Family Theatre presents Scott Brady and Raymond Burr from Hollywood the mutual network in cooperation with Family Theatre presents the first morning starring Scott Brady and now here is your host Raymond Burr family theater's only purpose is to bring to everyone's attention a practice that must become an important part of our lives if we are to win peace for ourselves peace for our families and peace for the world Family Theatre urges you to pray pray together as a family and now to our transcribed drama the first morning by Adela Rogers and John starring Scott Brady as Nick it had started very slowly very naturally because when you're waiting after midnight for a son or daughter without too late they never out too late all at once at first they're just overdue then after an hour or so when they really are late you start making mental lectures to them until well a second hour and then the third is passed all very slowly very naturally you discover you stop delivering mental lectures because you aren't peeved or impatient any longer you're just scared maybe he decided to spend the night with Walt Walt the Wilkins boy and why didn't he call us he might have thought we'd gone to then sure sure we always go to bed when our 15 year old son stays out till 3 in the morning I'm just trying to think of possibilities I know honey I'm sorry rocks rock what a great thing to collect couldn't be bottle caps or posted stamps now it's got to be rocks we encouraged him we like him to be outdoors be gentle I encourage them well you were right to skip isn't a baby I keep forgetting it I just didn't want him to be Molly cuddled I know what starts out to be hiking in the hills turned into climbing up mountains skips a good climb sure he's a good climber but where is he three in the morning do you think we should call the Wilkins they're probably as worried as we are well skip said there were two other boys driving up with them this afternoon in what one of those hot rods I didn't see the car that's probably what happened who things are put together with string and solder but you think maybe they they had engine trouble on the way home wouldn't be surprised and that's where yours truly Nicholas Hatch stores the line around here no hot rod or cold rod or anything like it you know Kev skip begs himself horse there he is now I'll get it you tell him I'm sore funny store hello get home right away yes yes wall what's wrong just a minute Nick didn't you look for him all right wall yes yes thank you what is it didn't come back didn't come back they got separated climbing down you mean skip still up in the mountains Walt and the others look for him and hollered but he didn't answer Nick he's lost up there take it easy maybe he fell maybe he's lying somewhere hurt that was how it started with a phone call I don't remember the exact sequence of things after that we call the police and the forest ranges and I talked to the other boys who had been with skip until he turned off down a side trail by himself just to have a look I remember there was a broadcast to not just a police broadcast but a general arm saying that skip was missing in the mountains and for people in those parts to be on the lookout and I remember those things that took all the next morning and most of the afternoon because it was nearly five o'clock when the phone call came in from the forest ranger this old man saw down in the ravine oh seven eight o'clock this morning but he didn't think much about it thought it was something some campers had thrown away bundle of clothes or something like that until he heard it on the radio about your boy being missing he didn't have a telephone so he had to come all the way down here to town now he's not sure of course it may be just that a bundle of clothes but he thought he'd better reported a bundle of clothes if that's what it was then all these people standing along the edge of the ravine were wasting their time the state troopers the ambulance men the group huddled around the dying fire some of them with cameras in their knees they'd come on a wild goose chase unless the bundle of clothes turn out to be my son Mr. Hatch get any sleep doctor how about the Mrs. she's over in the car we should be getting light before long it will start down soon as it does doctor that's skipped down here I'll let you take it easy I mean if well if you just bang up his ankle or something like that he he gets through the night all right wouldn't he cold up here isn't that bad I'm sure if he's just shaking up he's a tough kid doctor a lot of guts well won't be long now Mr. Hatch I know he must have taken quite a spill but almost 200 feet all of this brush and scrub oak up near the top of they could break his fall yeah back in the car see how Catherine is sure now I'll let you know as soon as they're ready to start down okay will you do that you try to get a little rest yourself yeah honey I'm awake Nick get any sleep at all no when are they going down so does its light I won't be long I keep thinking how brave he is isn't he Nick you bet he is like when he had his tonsils out came out of the ether all he said was that was a dirty trick yeah remember the time he got his fingers slammed in the car door sure I wish he wasn't so skinny doesn't leave him much to go on feed him and feed him but he never seems to get any fatter he's he's a tough kid in any nose moments look it's starting to get light I went back to where the men were gathered at the head of the trail that led down along the sharp wall of the ravine the young ranger in charge of the rescue party was having an argument with one of the newspaper photographer I'm sorry mr. you can't get down there it's sunny one of us has got to go and I've been elected and the trails dangerous I have to take the dock and a trooper to handle the stretcher I'm sorry you know sorry it and I am we can't get no pictures sitting around at fire you're not gonna be happy in those shoes I wouldn't be happy climbing mountains and no kind of shoes do I have to be happy suit yourself of mr. hatch yes it may take us a while to get him back up here if it's the boy so well don't get worried but I'm going with you I can't tell you not to but well we may have a little trouble it's our business well if I were you I'd stay here no you wouldn't we formed a line at the foot of the trail the range of first then the trooper carrying a pack that must have been the basket stretcher and the photographer and the doctor at the very end me at the last second I heard Catherine you can't come honey Nick listen they didn't even want me along all right but I want you to do something on your way down there I want you to promise sure I want you to pray all right I mean it Nick you used to I said all right go ahead go ahead I'm right behind you please Nick I promise there isn't anything else to do now we started down along the edge of the ravine in the first faint chains from darkness the mountains were towering shapes a little greener than the olive green sky I'd forgotten every prayer I ever knew except now I lay me down to skip used to say that one every kid in America said it and God bless mama and papa and prince and all my friends and relations and make me a good boy amen maybe skip had remembered it boy like skip wouldn't cry so maybe he prayed that that his dad would know about a thing like that I pray the Lord my soul to keep make a pardon mr. hatch excuse me doctor just talking to myself not sounded for a minute they're like well like you were praying you're a dead I might as well have been saying any meaning many more my soul to keep don't believe in it huh sure I believe in it goes on all the time like measles or murder just doesn't work I could give you an argument on that well don't bother I come from a long line of prayers who never had a prayer answered in their lives but they could always give you an argument your wife seemed to think it might help Catherine's never been inside a church in her life it's never too late to try don't kid yourself it's a bad joke if I should die before I wake you know what would happen if you should die before you wake what you'd be dead doctor that's all the trail made a sharp bend around a spur of the hill the grade was steeper now and up the left was a sheer drop a hundred and maybe a hundred and fifty feet straight down if a boy fell down under that rock strewn wash he'd get hurt to say nothing of two nights exposure pray ask God to take care of skip God please take care of my son I haven't asked you for anything lately and you never came through what I did but I'm in a spot now so I'll try the old abracadabra once more if I can manage it pray just like all the other times I pray you never came through yeah like that time in high school I got arrested I wasn't speeding off sir who says you were let's see your driver's license oh it's right here somewhere in my wallet pretty nice car you're driving yeah it's my old man's new lisa hasn't got 500 miles on it yet's why I wasn't speeding you've been drinking kid no no let me smell your breath just a couple bottles of home brew I'm okay your sauce old come on sonny I'm taking you in I prayed you that night didn't I pray the cop wouldn't take me to jail wouldn't tell my mother all the good it did and that old judge on the bench staring down on me the next morning you sure answer that prayer a week I woke up seeing that old buzzard's face got me so scared I wouldn't even go out with a gang anymore every time they were after me to go on a beer bus to swipe a car I saw that old judge mr. hatch look out I'm losing my balance yeah I got you what happened I'm alright they put his foot down in the tumbleweed look like solid earth to me I must have been dreaming back there yeah we're okay just lost my balance for a minute how much farther is it I'm pooped about 15 minutes you want to take a rest no no let's keep at it okay just look where you're going mr. hatch what it's gonna be tough getting a stretcher back up here gonna be tough getting me back up here doc whether without pictures hey that's funny huh I was just thinking my wife's gonna be sore if I do or if I don't his wife what about my wife Catherine waiting her back at the head of the trail trying to imagine what we're doing this minute what we'll do when we find out whether that bundle of clothes is skip or not Catherine who isn't she knew how to pray or maybe praying without knowing how to how do it all maybe you couldn't do that maybe prayer needed practice like like your golf swing maybe you couldn't tune in just like that on what you decided was nothing at all but I used to be tuned in didn't I you remember me from a way back not just high school even later five years later but you didn't come through that time either she was all I wanted in the world and you wouldn't give it to me hi Nikki I'm sorry to be late gee I'm starved yeah let me take your coat Pearl okay where are we going tonight well thought we might take in a movie a movie yeah that one with Cooper and Dietrich's over at the Harper Nikki I thought you invited me out I saw that movie three months ago downtown well tell you the truth Pearl I'm a little low on cash tonight you've got enough to pay for the meal haven't you of course I got enough to pay for the meal but good grief every time you have a date do I have to go broke to prove I love you now Nikki this this is silly I had two other invitations to go out tonight one to the Black Hawk I took you to the Black Hawk two weeks ago I'm not saying you didn't just because I've been there one shouldn't I go again of course you should go again but Pearl let's get married I'll take you to all those places anytime you want on what your salary was $35 a week that's pretty good for these times $35 we spent almost twice that much just last week so what so how do you do it that's so what compared to the other fellas I go out with you haven't got a shirt on your back I got money on my own mm-hmm go on what do you do clean out your old man's wallet when he isn't looking okay so I snitch a few bucks now and then what of it you must have it pretty bad ask you to marry me yeah and that's very sweet will you Pearl well it's a big compliment but please I don't see as I can Nikki I prayed about Pearl too first love night after night I went down on my knees my arms stretched out across the bed asking you to give her to me on any terms I still hadn't learned that you didn't answer prayers yeah come on up here will you sure right will you now what it looks to me like an arrow spot up there in the trail mr. hatch what's he want with the doctor I guess just to have him up front in case he run across something before it widens out again the photographer was right for the next 50 feet or so the trail was too narrow for us to walk face forward you had to turn sideways and move like crabs the earth of the mountain side rubbed against our shoulders and little clouds of dust went up and dance in the light pray I prayed pretty hard the last time I stood in a line like this didn't I funny spot that are you praying in a polling place but I wanted that too I wanted to be mayor and later that night waiting at home with Catherine for the returns to come in I prayed some more remember three years ago are you sure you don't want me to turn on the radio Nick those figures will drive you crazy besides they're all stuffed with the time they broadcast want me to call headquarters again Bill said he let me know if there was any change let's play another hand of Rummy all