude. Sonyeji, you've always looked over us. You also had the same dentist. Actually, I thought that Sonyeji died two years ago. She's a nice guy. That is a very interesting and exciting project in Aarbara Khan wants you for her next. Jacky, sir. I don't know if I'll ever be able to sing in Hollywood. We are too old for the past. Now, it all depends on the trip. There's no movie, no money, no actors, no agents, no agents' assistance or anything like that. Sonyeji's clients are companies 30% of them. Yeah, yeah, yeah. Corporate audit report. I clearly remember when I was in the company's envelope. This I was our man. He's been saving companies for many years. But I won't be able to do that. We're all right. All thanks to you. I can't tell. So the vibe it actually gives me is luck by chance meets made in heaven. That's exactly what it would be. Yeah, exactly what it feels like. In terms of they're going to follow like obviously if you haven't seen made in heaven, go watch it. It's a fantastic series. But it follows the wedding planner. So as opposed to the nests, we're going to follow the agents. The agents who create the careers. Which obviously could be very interesting because obviously there's a lot of going on's and secrets. It does seem to be a little bit more in the vein in the groove of being real compared to say luck by chance. Yeah, which is more campy. But and that's what I would hope. The one thing that we can't tell about it is that just because we're actors and we're here in the industry in LA doesn't mean we know what it's like in India. No, it's completely different. It's a completely different world. So the ins and outs of what it's like behind the scenes with agents, managers and the industry there, no idea. That's why I'm saying it might be a little similar to like luck by chance that kind of story obviously of behind the scenes Hollywood meets made in heaven style. Which obviously would make sense with the success of made in heaven shows try to emulate other successful shows. Correct. Well, actually is this a film or is this a show? I thought it was a movie. Is it a movie? October 29th. But still, it doesn't matter if it's digestible as a series. They do the content can be comparable. Made in heaven was a Netflix series. Amazon. An Amazon series. Amazon. Oh, yeah. So everybody knows what everybody else is doing.  Yeah. It's it's the it's the popular industry and obviously since they do remakes and they do shitty remakes obviously it's sometimes easy to make fun of that if you're just looking on the surface level. Correct. Just like any industry. But if you're interested in that kind of stuff. Of course it is and internationally it's the industry that as we've talked about many times before pretty much everybody outside of India.  You usually think all Indian cinema is Bollywood. Yeah, even I've seen. We probably did it in towards the beginning, but like other reaction channels like smaller ones. They'll react to something and it'll probably be a Tamil film or Telugu or something and they'll call it Bollywood. We probably did it many times. I'm sure they made that mistake. A hundred times probably before we actually learned what the differences are. Correct. Obviously the language. Yeah. But you don't realize that. But yeah, so it could be really interesting. There was a few actors that I did recognize. Yeah. So it'd be really, also it is a movie, right? Yeah, I think it is. I feel like it would be better as a show. I do too. Maybe I'm just thinking of it like maybe. No, I agree with you. Because it feels like it's a made in heaven thing. It feels like it would be great to watch these characters grow, watch different actors come in, watch different projects come in. It would be easy to like, this time our star that we're working with is Jackie Shroff. This time if you can get Shroff work on. It instantly has the feeling of seven years worth of material. Yeah. Yeah. It seems like something you could easily do in a show. Maybe. It looks like it's a movie. Yeah. Because it would say series otherwise. But anyways, I don't know. Let us know what you thought about it. And if there's anything else about it that we do need to know. And anything else from Peanute Gallery? No.  Why would I say that? I don't know. But you started to say anything else from the pee. And that's what my brain went. That's it. Okay. Yeah. You say pee.