right your deal Nick I I know how much you want to win this election but what in a way I almost wish you hadn't run for mayor why not I think I'd make a pretty good one of course you would it's not that and what is it people in public office have to take such a beating I knew that when I went into this just part of the game or maybe you knew it Nick but you haven't weathered it very well I'm okay you're not okay wish you could see what happens to you every time you read a critical editorial or someone makes a speech against no one likes to be called names sides are just politics they don't mean it and why can't you let it roll off your back I do I do it just takes a little time that's all I'm new at this you're not just new at it Nick you're wrong for now listen Kathy I've had another that kind of talk from the newspapers you're too thin skin Nick you don't like to see people get hurt I don't see what that's got to do with it but that's probably you want to talk to just take the figures let me write them down and that includes the ninth and the 15th words okay that's thanks Bill yes yes I'll tell you how's it look Johnson's pulled a little ahead again even counting the ninth and the 15th yes well they still haven't heard from the fourth ward though it won't matter we figured to lose the fourth I know Bill just told me I guess that's it Bill suggested this Sunni you sent the telegram the better telegram to Johnson congratulating him that was the last time wasn't it ask for bread and get a stone you keep books here to know the last time I pray for anything Johnson beat me by almost 20,000 votes remember maybe the town ought to thank you for not answering my prayers since they never had a mayor like Johnson even I voted for him the next time and Catherine was right he I am too thin maybe even I ought to thank you after answering prayers you don't do much of that but maybe I ought to thank you you say something Mr. Hatch say something yeah yeah I did say something anything wrong wrong no that's just it nothing's wrong but it could have been he could have been all wrong if he had given me what I asked for I don't get excited I should thank him I just never saw it that way if that cup hadn't arrested me and the judge didn't scare me half the death I'd still be hanging out with those bums what covers this and Pearl oh brother wouldn't that have been a marriage I had a slit her throat in a month and hung for it look I know you're under a strain Mr. Hatch I've never found Catherine that'd be the worst the only woman in the world and I never would have found her your wife or had skipped look I know how you must feel in that mayor's job wouldn't I have blown at the pieces well I must say I thought Johnson was the better man for the job you were right and and he was right he all along every step of the way and I never saw it I never saw it once mr. Hatch mr. Hatch what what is it we found him look down there it's a boy all right hatch see down there in a ledge it's yes it's skip we'll lower you down doc put the stope around your waist he's what he's just lying down there he isn't moving take it easy but he's so still take it easy maybe he's asleep they buckled the doctor into the harness it looked like a parachute harness and load him over the side he swung and stumbled and clutched his way down the ledge dust and rocks bounced below him when he hit bottom he got up shook himself and went to bend over the small figure from the trailer did look like a bundle of old clothes red jacket blue jeans stuffed into heavy hiking boots one of them turned in at an angle after a few moments the doctor shrugged and waved at the ranger who was scrambling down a gully father along I guess he needs a ranger to help bring him up I'm awful sorry mr. Hatch I do you mind if I snap a picture no customer it's my job why why are they being so gentle what well putting on the stretch of it why are they lifting him so carefully I don't know well they wouldn't do that would they unless he was still alive no no I wouldn't think so they wouldn't it it's got to be the reason I knew Catherine was waiting at the head of the trail but I was waiting here I couldn't watch them bring him up and then I had a watch the assent was some well like some nightmare bright and terrible and blurred and blank and the same as in a nightmare I couldn't scream for help when they got it up the stretch of filled the width of the path and skip lay on it his face turned to the sky the doctor had knelt down and was holding my son's wrist between his fingers it's it's there the pulse it's awful faint awful weak but it's there it was there and pulse meant life if a man listened a trained man he could hear it maybe that was the answer to everything even prayer maybe after a man got through praying to God he ought to listen in case God wanted to say anything to him I looked down at skip again his eyes were open what do you say to a thing like that you don't say anything you might interrupt you just keep listening and if you keep on listening long enough you might hear the voice saying this too is my beloved son this is Raymond Burr again and some months ago family theater received a card from someone who didn't believe in prayer the writer of the card claimed that he had never been given anything he had prayed for that God had never listened to him of course there are many answers to a story like that perhaps the writer had said only one prayer and then had given up or perhaps he hadn't prayed for the right things many of us pray for the wrong things you know for if it is true that the justice of God demands that we be given the things necessary to save our souls then it is also true that God could not give us something which might cause the loss of those souls each week family theater urges that we pray for something which because of its very nature is good for us its love that's right love for that's what we mean when we speak of family unity love is the only force which can really unite the members of a family so when we ask you to pray for family unity we're suggesting that you call on the author of the family to fill your home with love which is after all really the ultimate good thing this kind of prayer cannot help but be answered and when you pray pray together as a family for the family that prays together stays together more things are brought by prayer than this world dreams of from Hollywood family theater has brought you transcribed the first morning starring Scott Brady Raymond Burr was your host others in our cast were Gene Bates Robert Emlin Jeffrey Silver Jack Crucian Paul Savage and Julie Bennett the script based upon a story of Adela Rogers and John was written and directed for family theater by John T Kelly with music composed and conducted by Harry Zimmerman this series of family theater broadcasts is made possible by the thousands of you who feel the need for this type of program by the mutual network which has responded to this need and by the hundreds of stars of stage screen and radio who give so unselfishly of their time and talent to appear on our family theater stage to them and to you our humble thanks this is Larry Chatterton expressing the wish of family theater at the blessing of God may be upon you and your home and inviting you to join us next week when family theater will present lullaby of Christmas starring Roddy McDowell Ruth Hussey will be your hostess join us won't you family theater is broadcast throughout the world and originates in the Hollywood studios of the world's largest network this is mutual the radio network for all America


Hello everyone, my name is Dr. Mohit Ammaltam of Kovala, 2nd year PG resident at Krishna Vishwavithya pit. I will be presenting paper on intracranial ring enhancing lesions. Most common lesions found in the non-urimaging are ring enhancing lesions, these can be caused by variety of infections, neoplastic, inflammatory and vascular diseases, aims and objectives to analyze and evaluate ring enhancing appearance as a sign in the differential diagnosis of neurological lesions in the brain. To distinguish between neoplastic and non-neoblastic peripheral ring enhancing or ring-like lesions on MRI, Materials and Methods, Study Design, Retrospective, Observational Study, Study Location, Department of Radio Diagnosis Games Karan, from January 2023 to December 2023, Study Population and Sample Size, 17 patients were included in retrospective study conducted at Department of Radio Diagnosis Games Karan, Study Period, January 2023 to December 2023, Cerebral Obsesses, 11-year female with history of high-grade fever and seizure episode, pyogenic abscesses, late-end capsulation stage, a well-defined thin wall-lobulid and smooth margin lesion noted in the 11-year ganglion capsular region involving thalamus extending superiorly to the coronary data and inferiorly to the mid-bend, heterogeneously hypointense on T1, T2 hyperintense showing thick uniform capsule and dual ring, getting suppressed on flat, showing peripheral complete ring enhancement with central non-enhancing component, peripheral effusion restriction with areas in center also showing diffusional restriction, mild peridational vasogenic edema is seen in the lab ganglion capsular region on emaspectroscopy, elevated lipid lectic pain with normal pollen and creatinine pig snoutin, cuba echeloma, a 60-year-old female with history of fevers and spiders, multifocal nodular and ring-enhancing lesion seen in right cerebellar hemisphere and peridational edema, effusing adjoining circular spaces, few of them are conglomerate the lesion is causing mild mass effect on fourth ventricle on right side, iso-to-hypointense on T2 flare and T1, no diffusional restriction, no blooming on GRE, no abnormal leptomanin gel or pecky manin gel enhancements in neurocystic cuff circuses, this is occur in 4-6 stages of vesicular stage, colloidal stage, granular stage, tassified stage, 12-year female with history of seizure, here the neurocystic circuses in granular nodular stage was noted, few well-defined lesions in the left parafell sign, parietal region in close proximity to the subarachnospheres, hyperintense on T2 weighted images and flare, and a beryfila hypointense ring and hypointense dot, likely spolier. isointense to hypointense on T1 weighted images showing areas of diffusional restriction in the beryfila, ring enhancement on post-contrast images, print metastasis. In a known case of infesive ductal carcinoma of the left breast, multiple ill-defined interaxial and extraction lesions are wearing it, involving bilateral cerebral hemisphere with surrounding edema, causing mass effect on fourth ventricle and brainstem with effacement of Cp-angle and medullary systems. Similar small lesion in parafell, several extra axial locations of right frontal region with no surrounding edema were noted. On T2 weighted images, it was iso2 hypointense, T2 weighted and flare, iso2 mildly hyperintense, and diffusional weighted on ADC, mildly patchy diffusional restriction was noted, on hemonoevidence of looming, and T1 post-contrast images, homogenous enhancement was noted, glioblastoma. 42 years female with history of headache, a high-grade gliolneoblastoma like glioblastoma, WHO grade 4 was noted, large ill-defined irregular area in right parietal, poxipetal, and part of temporal lobes involving splenium of corpus callism and callism must not crossing the midline, appearing iso2 hypointense on T1 weighted images and heterogeneously hyperintense on T2 weighted images with areas of cystic changes within. Peripheral remains central patchy areas of diffusional restriction and multifocal peripherals surrounding perillational edema with midline shift and central areas of looming and GRE sequences. On post-contrast T1 weighted images, heterogeneous predominantly peripheral enhancement with central non-enhancing areas were noted. Emma spectroscopy level increased cooling peak and reduced NAA peak with increased cooling to NNA ratio of 6.0, cooling to creatine ratio is 4.2, multiple sclerosis. 40-year female with history of headache, presented with an MRI patchy focal areas along both callosoceptal interface perpendicular to the corpus callism that is the loss and fingers. Similar lesion also seen in bilateral white matter of temporal lobe and left half of cerebral pedendal. Hypersink intensities on flare and T2, this lesion show no post-contrast enhancement and diffusion restriction. Patchy areas of ultra-signal intensity seen in this cervical spine predominantly at the C2, C3, C4, C5, C6 and T1 level. Hypointensity on T1 and T2's are hyperintensity noted. Few of these lesions are showing ring-like enhancement. So, as a result, where there were 4 cases of cerebral abscesses, 4 cases of tuberculomas, 2 cases of neurocyste circuses, 3 cases of metastasis, 2 cases of glioblastoma and 2 cases of multiple sclerosis. Cerebral ring enhancing lesions are defined as an area of hypointensity in MRI of brain tissue surrounded by a rim of enhancing tissue after contrasting injection. Various characteristics like number of lesions, location, margins, wall thickness, complete or incompleting enhancement from a peripheral edema are taken into consideration to reach the diagnosis. MR spectroscopy also helps in evaluating various ring-enhancing lesions. On concluding the paper, MRI along with MR spectroscopy has been the most sensitive modality in the characterization of intracranial ring-enhancing lesions. These were the references used in this paper. Thank you.


Good morning, and welcome to CMC Markets on Tuesday the 1st of May and this quick look at a couple of charts that I think do bear further scrutiny now for the moment. We're looking at the dollar index chart and As we can see from this corridor price action here. We have broken higher We've broken that 91 level that I talked about and I have talked about in great length over the course of the past few months and Measuring the distance between these two levels here gives us a price target around about 93 now this level here around about 91 also corresponds with the 121 and a half level that we talked about in euro dollar and those of you who've been following my periscope and video updates on a fairly regular basis will know That the break below 121 and a half in euro dollar Would appear to suggest that we've got further downside left in this currency pair It also would suggest that the potential for further dollar strength remains quite high So what does that mean in the context of not only future euro dollar weakness? But also further sterling weakness because ultimately I think what we've seen over the course of the past few days is While your dollar has started to track lower the pound has to a certain extent lagged behind it somewhat until The last week or so where we've seen an acceleration in the losses of the pound against the dollar So let's look at the targeting objectives for this particular pair here euro dollar We've already talked about this in previous video and periscope updates You take the distance here between the high and the low and you project it from the breakout point now the easiest way to do that on The CMC markets platform is to go to the draw tools function here And then go to the Fibonacci extension price extension option here Select that and then basically select distance between the high there the low there and project it from the breakout point here So our minimum price objective over the course of the next few weeks and months for Euro dollar on a break below this 200 day moving average here is 117 80 or 118 give or take 20 or 30 points neither either way for the moment There's decent support around about the 200 day moving average at 120 10 That's likely to be a significant support area simply because it is 200 day moving average But also I think because it's a round number and generally round numbers tend to be psychologically important in the context of the groupings of Orders say stop-loss orders or take profit orders so Certainly the direction of travel here would suggest that as long as we remain below 121 80 121 50 Then the direction of travel for Euro dollar would appear to suggest that we're going to see further losses there If we now move on to the pound against the dollar and we have now seen a similar Breakout take place from the previous lows that we talked about and I've talked about In previous updates 137 10 now We haven't conclusively broken below this support level as yet So the big question is will we show any follow through? I think the key question here is if we do show some follow through here Then again the measuring targets or the measuring criteria are fairly similar You basically take the distance from the peaks here. You've got two peaks here around about 143 and a half You've got the law 137 10 you've also got the lows yesterday around about the same sort of area So you basically take the distance between 143 50 137 10 you project it lower on a confirmed Break lower. Well, obviously, you know, my math is fairly basic So that's going to be 600 points give or take which would suggest that if we do sustain a break below 137 then we could well see a Move back to this trend line here, which comes in from those lows all the way back in 2017 Near enough around about 131 132 now That's not going to happen overnight and it may not happen at all because obviously between now and then We've also got good support around about 136 20 as well and this this Grouping of peaks around about here, but certainly a move confirmed move sustained move below 137 is likely to open up the prospect for further sterling losses Towards the 200 day moving average at 135 in the short to medium term. So that's it for today Thank you very much for listening. It's Michael Houston talking to you from CMC markets


Hydi, wrth gwrs, dain i gwybod wedi gymrydol am gwybod a gwybod rwy'n ddechrau'n gwrs yn ystod. ac wedi gael ei fwy o wybod, dyw ei gwybod rwy'n i gwybod rwy'n gwybod i'w cysylltwyr i'r gwaith o'r fideo.  So firstly before we go into the categories of pressure ulcers I just wanted to say that wherever you're working there should be a risk assessment in place already where they will risk assess each patient on admission if they're at danger of developing a pressure ulcer or a pressure sore or if their nutrition is status is really poor, fluid balance is really poor anything like that they could be at risk of pressure ulcers. So just have a look at your local trust policies and procedures how you assess patients and how you do things and just go from there. These pressure areas are usually seen in the more bony prominence of the human body so you will have elbows knees heels ankles you'll have the spine sacrum shoulder blades ears as well sometimes back of the head sometimes the big toe anywhere that is bony basically that hasn't got any fleshy meaty bit that's going to protect it as much as the rest of your body and these are usually due to actually prolonged pressure on that particular area this isn't just like a short term thing this is more of a prolonged pressure and it's going to result in that sore appearing but sometimes these can form over a few hours as well not necessarily days or months this can be over a few hours you might see some red blanchin areas which is the sign of the start of the pressure ulcer or sore starting to happen. So what does red blanchin even mean? So red blanchin is where if you've got a red area on the skin you press it like that and it should go white so you press it down it's white and then it goes back to the pink red colour but if you're pressing it and there's no blanchin at all then that means it's just gone that little bit stage up and the pressure damage has really started basically because red blanchin it's it's not good but it's not bad bad just might mean that that person's been lying in a certain position for far too long and they really need to be moved and they should be repositioned more frequently just to stop that pressure. So when it gets to that point where it's not blanching you're pressing it there's no white it's just completely red that is classed as a category one pressure sore. This means that person will have to be repositioned more frequently some extra steps will have to be put in place to protect that and stop the skin from breaking down further like a barrier cream and the skin around it and the skin covering it will be intact as well just to point that out it will just be red but it won't be broken there'll be no broken areas or anything like that there'll be no blisters it's just purely a red spot but you have to put those extra precautions in place to prevent that from happening. So if there is some skin loss so there'll be partial thickness of the pressure area there'll be some skin loss sometimes it can look like a small blister or a large blister but there'll be no bruising there'll be no redness no darkness underneath it'll just be a clear blister round in shape and that's even without the skin being broken as such and that sort of pressure also should be reported and it should be documented as well in the patient notes. But the tissue viability nurses don't need to be contacted at this point just your datex reporting however whichever guidelines or policies procedures for your local trust whatever they say to do do that basically. So catatigree three when there's full thickness skin loss included in this so then there will be some fat exposed but there's not going to be bone muscles tendons anything like that none of that will be exposed yet but there will be some fats may be exposed in this blister area or this open broken skin area and with the category three you must also report this fill in the datex and you should also refer to the tissue viability nurses in your local trust. So category four pressure ulcer this is a step up again you're going to have a full tissue loss you're going to have muscle exposed tendon exposed sometimes bone exposed this might also include what they call undermine in or tunneling which is where the pressure ulcer is quite deep but there's a little hole where it's tunneling underneath even further and you can't actually measure it and you don't know how deep that is actually going because you can't physically see it and that's when you have to get the probe and measure sort of into that area to sort of assess how deep this is. This also depends where this category four is if this is on the sacrum area the buttox somewhere that's got a bit of meat to it this might be a lot deeper but if this is on an ear or an elbow ankle then this can be quite a shallow grade four if that makes sense because there's not as much fatty tissue or muscle arranged like that around to break through but if it's going to be on the buttox or anything like that this is going to be so much but worse than it is and I think that's where the confusion between the categories might come in and you sort of might have a bit of debate with colleagues or nurses about what sort of category this actually is and you might have to get advice from the tissue viability nurse is as a result. So deep tissue injury is the one that I don't like this is the one that I hate the most because you have no idea what is going on underneath. This is going to look really red really like dark dark dark angry red colour it's going to look dark purple black it's going to be non-blanching at all this colouring might be under a blister as well so usually blisters are quite clear and there's fluid inside but sometimes you can have a blister and it'd be dark purple underneath that's going to be a deep tissue injury because that colouring is telling you that it's going deeper down. With this sort of category pressure ulcer you need to fill in a DTEC incident report again report this but you don't necessarily have to make a tissue viability referral to this just keep monitoring it and put your measures in place like hourly returning area creams things like that to try and stop this from breaking down further and hopefully it'll resolve but if in doubt you can always contact your tissue viability team who are a massive massive help and next is unstageable so I think this is the equivalent to ungradable back on the old grading systems so it'll be unstageable or ungradable because you're looking at it and you've got no idea you don't know how deep it is you don't can't really work out what's going on underneath because there's so much slough on top and as well as being sluffy this might be necrotic so there might be some dead black skin areas to this particular wound site and that again needs to be reported the DTECs has to be filled in and this absolutely must must have to refer to the tissue viability nurses so that extra measures can be put in place to minimise this and resolve and if you're out in the community so if you're a community nurse this category and the unstageable category must be reviewed weekly by the district nurse or the community nurse so sometimes the oxygen masks can leave marks the tube in the nasal specs can leave marks behind the ears on the nose also people out there healthcare professionals out there who put the pulse oximeter supposedly for the finger who put it on the ear which it should not be on the ear at all because this is what it can cause it can cause burning it can cause pressure ulcers it can cause all sorts of problems because