So, that line about your interpretations are not in line with what you really are is really just another way of saying that that's your false association, and every seeming specific or individual false association is really just a version of that, that you're not in line with what you really are. This interpretation thing is something that we can just keep looking at, keep looking at. I was just reading a newsletter on the course, and it was saying in the newsletter, it was contrasting the Jesus of the Course with the Jesus of the Bible, and the newsletter was saying they're not the same. They're not the same Jesus, and then I read another newsletter and it was saying the God of the Course and the God of the Bible, and it was basically saying they're not the same God, and the key thing there is, you know, and there was a lot of evidence that was close from the Course to support that this is the real God and that the God in the Bible was not the real God, and that this is the real Jesus, and that the Jesus of the Bible wasn't the real Jesus. But to me, again, it's kind of funny because God is God, but it's just, it's the interpretations. You find in the Bible what you're looking for. You know, there are those that have come and used not this, but the Bible as their tool, and have really insincerely prayed and prayed and prayed for discernment and clarity and have received it, you know, and so how many gods are there? How many Jesuses are there? To me, it's just the whole thing with interpretation is you'll find what you're looking for, and as long as your mind isn't clear, you won't find God in the Course or in the Bible. God or Jesus, you'll find them in your mind, and that these are just tools to help you come to a clear interpretation of the world and then to know God. So to me, that's a key point because then if you start to break interpretations or even God or Jesus down into specific things, you know, it makes it seem like there are two different ones, and they're not. It's only one God. So you're saying it's guaranteed that interpretation brings witness to what the mind believes. Forgiveness is an interpretation. But Jesus says in the Course that it's the one illusion or it's the one interpretation that leaves out of all the rest. So to me, you know, on one hand you could say the one question a lot of times is which of these illusions do I prefer? Well, if you're going to prefer one illusion or hope or wish for one, forgiveness is the one because it leaves out. And all the other ones where you make an interpretation of this is the way or this is the way, or I found it over here, or it's in this person or that, you know, how Jesus said beware of many false Christ. You know, in the Bible at any time you would attempt to think that there's a specific form or person or place that's sacred or that this is the way to enlightenment or whatever, forgiveness is not specific. In that sense, forgiveness is stepping back and just seeing the false is false. It's very simple, very simple. So forgiveness is the one interpretation of the Holy Spirit, obviously. So it's not that I don't want to interpret, but it's like which interpreter do I want to line up with? The mind has to interpret, I guess. So that's the function of the mind. So nature of the mind. Interpretation, another word for interpretation that's really equal to is perception. So you're going, as long as the mind is asleep, it's going to perceive. But instead of just dismissing all perception, Jesus says there's false perception and then there's true perception. And he says the only way you're going to get to no perception or the kingdom of heaven is you've got to come to true perception. You've got to have a constant purpose to stabilize all perception. And then perception vanishes once you come to the needle. You've got to find the needle in the haystack, and then your haystacks are gone. So if we keep asking what the purpose is, and we, it'll be a king. It's like, yeah, right, blackboard. Or we were just listening to the Raj tapes out there and Raj was saying that, you know, a question is a leading edge to the answer. And again, the question, the what is this for, is a real meaningful question. If you keep asking that question, you have to arrive down at the purpose. It just seems, it can seem overwhelming at times. It can seem easier to quit asking what is it for. If I'm watching a movie and saying, what is this for?   What's wrong with that? Well, again, it's the purpose. If it's being used as a destructive device, like alcohol can certainly be a destructive device, you know, you can start to see. And again, it's the purpose. Here you have all these old movies. What a wonderful opportunity to sit there and say, Holy Spirit, you know, here, or just guide me to which ones are helpful to watch for the healing of my mind. That's, it doesn't say the movies are bad or watching movies are bad, but it's just what's my purpose. Am I using it to just try to cover over all my feelings and just escapism, I think, is the term. A lot of times there's a lot of these adventure movies where it's kind of, it can be an escapism to get off into another world. Or am I using them to watch my mind and see what my emotions are? It's kind of like, am I using them because I'm tired of watching my mind? Or am I using them as a tool to watch my mind? I get tired of watching my