it's been put in the wrong place there are proper ear sats pulse oximeters that you can use on the ears and it's worth looking into that if you've got a patient that really needs that sort of level of monitoring if that makes sense just to prevent that prof pressure ulcer from happening also catheter tubing so sometimes if a catheter's been on a particular side of the leg for a long period of time and nobody's monitored it can leave really red markings so from maybe from toilet seats if they've been sat in a toilet seat for far too long it can cause that ring around it blood pressure cuff's been on too long it can leave markings i've seen photos of this as well i haven't luckily i haven't seen any of these happen out there in practice but it does happen i've seen photos and just from the training that i had just made me a lot more aware of these things that can happen and hopefully i'm going to prevent this when i go out there and practice and this type of pressure also also has to be datex reported and also the tissue viability nurses included if it's a category three four or unstageable and last but not least the wonderful wonderful moisture lesions so one of the most common types of moisture lesions i've seen are residents or patients that wear pads they're incontinent of urine so technically it's probably urine burns but it's obviously caused a moisture lesion but i have also seen moisture lesions in people they're completely incontinent they don't wear pads but they can still get it so they can get them under the breasts in the groin areas on the buttox so all sorts of areas you can get these moisture lesions whatever there's moisture basically and the big difference to tell what's a moisture lesion and what's a pressure sort is with moisture lesions they are usually like this they're not rounded they're completely jagered edges if it's on the buttox they're usually mirrored usually mirrored not always the case but they're usually mirrored on each buttox so say you've got the line of the buttox there so each side there'll be this a same sort of pattern and it's caused that pressure and it just sort of mirrors each other it's like a this they call it the butterfly effect i think from what i've heard from people saying and it's just this red rashy sort of looking area sometimes the skin's broken sometimes it's not broken it'll be red it'll be blanshing and sometimes it doesn't blansh and also as part of this you can have a combined categoryed pressure ulcer so you could have moisture lesion but then it could have like a category two inside of it so you could have your moisture lesion then a small ulcer inside of it so that would be a combined or mixed sort of pressure ulcer and for both of these so the moisture lesion or if it's a combined one that also has to be datex reported but for moisture lesions you don't need a tissue viability nurse to be included in this so that is it from me if you need any more information advice i'm going to post the links below so have a look at those links you can speak to your tissue viability nurses for any more advice or if you're unsure about categories anything like that or a patient if they're at risk the tissue viability nurses are absolutely amazing and they'll know exactly what to do what creams to use all of that so just inform them or go to them if you need any more help or information so always thank you so much for tuning in thanks for watching and i shall see you next time


in for a treat with the main highlights of the day. We have two keynote speakers finishing up our day to day. And before I introduce them, I just want to thank our sponsors, the theoretical science visiting program here at OIST, which is hosting our two speakers, and also the French Embassy in Japan for their generous support for making this event possible. Thank you very much for your support. And the topic of this event is the metaverse and virtual reality. The metaverse is a topic that has been loudly discussed in all the media around the world. Will we find ourselves in a future where everybody just sits in their bed wearing headsets and interacts virtually? Or maybe will technology take us in a different direction? These were some of the topics that were discussed today. And the lectures tonight will show you a kind of inside view into the laboratories working with these kinds of technologies. And you'll see that, especially for people who are not in this field, that the kind of impression that you might have of what is the metaverse and where are these technologies is actually much more diverse and maybe even more exciting than what the media portrays it to be. So I hope I raise some of your expectations of what we will see tonight. So let me introduce our first speaker, Shonichi Katsuhara, is a researcher and project leader at Sony Computer Science Laboratories. He received his PhD and interdisciplinary information studies from the University of Tokyo in 2017. Before that, he joined the Sony Corporation in 2008. And he was an affiliate researcher at MIT Media Lab in 2012 before joining Sony CSL in 2014. He's currently leading research on cybernetic humanity, which explores the new humanity emerging from the integration of humans and computers. And his research has been presented at top conferences around the world, published in all the scientific journals that you would want to publish in. And he has also conducted interactive exhibitions and implemented social implementations for public interaction. Starting this year, 2023, he's running the Cybernetic Humanities Studio as part of a new collaboration between Sony CSL and Poist. And so thank you very much. And the floor is yours. Thank you. So thank you, Tom, for a great introduction. So hello. Nice to meet you. My name is Shonichi Katsuhara. You can just call me Shon. It's, first of all, it's super honor to be here and talk to my research. And then I thank again to giving some of this opportunity for Sony CSL and also OIST and TDIC, TSPP, and French Embassy. Thank you so much for having this special moment. So I should just one more request. We have a translator in the back. So in order for her to translate in real time into Japanese for all of her speakers, try to speak slowly in your lecture. So even I have, honestly, 100 slides today, but I will try. I will try. And sometimes I use Japanese in complements to compensate for understanding. OK, so thank you so much. And then again, my name is Shon. And then I'm a research in Sony Computer Science, Robert Lee. And also recently, I joined OIST as a visiting researcher. And then recently, we started some new studio in the five. And then after the public lecture, we also planning the public also open lab. So you can also come and try some demos, which I will show. So so so let me a bit background of myself is like a three pillow, three aspect of myself. Is that one is a researcher about talking about investigating about the human perception, cognition or human augmentation. At the side of me by me is like an engineer to engineering some software development or system integration to make possible to new experience happened. And also at the side of perspective, myself is an artist to make the people that those kind of research into the society, the artist, I can add inspiration or some exhibition. It's a very important part of my project and then give into the question to the society. So I do sometimes the exhibition. So today, I want to talk about the cybernetic humanity. That is my topic. And also, what is the connection to the metaverse and virtual reality. But in general, I'm exploring about what is the self in the computer and the human integrated. So you can also imagine, oh, this is my cell phone. But if we have a multiple, sorry, the metaverse inside the computer, we can also having some virtual reality body. It's kind of the integration of the human and computer and the second. But not only some visual. We can also, I want to show some interesting video here. This is coming from the Sony PlayStation, but I'm not mean to the advertising Sony product. But just because I love this idea. OK. Hope I can, you see the sound. No? No? No. OK, give me a second. I should check some sound test setting because this is a good video. Let me, OK. So even that I cannot, you can hear me. I can change the setting. You cannot hear. OK, and you see. Anyway, so that is actually complaining about the person is I cannot do that. Usually I cannot do that. Something like that. Usually we cannot do something like this. But for instance, in the computer game, for instance, they say like, oh, I can do that. I can do that. I can do that. Usually I cannot do that. So of course, this is talking about the video game. But we can also imagine those kind of technology and now this is making happen in our real life. So from that point of view, OK, so we will get some kind of the possibility of doing something usually we cannot do, but I can do. But in point, some point, we actually thinking about then what we feel in those kinds of new possibilities. Of course, we can imagine having a new technology or new ability or new bodies. And it's a kind of augmentation, or having some virtual body or some new ability. But also how we feel it in subjective way. If we cannot feel this is myself, it's more like technology actually losing myself. So how we can balance and how we can integrate is to augmentation as a subjective is mixed together and then creating a new form of the humanity. That is because I put the cyber and humanity. So today I want to talk about the three topics and then about this is my action. This is my body and then this is me. So it's actually relevant, super relevant to the metaverse and the virtual reality. So I want to start my talk with this is my action. So the setting of these topics, I want one volunteer to show some human limitation. So it's a bit embarrassing, but if possible, Nick, can you help me to demonstration something? Sorry about that. It's sometimes happened to my presentation. Thank you, thank you. So now I will release the pen. So Nick, please catch this pen. That's it, okay? So maybe we can go there. Thank you, Nick. So thank you. I know it's a bit embarrassing, but thank you for helping to showing some human limitation. So that is the human limitation. So this is actually the wider massive project by the UNICEF and Kenji Suzuki. So as we can see it, actually independent of this, we cannot catch the pen. That is a human limitation. So of course it's also had almost impossible, but if we have some technology, hidden secret technology and connecting something, what happens? We can catch the pen very easily. Something like this, almost 100%. So why we cannot catch the pen? Because we are very late. We have a latency in the processing of the perception commission, the motor fly and also muscle construction. And it takes some up to 240, 350 millisecond. That's why we cannot catch the pen. That's why we cannot stop the car in the front of the action. But in the case of the video, sorry. I put the muscle EMG, electron migratory measurement to the person who release the pen. It means like measuring the moment of the release, muscle activated. And also we connected this signal into the, another person to the electron mass stimulation, which means like applying current into the muscle and then contract muscle directly. The thing is actually forced to move to catch the pen, right? Okay. So that's why the individual, they can catch the pen. So we actually demonstrate this phenomena in the many, many occasions, something like this. So, okay, they all, so in the very beginning, we are very happy that, oh, I can catch the pen. But we just think, oh, this is because of the computer. And then it's very nice, something like this. We are exhibiting those kinds of things. But we are doing some exhibition all the time. Something very interesting that happened. For instance, in the next video, right? So maybe I'm not sure that we can play the sound, but the next video, the first trial is without AMS, without any electricity. And the second trial is with EMS. So let's see. So he was very happy. And he said, oh, I did it. I catch the pen. But I actually experienced, oh, sorry Zenon, this is not your ability. This is because the EMS, right? But as many people mentioned, oh, but I feel I catch it. This is interesting because the EMS is actually applied just before our intentional movement.  