mind too. This takes a break from watching my mind. And Bud calls it spiritual indigestion. But when I, is it possible to take a break from watching my mind and stay at peace? And what is that I really want? Well, stay asleep a little longer. See what we shall see? That's a question that is posed to each of us. Wow, so much to stay in the world a little longer. The ending. I have no idea. Yet the ending is certain. Thank heavens. So if it's certain, we can take a little break now and then. You ain't going to get off that easy. You can. You can take a break. But the question is still there. Do I want to be at peace? And is it really a break if I'm not at peace? And can I be at peace if I stop watching my mind? My experience says, no. When I stop watching my mind, that's when I get in the muck. And that's no break. Really. I mean, that's not what I consider a break. It doesn't feel good. I think for a break, it's something that's supposed to feel good. Something I like. Something that's desirable. Being in the muck is not something I like and it's not desirable. I think a good word we could just French and British is effort. And what I've, you know, really discovered is that I want life and being to be effortless. You know, we've all had the experience when something just seems effortless. It's very comfortable and peaceful and restful. And with this mind training business, it's like the expenditure of effort is in the front end. You know, it's when the mind is untrained and it's, it's distorted. It's distracted. It's all these, it's uncom, it's conflicted. Then it is, so to speak, if I've moved and I've been using my effort to learn the world and to judge, then initially to turn my direction around in the other direction seems to take effort. And what I've experienced with the course, you know, like I've said, it keeps saying the same thing over and over and it's just pointing to the same thing. And like you've been talking about these how all the meaning is now, it's there. I'm not reading sentences and just saying, what did he say? It's like it's clicking in, it's clicking in. To me, there's a momentum that gains. And the most effort is in the beginning when you're just turning.  And the more you do it, the more you don't have to think about it or it becomes, there becomes an ease and an effortlessness to it. Of course, that makes sense to me. It doesn't make, I've never, I've always been thought, what is this when I've heard people say that you have to go through one big trial at the end, you know, like you gotta go through all this stuff and then at the end, you have a giant test waiting for you. That doesn't cheat on that and that doesn't resonate. The way I see it is, to me, my experience has been that I went through lots of wandering and confusion and hurt and conflict and the more I've given my mind to really watching my mind and questioning my beliefs that it's gotten easier and easier and easier. And so, to me, that's good news, that the efforts required to just really at the beginning and then you start to see that it's mutually exclusive. Yeah, I think in the beginning it can even feel like this snowball or whatever is being pushed uphill. But once you hit the top, once you reach the crest and it starts going down the other side. You just gotta give it a kick every once in a while. That's called, that's pretty good. That's mind-watching though, it's really, that's something so new. It's like practice, practice, practice. That's the message that keeps coming through in the workbook lessons. It's like it does require practice, just like any new skill. Any new skill I'm learning. You can't put it on the shelf and expect to remember. It has to be a daily thing. A recommitment. And if I ask the Holy Spirit as I've been asking the Holy Spirit to guide me through the day in everything I do, then I'll get the help there. And I will be watching Bud's mind. I'll be watching my mind. That's the old, that's the old me.


La dernière. Je veux premièrement remercier Sylvie Patry et Tom Collins de la Fondation de l'Invitation pour participer à ce beau événement. C'est un bon moyen de garder les Matisse vivant et d'organiser un symposium comme ça. Je veux aussi remercier à l'advance de tous les publics qui restent et qui ont besoin d'être les meilleurs accents français. Je veux remercier pour ça. C'était une bonne idée de placer ma communication à la fin de ce symposium. Pour la collection de Matisse dans le setting de la museum. Qu'est-ce que question ? Qu'est-ce que problème, aussi, quand votre museum est isolé dans une terre mondiale ? Téorie. Of course, Matisse still exercises a great power of fascination and attraction. Recent and successful exhibition organized by my distinguished colleague proves that. But to renew the interest of visitors, search of new audience, you need to show conviction to bring them in Le Câteau Cambresi. So perhaps now I can to show you where is Le Câteau Cambresi. Matisse, you see, it's here. We are here in the world, not too far from the Belgian border. So now you know where is the museum. The Matisse Museum in Le Câteau is not located in a tourist area. This past of North of France is primarily agricultural and in a region of great economic and social difficulty. The museum also has another world in the addition to its cultural mission. It's a structural element of a local development, a key player in the development of the tourism economy. A strong pressure is on us on the part of elected official people of tourism and on economic world. But also by the lover of Matisse who always want to request more quality in our exhibition. Also to sustain the museum we based our work on the organization of regular exhibition in particular trying to find a little or not no element of the work of Matisse. Also trying to find a links with this territory to make the first, to make local people first Matisse ambassado. To illustrate my point let's take an example as an example the last four exhibition we made. We bring Matisse, Matisse cut into color, Matisse engraving the other instrument and Matisse rhythm and meaning. Each exhibition developed a term that meets this desire to discover and life Matisse. Each of this exhibition we will discuss could be organized with the commitment et generosity of the Matisse family. I should like to thank them and I also thank the museum colleague with whom we work regularly. I have not addressed here voluntary temporary exhibition dedicated to contemporary artists that also help illustrate Matisse influence on contemporary creation. As you know, Matisse was born in Le Câteau, 7000 inhabitants. Not so far from Belgian border in the region of Picardie. He found the museum in 1952 two years before his death in the town hall that has seen generation of Matisse in the wedding hall. That was the town hall. The first Matisse museum was here and now it's a new Matisse museum. This picture is took by a plane. There is no skyscraper in Le Câteau. The museum was then transferred to a former place of Fenlon and in 2002 the museum was expanded and another department took the leadership. This area was an important industrial region including at the time of Matisse production of textile. Matisse spend his shield hold in Boen surrounded by those producer of color silks the radiating decorative motif. That's the museum. That's the house in Boen and that's the type of textile was made in Boen. Psyche with a lot of color and of course we just spoke about the decorative. You can see all this motif. Absolutely clear. The first exhibition Weaving Matisse Tissée Matisse en français. This exhibition was created to remember the influence of the textile design decorative motif color in the work of Matisse. This territory was home for over 300 years of a family of rivers. The Matisse family. We forget that the Matisse family was a family rivers for 300 years. I think it can explain a lot of things after. So the past, the history, the retage of the the environment that tells the exhibition make it clear that it's not possible to consider the work of Matisse without considering the influence of the Norfolk France. Textiles in all its form through the work of Matisse. The exhibition features textiles which belong to Matisse from all sources and origin with a significant portion dedicated to Polynesia. Other types of textiles and you have this type of book who was made each year for what we call the collection with different textiles made each year. All tapestries made by Matisse were also met as a test made to hush her with original drawing of Jacinthe get rid for the occasion. So here we have some pictures of the exhibition you have typically two shawls whose name is shawl of Bowen one belong to Matisse and a typical with a machine weaving loom from Bowen at this time. As I said, all the tapestries we spoke about that yesterday was bring together you have Taiti 1, Taiti 2 Fenêtre à Taiti 1 et Fenêtre à Taiti 2 Océanie Le Ciel Yeah That's tapestry because what we saw here it was a tapestry a tanture made by Hasha it's not the paper cut out Hasha was an Englishman who made we speak about that after but to make a tapestry to to Matisse for Matisse you have the two one and when I said that Matisse was very disappointed by the second version of the weaver made so a big mistake when he made the second version of FAMOLUT also we just saw Mimosa we have one type of Shazubl Polynesia Verdur here it was very interesting to discover the Hasha archive we saw in these pictures the trying made by Hasha for making a textile by Matisse with a different type of color of textiles and the motif came from drawing made by Matisse this knowledge of textiles this mastery of techniques we discovered from Matisse has also helped to understand that it was essential the paper cut out that will be another story different type of test finally there is one textile made but Matisse only made one dress with these textiles and don't want to make any more textiles with with the research of of Hasha we have a square made by Matisse from Hasha Hasha made a different type of one for Picasso it was for a charity business and we have trying with other color made at the beginning finally it's a blue one we made we really discover the drawing of Jacin and you see it was made for textile the mastery of scissors is essential also in the story of paper cut out but we will text about them then later the exhibition has changed the knowledge around the work involving textile dimension in Matisse work we were able to collect all this tapestry with 35 three drawing of Pierre and Dana Matisse collection as relating to Polynesia tapestry we found the textile testing and drawings made to Hasha we just saw finally we received from Mrs. Barbara Dutry