So I think we found out this is very interesting phenomena and then try to identify what is the time course, what is the boundary of the self in the action. So we tried with this person, three persons, we tried the pre-emptive action project. And it's this very simple psychophysical experiment. And then trying to, we've applied many EMS and then tried the participant to answer how much did you feel this is yourself, something. Then in the end, we found like even we accelerate his muscle, their muscle, the 80 millisecond faster than you can do, but still we feel this is my action. So it means like, this is like we step back to more like abstract way. So this is like a pen drop experiment. It's actually my motion and also computer motion is integrated into the one muscle. And the question is then, can we feel this is my action? If not, it's more like for computer is actually me and I don't have any original freedom. But if you can design the assistant in such way, we can provide how I am doing this. Also computer is there, but of course maybe you can, maybe think about more like a complex task, something AI or sometimes AI is going to over perform the human processing. And also maybe you might remember, you might know about the recent LGBT things. In some point, they are exceeding some human priorities. And this is kind of my proposer, my askings on GTP to writing some grand proposal and they are doing the great, great. So it means like, when we think of the integration of the computer and the human, can we feel like, oh, this is my actual? So it's not like the LGBT things, but we also try to experiment like, what happened when computer and the machine, but computer and me doing some action, even with some like a decision-making happened. And then I just skipped on very detail, but in a very simple way, we did something like a simple task, like a choice task. And the EMS also help you to doing something. And also sometimes human mistake. And also we intentionally EMS also apply them correct or not incorrect motion. And then in the end, this graph in showing that how we feel this is my action is actually biased by the result. This means this graph showing like a, when we doing, when we outcome, the kind of the output was correct, we are more likely to attribute that success to me. And if the task was failure, we are more likely to blame the system but this is not me and this is because of computer. So these are actually human, kind of human nature, but when we think about kind of human computer integration, we have to really care about these things. Of course, we can apply these kinds of robot things, but for instance, when we think of the robot by ping pong, doing some ping pong over the system, it's actually very hard. It's almost impossible.  But also we can imagine like an automatic robot movement to hit back the ball, something like this. And then not only the, so because we can do that, and then we can also imagine like integrating this automatic and the human motion together. But even if we design this kind of way, he will maybe think, oh, this is my action. And this idea is. So I think that those kind of things. So when we see now the computer and the human integration in action, we have to think about how we can design to keep the attribution of the self. And then I don't go deeper, but there are several factors to keeping sense of the agency, which is like a feeling I am doing. I don't know if I'm doing well. It's like a base on the two factor of the sensory feedback and also intention is kind of aligned together. So that is a talking of the action. And also I want to move on to the body things. So this is my body. So you know, this is my body. You see like our body is here. But also when we think of the virtual reality, we can change some visual of the conditions. So this is actually the very kind of five or six years ago and then with this Yamaguchi University, Yamaguchi Wycombe and also K-University collaboration. And that is watching your own body by through the virtual reality. It's very simple. It's even the wire frame. This can moving. I'm watching some, my movement in the virtual reality, right? And sorry, sorry, I will play again, okay? And something happened. So he will, he will be at the virtual reality and then moving something. And then he said, oh, I feel a bit lighter and a bit good condition. I didn't do anything as a physical. I don't inject anything, I didn't do anything. But only we apply some of the visual change of the actual motion. So not only the actual, the showing the actual movement, we anticipate it a bit, anticipate the predicted motion and instead of the actual body movement, we show it. And then he said, oh, I get body lighter. But important point is that he don't know the motion is intervened. But just feel like, oh, I am lighter. And then also you can easily imagine that if we apply delay. Okay, so we can also make you hungover even you don't drunk, right? Or maybe we can imagine like even you have a physically drunk but we can, I can also make your body lighter by virtual reality, for instance. But anyway, so that is an interesting point of this project is actually, we can control the sense of self, sense of the body by only the visual. We can also tweak your how you feel, okay? So I think like a change of rendering the body is actually providing a change in the sense of body. It's actually a great potential of the metaphors. Now also I thought keeping to the another potential of the kind of new metaphors or new body things beyond one mind, one body. So I show the robot arm, okay? So like we can also imagine like using robot arm, something like this, right? So, oh, I can do it. I can make it feel like I, this is my arm. So this is robot arm, so we can also copy it. We can also imagine, oh, I have two arms. I have two arms, I'm doing parallel things. And the two explorers ideas, we actually tried the parallel pimpon with these collaborators. And the idea is, what if we have two bodies with robotic arms in the two tables? And also like it's, we can also control the robot arm and then playing a pimpon in two tables at the same time. Of course, we might, you might wonder, but our conscious of our kind of mind is very, just one. And our attention is very similar. This is true. But when we think of some kind of a technique to split or some switching correctly or some kind of things, we actually can make it feel like, oh, I am doing pimpon, two arms at the same time. So there are some exploration of having a two arms. But also these kinds of experiments is giving us the question about then, can we adapt to martial body at the same time? Because now I'm using the martial body, my body. So I can imagine like my, I understand my body. But if we have a martial body, it means we need to adapt. We need to like learn to use our body, each individual body, right? So then to investigate this experiment, we did one simple experiment using the visual motor rotation. It's called the Parallel Apostation Project. So this is one, the Diderian and Sumamiko-san. So it's a very simple experiment. Like for instance, you can imagine where the headman is playing and also doing some kind of reaching task, your virtual reality hand. But at the same time, we apply some gradually rotating your body from the original, your original direction. So it means like even you are doing straight motion, your motion will be slightly rotated, for instance, left hand, left side, or right side. If we apply this rotation, very gradually, as you can see some here, we can actually adapt this rotation even without knowing it. This is called implicit adaptation. So if we apply this rotation gradually, we can adapt this rotation and we don't notice it. This is implicit adaptation. And also important thing is that in the moment of the, in the moment of the here, and we intentionally cut off some rotation. And then you see like a error is happening, moment error is happening, but it's not go back to the directory. It takes some time because our internal model is updated and it takes time, a bit of time to go back to original. So that is a usual rotation, adaptation to rotation. But when we think of two bodies, we can also think about the two rotation, can we adapt to rotation at the same time? So we did it in the virtual reality. So sometimes you see your body and then that body is slightly going to the left side. And then you see that another body is slightly going to the left right side. If you do it in your usual view, it's impossible to adapt. So you can see that there are many errors here. It means you cannot adapt. And if we can really think about, oh, this body is going to left, so I have to go right something like this. It's very cognitive demanding. But if we do it in the third person viewpoint of something, this is because you see your body in right side, a bit right side third person and the other side third person. Surprisingly, they can adapt in both rotation at the same time. And also more surprisingly, if we elase the rotation intentionally, there are after effect, which means like still, I mean a bit giving some error because they are adapted in internal model. So the conclusion is actually, if we do it in the first person, sorry, the first person, we cannot. But if we apply this rotation in the third person, somehow we can implicitly adapt this rotation without knowing it. So I think that is actually important to think about multiple body because we don't consume any cognitive resources to adapt to bodies. We don't need to think, but we can do whatever you want for bodies and then we can adapt to bodies in implicitly. That is the potential of the motor bus and also virtual reality. And also like in the last project, I just like a touch about this is me, okay? Okay, last quiz. This is me, see? This is me, without grass, without grass, but this is me. And do you think this is me? Maybe yes. Do you think this is me? Okay. But actually original one was something like this. When we see something, it's clearly we can see the changes. But if we, like we are very much less sensitive of the visual changes, if we have some visual occlusion, we are very, how to say, hard to detect some changes. Then we can also apply this idea to the recent machine learning techniques again to generate very, very morphing images, slightly gradually morphing images. And then recently we found like a visual technique too, like change the visual without people knowing it. Then we can also find like some like metrics. But here is what if this kind of things happen to my face, right? So we did it in the called morphing identity experiment. Then this is the base on the experiment with the exhibition I will show the video. So this is the experiment. The two persons come to the booth and then kind of the photo booth, right? And then taking a picture. And then after that, they can also talk to each other over the videos. But if important here, that these two faces will be gradually morphing each other, you can see here. Now it's kind of the middle of the two faces. And then finally, it's get to be kind of completely swapped. And then that's actually like provided chance allows us to investigate what is the boundary of the self? Do you think this is to you or not something? So we actually, so actually implementation. So there are several of the technology behind that and also like creating some of the game-based morphing system. So maybe like a kind of creating some interpolation of the faces, something like this. And also we can animate these faces by in real time. So that's why it's kind of like a defect kind of the type of the technology.  