the important gift or rare boin from the collection of Matisse that we are here that was the drawing we found in Pierre and Dana Matisse foundation it was really a surprise and we understand we were with George and Vanda in this time I remember and we were very excited by that it was a try for Polynesia and what is also very interesting it's to see with with the bird that we have the cover of jazz here so we understand also that for this trying of Polynesia Matisse have had a project to make two Polynesia and a carpet in the office of the president de la République in the Helizé but it never happened we can see the many beneficial aspect arising from this exhibition that has fascinated weverse still active active on the Harrier Matisse closer more affordable for local people including many textiles workers who do not usually come to our museum the link with the scissors and cutting is done naturally with the next exhibition Matisse cutting into color I stress the generosity of the Matisse family to the museum in 2012 we received the gift of more than 400 paper elements used by Matisse these elements were used by Matisse which finally has not incorporated them in his work this extraordinary collection which has never been presented before included elements that tells the evolution of paper cut out used for jazz through the Oceania until the very last one we could discover the original color used by Matisse somebody speak about this morning the degradation of paper cut out with this donation we can have the first color and it was very interesting to see the true color but mostly we discovered the phenomenon of work in progress how form a Matisse form how form a Matisse form will create another one that will provoke a new one with the pictures it will be more clear here you have a type of element we receive in the donation and you see it was a trying for Polynesia and finally Matisse don't include in the final composition we have also the true Oceania le ciel et Oceania la mer the true paper cut out and in the donation we receive a lot of this element we show like that because we always want to make people understand that it's not work it's not artwork it's element it's a material and it have not the statue of artwork but it's wonderful and you can find in all Oceania and for the true Oceania the different form you can find the floor you can find the border you have the bird very very interesting we have a lot of them only Matisse know why at this moment he don't use this bird he don't belong to the harmony as he said he have to be in the good music we discover with this donation a very interesting thing what I call the work in progress for Matisse when Matisse went in Taiti he saw a lot he make diving and he saw a lot of fish and different animals and when he make his paper cut out he have his main different type of fish and he make it in paper cut out like for example this form typically like fish we have in Taiti this form after he cut the wing cut and it become this form with the form we saw just before with four form we have this form so it's very interesting we saw that on that one it's 1, 2, 3 here we have 1, 2, 3, 4 and after this form he work again on this form and we find this type of form in the Shazub for example or you have that in the book of Verde and the form you see you find it in the stained glass of Poisson Chinois we have in our museum you have a lot of different color and you have also this relation between inside outside like a sculpture just have to find it was also very fine that met formatis there is several different type of paper cut out some are close to painting others are close to the sculptures others are made for textiles or stained glass I think that the contribution of this exhibition to the knowledge of the work of metis was very important in addition to a time when Tate and MoMA organized the so beautiful presentation we have for example this form it's come from the sword the sword in jazz you have the knife the sword and the man who hit the sword and it just come from that so it's a play, it's a game to find in it's work what you can find and also as I said we have the true color and you know how metis was exigent about the color used for his paper cut out for example we have the carton for vignes for the stained glass vignes in our museum and you can put in relation this different type of element I will speak now about another exhibition whose name is metis and engraving the other instrument pursuing this desire to discover the lesser no aspect of the work of metis with a contribution of unknown element this exhibition could be organized thanks to Barbara Dutry in memory of the generosity nearly 200 works summarizing the metis and engraving work from the first set portray from 19, until 1944 all type of techniques used by metis, lino cut, monotip, lithographie wood cup, dry pond and etching cigar, lift, aquatint were shown and most truly enraiched by the presentation for the first time of the matrix matrix on which metis work woodcut, lithostone, copper plate, lino cut work by metis also I want to show you the first one a tribute to Rembrandt we have Le Grand Bois we show the wood and the print and here is the type of plate, lino cut it's a view of the lithostone of the exhibition we explain because it's not easy to make an exhibition about we have to explain the different technique of engraving and we show the different batteries and the lithostone we have here two type of stone and we stay most truly enraiched also note that metis only allowed a very limited distribution of engraving works sometimes only one run like a very beautiful stone litho show here that one metis only print one example of of this lithostone discover also stripe prints with a change in the way of scrunching plate see we exhibit the print the plate with scratch here at this time and in the time we discover that the scratch become more and more little and as there is a type of respect for the batteries and we don't find at the hand a lot of scratch on the plate but just a little line to prove that the final work de Katia we are able to enrich the museum collection by purchasing a lithographie stone from the Murlot collection we represent the dancer acrobat it was that one the exhibition was very sexy and I think that as handable our public understanding of the importance of matisse engraving work and the freedom he has won for his research on the engraving technique the last exhibition I want to talk to you just handed matisse just handed matisse rhythm and meaning took place in Johannesburg it was the first matisse exhibition on the african continent she addressed two topics the relationship between matisse and africa and the idea of freedom this term being declined in several sense be on the enormous success of attendance and media the greatest satisfaction for me was the important pedagogic work implemented few view of the exhibition it was also interesting to see the stay life with african sculptures with the two iris and cocklico for example we transform abuse in an artistic practice studio like a workshop and we went to old school in the township of Soweto in some schools the children's has never used the color been pencil before the practice of paper cut out beside the joy of the children's also made it clear to teachers who absolutely not practice the art this had a beneficial effect for children's they could see that the calm that prevailed in the class for the class here in the class you have 64 pupils in the morning and the same after the lunch but it was also very important for teachers to discover that children was able to invent and do works that they had before suspected we have few pictures of school here and we make a lot of document and was very happy with the french ambassador ambassador to make a paper cut out it was a great pleasure for this children's we made understand now aromatis were an artist not only french but universal artist playing with civilization mixing history and transcending religion a beautiful message of tolerance brought even then France at this time to undergo horrific attack I say you that we have a wonderful successful communication around the exhibition such a in France also but the San Diego newspaper what about this exhibition and it was very funny to see how it was tell about the first matisse exhibition in Africa finally I want to introduce you to a project that will allow the matisse museum to go and continue to live the expansion provided in the covered market here this will give us the opportunity to redeploy collection show the sink we were pressing presenting not before to better accommodate children's and develop tourism and economic attractiveness of kato comrezy we have a project that will enable the museum create by matisse stay a living place a place of discovery a place of discovery a place of research but also a fun place for we for we must not forget the matisse message to the inhabitants of le kato at the opening of the museum in 1952 I quote my fellow citizen of le kato I left so fast to go where my destiny lets me wanted to honor my working life through the creation of this museum I realized that all the hard work of my life was for the human family which was to be re-relate a bit of the fresh beauty of the world through me I have therefore been a medium besides this exhibition activity to keep the museum and its collection as a living place it seems to be it must first preserve the spirit in which matisse created it I thank you and with you wait you soon in le kato


Hey guys, welcome back to Sick Sister Stuff. Today I'm making sticky chicken in the Instant Pot. Now I'm Kristen, I am sister number two from SickSisterStuff.com and don't worry if you do not have an Instant Pot I've got you covered because down below in the description there's also a slow cooker recipe for the sticky chicken. So I've been getting a lot of questions and comments asking for more Instant Pot recipes. So if you didn't know by now every Monday I'm coming out with a new Instant Pot recipe. I'm going over to Sick Sister Stuff taking one of our slow cooker recipes and then changing it into an Instant Pot. So you'll always have a slow cooker way of making it and an Instant Pot way of making it. Now if you haven't done so be sure to make sure to subscribe to us and push that little bell so you can get all of our notifications and especially on Monday so you can get a new Instant Pot recipe. All right you guys let's head on over to the kitchen and make this Instant Pot sticky chicken. All right let's get started so on your Instant Pot you are going to push the saute button then you're going to take two tablespoons of soy sauce and just dump it in into the bottom of your