And we put like this experiment, this system into the public execution. And then we actually collected data how much people understand this is myself or not. Maybe I guess a bit skip late, skip. But here for instance, as long, so when the participant guests feel like, oh, this is not me. We ask the participant to the press the hood switch. That then we can get the data of how much they feel like this is not me. And then the boundary of the self, then we collected data and then we found like, oh, actually there are some kind of the boundary of the self in the matrix, this matrix. Then this means like even in the 20% in the morphing it's actually changing, but still they feel like, oh, this is myself. Okay, so we actually experiment these kind of things. And then also we found like an interesting phenomenon of also there are some like a gender change then the gender difference is also like a bit sharp, but also like this graph shows like a, if you get older, your self boundary get larger. You might think about why it's happening, but it's kind of points like a female, male female actually be brought this one, the male more like having a broader sense of self boundary and the male female more like smaller boundary for instance. But maybe think of those kind of things. So there can be some kind of the counter of the self, the boundary of the self is there in the computer as a systems that we can also investigate then how these can counter self will affect our communication and the interaction in the meta-versal of the actual communication. Okay, so that's a project I recently did and also a continuation, some continuation and then that is a kind of project. And then back to some like my topic. So that is a kind of right now initial topic of the cybernetic humanity, but not only that because recently you might know many advancement of the technology and also like a kind of cybernetic after some like a new type of body is coming in the way of the technology. But also we have to think about the science or this new human and computer integrated situation. That's why I recently started to hear as a business researcher. So I want to explore about like a science of human computer integration. And I was looking for some opportunity for doing some researches. And then I found, oh, maybe this is the place. So I thank you for the ways of having me as a business researcher. I recently started from the lab of space in the lab of five, as we called, we called Cybernetic Humanity Studio. And then the sum of demo is actually working on that here. So again, so I just want to thank you to my team in the Sonyshia so and they are very brilliant and those without them we cannot do anything. And then that's my end of talk. And actually we had a demo in the lab of five after the public lecture. So please sign up and then come here. That's all. Thank you so much. Thank you very much. So we have time for a couple of questions from the audience. Let's use the microphones for the translator. Thank you for the super nice presentation. I'm interested in the, I want to have a question on the parallel adaptation one. So in your study, you said by changing the point of view that the participant get more easy to get used to the, get easy, easily, adapt the new, let's say, body schema. But I'm curious about, it is because of the difference of first person view or third person view or it is because of just the difference of the angle of the viewpoint. Because I feel like when I imagine I'm doing some manipulation when I see the mirror, I feel like it's sometimes difficult to adapt the manipulation. So it's third person view, but I feel like it's still difficult. So have you ever tried and investigate more different angles, not just left or right? Thank you so much. Thank you so much. Good question. Good question. So I think that the kind of the STEM question is like what kind of situation, what perspective provide us to sense of the dual bodies, dual coordination, dual queue to having a body. And honestly in the experiment, we found this phenomena in when we compared the first person and the third person. And then with third person works well. But we are actually investigating another condition to make this parallel adaptation happen. And then we found, roughly found like a third person is not the way, not the only way to make it happen. And it is actually there are, if we have some like, if we can design some, the spatial queue to create some like a context to the movement and the body movement, we might actually can produce same like a parallel adaptation happening. But also important point is like, we are, this is a working hypothesis, but also if we found, if we explicitly understand, recognize the rotation, this rotation will not happen, I guess. If we can start to thinking about, this is a, this band, this is this body, this way, this can do a rotation that doesn't happen. But only when we are implicitly doing without any knowledge, this is happening, I guess. But I'm still working on hypothesis but thank you for the great question. Thank you for the response. Another question from the audience. I think there was another hand over there. So we have one, two, three. Thank you for a fascinating presentation. I wanted to ask about the sense of self section, which raises so many interesting thoughts about all kinds of thinking about potential uses and training and teaching and many uses. But I was thinking about, when you were saying there was a point when, and really just what does it mean when you say that's not me anymore?  That sort of sense of kind of disconnection between what you're looking at because it seemed to me sort of psychological implications. It could be very, very interesting. So I wondered if you could talk a little bit about that. Thank you, thank you. That's actually a great question. And also that's why we made it to investigate the sense of self. Because I will talk about a bit precisely.  Then your face, only visual identity will become another person. But movement itself is always real time. So it means in kind of the, in terms of movement, we embodied the face, but still identity go away. So they are actually interesting phenomena happen because it's, of course, in the very beginning, this is still me, it's okay. And then in the middle of the Muffin, it's kind of like I'm moving, I'm kind of using another identity, but it's okay. Interesting phenomena happen in the opposite, like a swapped version. It means like I am moving other faces. And still I feel like, oh, this is my motion, but still identity is not my me. And also sometime in other side, as a person is moving my face. And it's actually, I feel like identity, identity is I go into the different side. But still my real time sense of self is stay in the left. So it means that kind of the, you can also think of the minimum and the amount of some different level of the self. But in this context, some kind of the different levels of self is, how to say, having some conflict to each other and then giving some interesting, actually interesting question happens. Okay, thank you. So we have two more. Let's make them quick question and quick responses. Please. Thank you so much for this very inspiring presentation. And I really enjoyed the demos. I think I got the chance to try earlier. It's perfect. I was actually wondering something about this research. And I apologize if maybe you mentioned it and I missed it, but I was wondering if you tried to plot impact of gender, mixing gender in the pairs of male with male, male with female with male and all. Thank you. Honestly, so we didn't finish that kind of the controlled experiment because I could be collected data from the exhibition. But definitely those kinds of gender difference might impact the changes, I guess. So, but I short answer is unfortunately not, and I think this is interesting. Pass the microphone. Your stunning presentation. I'm interested in the world, your research, cybernetic humanity. Humanity have a broad meaning like a cultural meaning and a political meaning and societal meaning. So how do you incorporate diversity of the meaning of humanity into your research? Do you have a particular scheme or framework to do that? Thank you for asking this question. That is something I want to convey this talk. So initially, what I'm doing right now is more like for individual humanity, individual sense of self. But when we think about more like a broader way of the technology and the computer integrated, computer and the human technology integrated, I think we have to think about the more broader way of the social. And when we think about what is a, I was wondering about what is the best word to describe not only individual, but not only the society, the many of the continuation among them, the range I put society. So it's like now, my research is most likely focused on the individual, but in the collaboration with OIST, for instance, I want to expand this notion into the more diverse way. That's a short answer, thank you so much. Okay, great. Let's thank our speaker one more time. Thank you, Shun.


My name is Eric Corey Freed. I'm a green architect and I focus on regenerative living buildings. The concept of regenerative buildings is buildings that actually heal the damage that humans have caused, not making it worse. Most buildings use large, massive amounts of resources. They consume massive amounts of energy. They take incredible amount of operations and effort to just keep them running. And what's worse is it's making us all ill. We spend 80 to 90 percent of our time indoors breathing in these toxins and we wonder why we keep getting sicker and sicker and sicker. They're related. You can't talk about cancer without talking about the built environment. You can't talk about asthma. We know today how to build buildings that generate all their own energy, buildings that process their own waste, buildings that clean their own water, and buildings that avoid all known cancer-causing chemicals. We can do that now. There's no future innovation that needs to occur to do that. What we can get to next is how do we build buildings that make you well?  Imagine a building that, by touching the materials instead of absorbing known carcinogens, imagine if you were absorbing vitamins. Imagine materials that heal themselves. Imagine materials that grow. And by growing, I mean literally growing, imagine if you took a picture hook out of the wall and it would start to callus and over time it would heal itself. Floors that would become stronger the more you walk on them, not weaker. So instead of what we have now where materials break down into constant state, we'd have living materials that we'd infuse and they'd all be powered by sunlight and nutrients. I think really there should be no dividing line between built environment and natural environment. I think we do our jobs correctly. The lines are bored together that you wouldn't know where nature stops and mankind begins. That's really the metric of success. So really let's solve the problem at its source. And that's the importance of the built environment and that's why this XPRIZE challenge is so important.


Eric Bloodaxe was a 10th century Viking king. Even though his father had plenty of sons to inherit the throne, Eric solved that problem by getting rid of all his brothers, which earned him his nickname Eric the Bloodaxe.


I'd like you to turn and talk to your partner and I'd like you to talk about what is the problem asking you? 6 plus 14 is equal to 20.