Instant Pot. Next you're going to take two tablespoons of white distilled vinegar. Now I know what you're thinking vinegar and sticky chicken that's disgusting but it actually makes it taste so good so don't forget your vinegar. After that the recipe calls for four tablespoons of ketchup. Now it's not crucial that you have to get exactly four tablespoons so I'm just measuring here with my eyeball but if you like to measure exactly it's four tablespoons. As you can see my Instant Pot is starting to heat up from the saute button so mix around your ketchup a little bit so it won't burn in one clump. Next you're going to add six tablespoons of honey and just like the ketchup I'm just going to eyeball this I don't love doing tablespoons with ketchup or honey because it makes a big mess. I like it quick and easy so I'm just estimating about six tablespoons but I am going to measure the sugar so I'm going to add four tablespoons of sugar. After you've added that just go ahead and mix it all up and we're going to wait until it starts to boil a little bit that's when you know the sauce is ready. All right it only took about two minutes to get it really nice and bubbly. Now because I am using an Instant Pot I'm going to add one half cup of water just to have more liquid so it will pressurize. All right so after I've added my water I'm going to add one to one and a half pounds of popcorn chicken. This is Kroger popcorn chicken it's one of my most favorite kinds then you're just going to dump it in and mix it around a little bit. Now when most of your chicken has somewhat touched the sauce it's time to add your lid. Now just remember when you're using a pressure cooker you want it on venting not sealing. So I cook this on manual for seven minutes then I was done I just mixed it around a little bit the sauce will get thicker as you wait then when you're done you just take it out of the Instant Pot and you serve it on your favorite rice or quinoa or whatever you like to put underneath. Hey and before you forget don't forget to subscribe to our channel and if you are new to the Instant Pot be sure to click on our video right there it's called Instant Pot Don'ts it will help you figure out the things you should do and the things you shouldn't do when using your Instant Pot.


Welcome to Microterrorz. Scary stories for kids. Where it's always the spooky season. Full of chills. Thrills. And spine-tingling spooks. Microterrorz are family-friendly frights for those ages 8 and up. And while our stories are for younger years, we are still talking about things that go bump in the night. And some children may not be able to handle what others can. Parental consent is recommended. Now for tonight's Microterrorz. Return of the Space Monster. Denny's alarm rang, tearing him away from his dream. The same dream he had almost every single night since it first happened. Since the Space Monster invasion in his backyard. It had been nearly five months since the implausible incident. But because of the frequent dreams where he would relive the science fiction madness, it always felt like it was just yesterday. Denny, don't you dare hit shoes on that alarm. His mom called up from downstairs. I won't. Denny called back down. Already knowing it was a school day. He hated it when his mom would tell him things he already knew. It was like she never even gave him a chance. Just like with the story he tried to tell about the Space Monster. She didn't believe him. Neither did his dad. He was just too focused on and furious about his precious shed being destroyed during the alleged incident. He still grumbled about it to this day. Denny got dressed and rushed downstairs for breakfast. He could smell it from his bedroom, bacon, extra greasy he had hoped, scrambled eggs, and toast with jelly. He licked his chops as he turned the corner into the kitchen. It sat there at all its breakfasty glory. A world class morning meal. But instead of a cold glass of orange juice, or heck, even a coffee, there was a glass of his mom's famous lemonade. The whole family raved about it, as did Denny's friends who made frequent appearances at the house. Denny didn't get it. To him it tasted like poison, and it was store bought at that. It was time to make a stand about the lemonade. He'd leave it there all day, right there on the kitchen table next to his empty breakfast plate. It would become warm, and all the pulp would sink to the bottom of the glass. That'll show where he left. When school ended, Denny rode the bus home. He and his friends, Randy and Kit, got off just down the street from Denny's house, and all walked there as was tradition. They got together every day after school at Denny's house, did a little bit of homework, and then played until Denny's parents got home. Homework should be illegal, Kit said. That way we could send the teachers to prison for reciting it. That seems a little harsh, Randy said, closing his three-ringed binder. Who's ready to play? Should we play swords or nerf guns? Denny asked. I've been waiting for months for my dad to replace the batteries in my laser-tag guns, so those are obviously out. Swords for sure, Kit said. Just then, the lights in the house flickered, and a sonic boom exploded outside. What on earth was that? Kit exclaimed. Without warning, a giant, chrome-egged-shaped thing crashed through the ceiling and crushed the TV and