It is with great pleasure we join in celebrating 246 years of the United States Army. For more than two centuries, our soldiers have demonstrated courage while defending our great nation and local communities. One of the many heroes among these soldiers was our own Second Lieutenant Emily Perez, who displayed the seven core Army values. These same values are echoed in this year's celebratory theme, honoring the courage of the American soldier. As a loyal soldier, Emily supported her leadership and stood up for her fellow soldiers. Emily embraced the Army soldiers creed by being disciplined and physically and mentally tough. She was trained and proficient in her warrior tasks and drills. She maintained her arms, her equipment, and herself. Like many of her fellow soldiers, she was an expert and a professional. She stood ready to deploy, engage, and destroy the enemies of the United States of America in close combat. But she went to medical court. She started out as a platoon leader and unbeknownst to her, she was a convoy leader. So when she went down to Iraq, she was basically ferrying supplies, medical supplies, all over the area of operations. She continually led the convoys with her troops. She was able to build a camaraderie and a closeness with the soldiers that were under her command as a platoon leader to where they felt safe with her leading the convoy, knowing that she was going to do everything within her ability to be able to bring them back home safely. Like many others, Emily was full of life and had a love for people. She made the ultimate sacrifice for filling her duty, namely providing selfless service and honor, demonstrating exceptional and professional competence, showing a total dedication to duty, and offering extraordinary leadership. This is why we honor the courage of the American soldier. The courage of the American soldier is the highest standard for other soldiers to understand what it means to serve and give our very best at all times. Emily made valuable and significant contributions to both the AMED and the United States Army. She exemplified selfless service and her high moral principles and dedication to duty guided her every move. I hope you find Emily's story inspiring and it brings you a sense of pride for this young lady who made the ultimate sacrifice in the name of freedom. Army Medicine is Army Strong.


How do you deal with like if you're here, what about your home inspections and all that day-to-day stuff? How are you handling it?  And people call me on this when something's wrong and I answer it and I say, yeah, this is what we need to do. I'll do a deal for free right now. You know why? Because every relationship is worth 10 to 20 deals to me over the life of my career. Okay, now I gotta go.  One, two. This is what I believe. I'm sharing that with you for nothing.  I get up at 4.30. I answer DMs for an hour and then I go to the gym. Gonna come home eat breakfast, take a shower, get to the office by 8. I study my business for 15 minutes. I have a little meeting with my assistant and then I just cross whatever was on that list for the day. 3 o'clock comes around. I have another little meeting with myself to make sure there's not like a couple of things that have to get done today, things. That way, if I do that second meeting at 3, and I can leave at 5 feeling good that I didn't leave anything on the table and I can shut my mind off from worrying about that I forget something today. And now you have a marital problems. It all comes from you not having that 3 o'clock meeting with yourself to make sure that there's not 2 or 3 phone calls or emails or something that you have to get done before the end of the day. That way you can go, you're never going to get your whole list done, ever. But there's a lot of that that can wait till tomorrow. There's a few things that can't. So you want to knock off the things that can't wait.  And then come back the next day recharged to do it all over again. Gotta get it, amen. Gotta get it, hallelujah. There we go, there we go. So we go. You invested real estate, right? Yeah. What asset class do you typically invest in? What do you use? Multi-family, single-family? What do you buy in America? I've got long-term single-family. I've got duplexes. I've got fourplexes. I've got condos on the beach. I've got houses. I buy a flip. That's about it right now.  I thought about that. Like, I thought, oh, I could go to Miami because I have my portal license. Or I could go to New York, you know, cross Ryan, I could go there. You know what I'm saying? Like, I could go out there and cross that. But the thing is, I'd have to start completely over.   I'm a single agent, but my team consists of a title company that I've used for 10 years. A mortgage guy I've used for 10 years. You know what I mean? Like, I have a professional photographer. I have a handyman that knocks out all the inspection items and stuff. Everything is just like, boom, it's just so easy. You know what I mean? And I think that, you know, that's a tough question when you're starting out and you don't have the infrastructure in place. That could be an interesting debate. But as far as me, because I've seen it now, I'm in New York City. I see a lot of wealthy people. They're moving from New York to Florida because of taxes. So these are high net worth people that started their business in New York and are doing it. For people that own property, five million and higher. The thing is that's an opportunity. Network with agents in Florida make it happen. Start sending referrals. Some people don't want to start cold calling people. Say, hey, did you hear about the tax? Start cold calling people that have properties over five million dollars and say, hey, you want to move to Florida? I got an agent for you down there, soon I'm saying. Just dabble in stuff. Look for opportunities and try stuff. Because I genuinely want you to succeed. That's why.  You know what I mean? I'm not saying that every paid coach is bad, snaking the graph. There's tons of great coaches out there that charge. Tons. I'm just saying, in today's world, this generation, they want authenticity. They don't have time for somebody who is not, who they say they are.  You know what I mean? It's true. And so many new agents don't understand the process. They just fall for it. That's why I'm here.  That's what I'm new to all the coaches. Not because I hate them, but because I love you. Well, you know, I switched to Red X maybe two years ago. I was using Mojo. I tried to express so Vulcan and Mojo. Mojo was decent, but still not great. And then I switched to Red X and it was like, the pick up, the accuracy of the numbers was so much better. Now that was two years ago. There's a couple things. Number one, that was two years ago. So did Mojo upgrade their data? Probably. Did Vulcan or Vorto, whatever you're talking about, upgrade their data? Probably. Also, there's different areas, you know, like Red X doesn't work as great in this area, works really good in this area, where this area that doesn't work really good in, you know, Vulcan works really good in. So you got to kind of, to me, I think you got to kind of try them all out and see which one works the best for you. The deeper problem is, they're all going to have a lot of bad numbers, because it's just bulk numbers that you're buying. And so people say, oh, they're all wrong numbers. I'm like, well, how many calls did you make? 40. How many people did you talk to? Seven. I'm like, holy smokes, that's good. You know what I mean? Yeah.  It's nuts. Do you, like, do not call us? Do you, like, that comes up a lot on products? What's that? The do not call us numbers. A lot of call, yeah. The thing is, and like, you know, whatever, it's on camera app. Like, do not call is, like, the thing is, no, seriously, the thing is nobody's ever been fine. Yeah. Somebody please tell me somebody's been fine. You know somebody's been fine? But like, I have heard those stories. I would love to see it. I would love to see it because I've never found a case. Now, here's the thing. DNC was created to protect customers from robo-callers and scam artists. That's fine, but we're not robo-callers or scam artists. This is what I'm saying. We're calling people to see what we can do to help them. My best clients came for DNC. And those are the best phone numbers. Because I think Vulcan and Mojo and Redx and all those, I think they're flagging the DNC not knowing because they want to make sure they're not crossed. They're like, oh, I don't know. This is a smart DNC, and it's a cell phone. Those are the best quality numbers. And who knows if they're really on the DNC or not? It's just Redx telling you. Did everybody get a book? Ma'am? CRM, CRM system. I don't have one. If you are organizing your CRM, I'm out here selling properties. They get a week's email every single Wednesday. Yeah. Oh, it's constant contacts is where I put them. I don't know who they are. There's no names or anything. They use those emails. Wow. I remember when their birthday is. You know what they care about? When they call me and answer the phone. And then I don't kind of press them into doing anything. And then I ask them how they're doing. And then if they need something, I do it right then. And I do everything I said, tell them what I'm going to do when I said I was going to do it. That's what they care about. They don't care if I know when their birthday is. They don't. Now, would it be great if I could multiply and add that to what I'm doing? Sure, I don't know, whatever. I'm here just to help people. I'm very unorganized. And I think it's one of the big reasons why I'm able to sell so much. Because people that are organizing spend so much time organizing that I spend trying to help people. See what I'm saying? I'm in conversations. I'm wasting time on people. I'm trying to figure out what I can do to help people. You know? And then that weekly email is a safety net on the back of my business that captures all the problems that fall through that I somehow accidentally don't follow up with for whatever reason. Well, they got that email and they called me in three weeks or three months or two years ready to do something. And they saw through the email and the original content that I create every week. So I'm drip-campaign telling you how to cook shrimp atoufe.  Do you care how to cook shrimp atoufe? Do you care? Neither do any of your prospects with these drip campaigns that tell you what color to paint your walls in the fall. And you know, like the best time of year to, you know, get ready for things. Like nobody cares about that. They want to know original content from you. What do you think about the market? What are the pending deals right now? What's the new listings for the last couple weeks? They want to know what you think. They don't want to see the same exact word for word email through a drip campaign that five other realtors sent them at the exact same time. See what I'm saying? How do you do it? Like if you're here, what about your home inspections and all that day-to-day stuff? How are you handling it?  People call me on this when something's wrong and I answer it and I say, yeah, this is what we need to do. That's it. That's it. All right. Do you have people ask your kinder commission? All the time. Oh, how do you answer that? What commission would you like to pay? I would do a deal for free. I'll do a deal for free right now. You know why? Because every relationship is worth 10 to 20 deals to me over the life of my career. I'm not saying a deal for free. I'm just making a point. Okay. In our market, six is standard. Five is pretty common. You know, I'm normally, I normally get six. And every once in a while, I'll do five. And then every once in a while, you know, there's this one deal. We did like three deals and he's going to do a $2 million deal later and all this. I did it for one. We have the buyer's agent two and a half. I did a 1.5 one for, think two is what I got.  Stay hard on it for just one second because what they're trying to do is they're just trying to see if you'll budge. And there's two things going on there. If you don't budge, they may say, okay, cool. If you do budge, they might think he's going to budge on my price when you negotiate with my house. See what I'm saying? So play poker face for a second. Say, listen, man, I appreciate that. But, you know, do you want me to cut the price of your house when we start negotiating that? Same scenario. But normally just stay firm. See what they do. And oh, here's a trick. Here's a trick I like to do. I like to say it's six is standard. And if I sell it myself, represent the buyer, do it for five. And then you get it for six chances. You sell it yourself and put a slim. Okay. Now I got to go.  One, two,


Kamusta sa inyong lahat? Ito po sila modelist at tulipo kayo sa aking channel. Welcome back to my vlog where we continue our Filipiniana series by delving into one of our national costumes, the Barat Saya, also known as the Trahedemistiza in Spanish. The Barat Saya is the national dress of the Philippines, which combines elements from pre-colonial native Filipino and Spanish clothing or garment styles. The name Barat Saya literally means shirt and skirt and is a traditional outfit worn by Filipino women. In addition to the turno, which we covered in my previous tutorial, the Barat Saya has another popular variant, which is known as the Trahedemistiza or Maria Clarigal. In this tutorial, I will demonstrate how to create the Baro or Kamusa and the Curchif or Panuelo in Spanish, which are essential parts of the Barat Saya outfit. So let's get this started. The Baro or Kamusa, which is the top part of the Barat Saya outfit, is designed to be poxy in shape. This style is functional, especially in the hot and humid climate of the Philippines, as it allows for better air circulation. Additionally, the loose fit of the Kamusa does not restrict the mobility of women and allows them to move freely while doing daily activities. The Kamusa has a scoop neckline, bell-shaped sleeve above the wrist, pleated or gathered at the cap of the sleeve, dropped shoulder, and cropped at the waist 1-2 inches below the waist. During the 1800s, when underwear or bras were not yet commonly worn, women in the Philippines wore what we call the Panuelo or Fichu on top of the Kamusa. The Panuelo is a perfect square and folded in half and worn as a cover for the chest and the bust area during that time. Both Kamusa and Panuelo are usually made out of pinya or fabric made from pineapple fibers. Or aba ka, also known as Manila Hem. These fabrics were popular choices because of their durability and cooling properties, which were essential for staying comfortable in the tropical climate. To start off the pattern, trace your dartless bodice on your pattern paper. By the way, I have a separate tutorial for dartless bodice and I will put the link up here. From the waistline, mark down to inches or 5 cm. Square a line and disregard the access. From shoulder tip, mark in 1.5 inches or 3.75 cm. From this mark, measure out 3.5 inches or 8.75 cm and mark. And extend the shoulder line towards the mark creating a new shoulder line. From arm hole at chest line, mark in 1.5 inches or 3.75 cm. Square a diagonal line from new shoulder line to the mark at chest line. From under arm seam, mark down 1.5 inches or 3.75 cm. From this mark, ridge out the arm hole hitting the diagonal line at arm hole. From the new under arm seam, mark out 4.8 inch or 1.2 cm. From this mark, square down a line to create a new side seam. From the tip of new shoulder line, mark down 4.8 inch or 1.2 cm. From this mark, draw a semi-curved line blending in with the previous line. From the first mark at shoulder, mark out 1.5 inches or 3.75 cm. From the front neckline, mark down 2 inches or 5 cm. Next, connect both marks creating a front scoop neckline. And connect the shoulder mark to the previous front neckline and this is for the back neckline for the camisa. This is the back neckline and the front neckline for the camisa. Next, measure the new arm hole and record. Mind you that my measurement will be different from yours. From the new waistline, mark down 1.25 inches or 3.1 cm. for the ham-facing and square lines to complete. And add your desired sewing allowance. Label the pattern on fold and label the ham-facing. From the bust line, mark down 4 inches or 10 cm. And square a line to complete. This is the chest to bust-facing. Next, duplicate the pattern for the back and duplicate the back and front phasings. For the sleeve, draw a half t-line. We will draft the sleeve on fold. From the top line, mark down 3 inches or 7.5 cm. for the cap of the sleeve. And square a line. From the angle, mark in the arm hole measurement that we previously recorded. And square a diagonal line. Divide this line into four sections. Mind you, my measurement is different from yours. At the first half, mark up to 1 inch or 0.6 cm. At the last half, mark down 1.8 inch or 0.3 cm. And draw the cap for the sleeve with a French curve. From the cap, mark down 20 inches or 50 cm for the sleeve length. And square a line. The width is the same measurement as the arm hole measurement. So mark this and square a line. Divide the width by 5, creating 5 cut-out lines. And cut everything out, making 5 strips or pieces. Next, spread the strips by 2 inches or 5 cm in between. Label this part on fold. And from the previous cap line, mark up to inches or 5 cm. From this mark, let's redraw the cap and add your desired sewing allowance. For the sleeve of the camisa, you can either gather the cap or pleat the cap. Next, cut all the self, facings and sleeve patterns on the fold of your fabric. By the way, before cutting the sleeves, mark at the first strip for the gathering reference. For both back and front self, mark down the hem facing 1.25 inches or 3.1 cm. And fold it and press. Next, face both self pieces right side to right side. Pin and place at the shoulder to prepare for sewing. Sew the shoulder line according to your sewing allowance. And press the seams open for a clean finish. Next, place the facing and self pieces right side to right side. And pin and place at the neckline. And sew the neckline accordingly. Next, sand or push all of the sewing allowance to the facing side and top stitch by 1 mm. And press the neckline for a clean finish. Next, sew the facing and self pieces together at the side seam and at the armhole. At the hem of the sleeves, mark up 3 inches or 7.5 cm. And fold and press. This is the hem facing for the sleeve. From the edge, top stitch by 4.7 inch or 1.25 cm. So as you can see, I finished the hem facing for the sleeves. And I had few pieces of lace trimmings left and I will attach this at the hem of the sleeve. I'll pin the lace trimmings in place in preparation for sewing. Because there's no time for hand sewing and that will take a lot of my time, I will sew the lace trimmings at my sewing machine. After that, I will gather at the cap of the sleeve from notch to notch. After gathering, attach the sleeves to the bodice of the kamisa. Place the sleeve and the bodice right side to right side. Start to pin at the underarm seam from end to end. And sew the sleeve to the bodice according to your sewing allowance. And there you go, your kamisa should also look like this. Next, place again right side to right side and pin at the underarm seam to the side seam. Sew the side seam from hem facing to the sleeve hem facing from end to end. And this is how your kamisa should look like. And yes, the sleeves are bell shaped and it is meant to be oversized. And to complete off the kamisa, sew the hem facing at the bodice. Fold the hem facing and sew by 2.7 inch or 0.6 centimeters from the edge. For the panballo, prepare a 37x37 perfect square on your paper. Choose one angle and from this angle mark in 2 inches or 5 centimeters. From the other angle, fold the square until the mark. At the folded line, locate the half and draw a line. From the center line, mark in 7 inches or 17.5 centimeters, both sides. So that will be 14 inches in total. And mark out 2 sets of 7 inches or 17.5 centimeters each side and square up 5 lines. From the folded line, mark up 3 sets of 4.7 inch or 1.25 centimeters. And square in 3 lines for folding references. Next, flip over to the right side of the panballo and fold the panballo 3 times. Make the lines your reference for folding. After folding, pin in place to hold the folds. From the folds, mark up another 4.7 inch or 1.25 centimeters. Flip the panballo to the wrong side and fold by 4.7 inch or 1.25 centimeters wider. From the folds, mark up another 4.7 inch or 1.25 centimeters. And transfer the pins to hold the folds. Flip again to the right side and fold by 4.7 inch or 1.25 centimeters wider. And lastly, from the folds, mark another 4.7 inch or 1.25 centimeters. Flip over to the right side and fold and use mark references to fold. Transfer the pins to hold the folds in place. And there you go. We're done. To hold the pleats or folds, you can sew the lines by hand or on your sewing machine. By the way, if you are wondering, the short angle is the wrong side and the longer angle is the right side. To sew the panballo, fold the edges twice and press. And top stitch the edges by 2.7 inch or 0.6 centimeters. And sew three of the stitch lines before folding or pleating. And create the folds or pleats just like what we did in the pattern. And by the way, press the folds for a clean finish. Next, mark the three stitch lines that we did earlier. And finally, sew in place to hold the pleats or the folds. By the way, I found few beautiful lace appliques and I will place it here at the right side, here at the angle to create motifs for the panballo. Since hand sewing takes time, I will sew the appliques using my sewing machine. And this is the panballo complete with the lace motifs. Eh, voila! So this is the camisa top without the panballo. So this is the front view. This is the side and the back view. And this is the sleeve. And as you can see, this sleeve is oversized or boxy, pleated on the cap and has a shape of a bell. And this is the camisa with the panballo. This is the front view. This is the side view. And this is the back view. Anyway, guys, I hope this tutorial gave you enough tips on how to create the barrel or camisa and the panballo. And if you have any questions, please do not hesitate to comment down below. And I'll make it sure to answer your questions as quickly as possible. And if you are not subscribed yet to my YouTube channel, Lamo Delist, make it sure to hit that subscribe button. And if you like this video, give it a huge thumbs up and share this video to your friends. And I will see you guys again on the next tutorial. Apyento!