decorated end tables next to the couch. Glass, smoke, feathers, and doilies spun through the living room as if a tornado had touched down. Randy, Kit, and Denny all instinctively jumped out of the way and rushed into the kitchen where they took cover. Denny peered back into the living room. As the smoke and sparks settled, the chrome-egged thing split in half, emitting a green vapor from inside. Through the vapor, Denny saw something writhing. They were arms. Six of them, long and slimy, like those of an octopus. The arms slapped down onto the carpet, and the ferocious beast inside pulled itself out. It had a long neck, an equally long tail, two goopy eyes, and a mouth filled with sharp teeth. The beast shrieked, sending a steady stream of saliva across the room and splattering on Denny's face before he had a chance to duck back around the corner. Space monster, Kit screamed. It can't be. Randy screamed over the deafening roars of the alien creature.  Denny knew it wasn't over. The dreams were all leading to this. The space monster's return. It was back to take revenge. We have to get out of here. Denny yelled, wiping the translucent goo from his face. He stood to his feet and tried to think of their next move. The back door, Kit yelled. The knob is broken. Denny said, my dad hasn't fixed it yet. The space monster shot through the living room, slamming all six of its arms into the door frame that led into the kitchen. The drywall crumbled, covering the kids in white dust. Randy grabbed a butter knife from the dish drain and charged the monster. He slammed it down into one of its legs, but that only enraged the beast more. It slapped Randy with one of its arms, knocking him to the floor. Kit tried next. He picked up a chair from around the kitchen table and repeatedly thrust it at the monster like he was a lion tamer at a world-class circus. The beast smacked the chair out of Kit's hand and wrapped one of its arms around him like an anaconda. Kit pounded his fists down on the slimy arm, screaming for help. It was all up to Denny now. He tore the house bone out of the wall and threw it at the monster, but it barely made a dent. He grabbed the entire knife block from the counter and threw each knife in quick succession. Nothing. The space monster hissed and shrieked again, teasing the idea of eating Kit and bringing him closer to its mouth. Denny grabbed his empty breakfast plate from the table and tossed it like a frisbee. It smacked the creature in one of its eyes with a loud squelch. Denny next grabbed the glass of warm lemonade and heaved it directly into the mouth of the beast. It clamped its jaw shut and began to gurgle. Its eyes became softer and then leaked out of its head, plopping to the floor like freshly cracked eggs. It dropped Kit who scurried as far away as possible and then from deep within, the creature burst. Guts slime a gooey nastiness rained down in the kitchen, covering the kids from head to toe. They all three stood there in disbelief that this had happened to them again. The sticky guts dripped from the ceiling like rain pittering on the floor. The monster's mushy remains continued to liquefy, eventually evaporating until there was nothing left. Randy looked to Denny, wide eyed, what was in that glass? Poison or something? Thank you for listening to Microterrorz. Join us each Saturday for another scary story. For more fun, visit our website at microterrorz.com where we will also have spooky games where you can print out and play like wicked word searches, mysterious mazes and more. Microterrorz.com is also where you can find us on your favorite social media and even send in your own scary story for us to tell. Plus, you'll learn more about our author, Scott Donnelly, who has other horrors for both young and old. I hope you'll join me again soon for Microterrorz. Scary stories for kids.


Hello, in this video we're going to download and style the Corrine land cover data. This website you can download the Corrine data for different years. Here's a map viewer but if you go to the download tab you can download layers. In order to download you need to log in, so if you're a new user you need to register. When you logged in you can select the layer to download and we are going to download the geopackage which has all the information in vector format and it's very easy to use in QGIS. It's a huge data set and with the book we provide a subset that is much smaller, so I'm loading that here. To ask for transformation just keep the defaults and I move the catch polygons to the top so we can see which area is our study area. Let's change the styling of our study area to a simple line so we can see the land use that falls within. Change the thickness a bit. Now let's style the land use map. I'll do that by going to the layer properties and there in the symbology tab I can go to style load style because this layer comes with the style file that is readable by QGIS. Go to the legend sub folder and there you find an sld file which is an open style format and a qml file which can be used in QGIS. I load the style and now in value you can choose which field is used or which field the styles are connected in this case the code underscore 18 field. Now our land use land cover map is styled using that style file. So in this video you've learned how to download and style the Korean land use land cover dataset.