Hello, welcome back on my YouTube channel. In today's video, I'm going to explore the QChat GPT plugin. You can find it in the Plugins Manager. It was developed by Marius Kiriaku, and when you install the plugin, it will install the first time some dependencies. I've installed it before, so this went a bit faster. And you will find the icon in the toolbar, or you find the tool in the Plugins menu. Let's first open a map here in the background, OpenStreetMap, and let's play around with ChatGPT. Let's first ask how we could use ChatGPT in QJS. It gives here an answer of what I already showed, so that's good. But it doesn't really give information on what it's useful for. So let's try a few other things. Let's zoom into a country, let's go to the Netherlands, and see if it can help finding the EPSG code of the projection. And it correctly returns the EPSG code of the Netherlands, 28992, which I can copy and change the projection of the project. Let's see if it can find locations, and then it would be useful if it returns text that it's in GeoJSON format. So I'm going to ask to give me a GeoJSON of Rotterdam, and it returns a polygon, but it looks truncated. So I don't think that is useful, maybe the plugin can only return a few lines. So let's ask for a point specifically. Let's copy this, and open a data source manager, go to Vector, change the protocol, choose GeoJSON, and paste it at the URI, click Add, close the dialog, and our point is there in Rotterdam, so that went well, that's in the center of Rotterdam. Let's see if it can really be used as a geocoder. So I'm going to ask to return the point of an address, and I'm using here the address of IHE Delft Institute for Water Education, which is at WestFest 7 in Delft. There it returns the stream, which I copy, and I open it. Let's click write, zoom to layer, and see where it placed the point. This is near Delft, but it doesn't seem to be the correct location. So it's a bit off, it's at the cemetery, it's not the place where I'm working. So let's test this further. Let's try an easier place, the marked in Delft, it's the big marked square you see there. So please give me the location of the marked in Delft, also in the GeoJSON format. Let's see where it ends up, it doesn't add up at the marked somewhere else, so this one is off. Now it doesn't really do a good job with specific locations, it doesn't beat a real geocoder. What about asking ChatGPT for suggestions for a plugin to get a backdrop? That is an option, although I think the quickmap services plugin is a bit more popular. Let's see if it can find a URL of WMS with the topographical map of the Netherlands. Let's copy the URL, create a new WMS connection, the name is the URL, and click connect. Doesn't seem to work, let's remove the last part, might give some problems, and also that doesn't work. I've tried it with several, but it never worked until now. So it's not really good in returning the URLs that we need. Maybe I should just ask where to download something. So let's ask where I can download point cloud data for the Netherlands. It doesn't return a URL and also not the resources that I know, they're not very specific. So I also don't find this response very helpful. Let's see if it can help writing a PyQJS script for iterating over a point layer. So it returns the script in one long line of text, a long string, which you need to cut into the correct pieces to formulate the script. So you need to be quite experienced to use this already. I've seen much better results in the online chat GPT version. Then maybe it can find helpful YouTube channels. So what about asking if it knows a YouTube channel on PyQJS for hydrological applications? It's returning some channel that I don't really know. I think my own channel does better in the Google search engine than here in chat GPT. But at least you can check it out. Maybe it can better help with finding books about PyQJS for hydrological applications. And it returns several books here, which I'm not very aware of. So good to see some titles here that I can check out. So maybe it can tell what a certain plugin does. Let's ask about the PCRusterTools plugin. This gives a description of the PCRusterTools plugin. It's not completely correct because it doesn't deal with vector and table layers. It only deals with rasters. But it gives a bit of an idea what it does. Next question I would like to ask is, how do I easily load a world map with country boundaries in PyQJS? I hope that it returns the Easter egg that I know that you can type in the coordinate field. You type there a world and it will return the map. Here it mentions now the quick map services plugin and it also mentions natural earth. But it doesn't mention the Easter egg. Let's ask if it knows more about Easter eggs in PyQJS. Yes, it knows a few. They are hidden in the menu settings and some of these include a retro style photo mosaic of the PyQJS logo, a secret toolbar and a flight simulator style map view. Could be, but I was looking for the ones that you type into the coordinate field and it doesn't seem to know about those. Let's ask for some more details on finding these. Now the problem is that if you just ask that this question is not depending on your previous question here in this chat. So you need to formulate a full new question. So each question is independent. So let's formulate a complete question on how to get this retro style photo mosaic of the PyQJS logo. And it responds that that's not possible. So that's funny after first mentioning that there is an Easter egg for it. It's not giving away how to find that Easter egg. It's keeping the secrets. Let's ask where the next PyQJS contributor meeting is. It says it will be virtually on May 1 and 2 in 2021. So the next one is two years ago, one and a half year ago. So that's a bit strange. So incorrect because the next one will organize in the Netherlands. Insert open boss and you're all welcome to join. So what QDS plugin can I use for Krieging? It returns that I can use the semi-automatic classification plugin. That's a bit strange because that is for remote sensing analysis and not for Krieging. There's a smart map plugin, for example, you can watch another video on my YouTube channel to see how that works. So after playing around with QChat GPT, I can see that it is good in finding globally locations on the map. But if you get more specific with street addresses or specific locations, it can't find that. It can give descriptions of plugins, although you have to be careful that it's not always correct. And it cannot really give a full overview of resources if you need it on any topic. So you need to be careful. But I'm curious if you know any use cases for which we can use this and I'm happy to test them. So if you know any use cases, please post it in the comments of this video. I'm very curious what you come up with.


Most of the time, when students are interested in health professions, they primarily think of familiar career fields like medicine, dentistry, nursing, or pharmacy. And while those are very important professions, there are many other careers in health that you may not have considered. The School of Health and Rehabilitation Sciences, housed in the Ohio State College of Medicine, focuses on some of these. People who work in the health and rehabilitation field make up 60% of the total health care workforce. They provide a range of services, including diagnostics, therapy, and direct patient care that are critical to the other health professionals they work with and the patients they serve. There are a total of seven undergraduate majors available within HRS, athletic training, health information management and systems, health sciences, medical dietetics, medical laboratory science, which has two specializations, medical science and medical technology certification, radiologic sciences and therapy, which has three specializations, radiography, sonography, and radiation therapy, and respiratory therapy. The athletic training major prepares students to be licensed athletic trainers when they graduate with their Bachelor of Science degree. Athletic trainers are expert practitioners of sports medicine. They treat competitive athletes in professional college and high school sports, as well as other physically active people. They work side by side with physicians and they specialize in the prevention, treatment, and rehabilitation of athletic injuries. The athletic training major incorporates both classroom and clinical experience. In order to be licensed as an athletic training professional, you must pass a rigorous national certification exam. Once admitted to the major, students complete rotations with over 1,100 student athletes from 38 varsity level sports teams, and they have the opportunity to work with other health care professionals who are a part of the OSU sports medicine team. For more information about the profession of athletic training, we encourage you to visit the website for the National Athletic Trainers Association. The health information management and systems major provides students with education and training related to business and health care, so that they have the skills necessary to manage the people and systems used to collect, store, retrieve, interpret, and communicate health care data. Some of the curriculum topics include management principles, finance, ethical and legal issues, and professional and lab experience. Work environments include hospitals, managed care organizations, long-term care facilities, home health agencies, state and federal government, behavioral health care, insurance companies, and private practice offices. With an increasing emphasis on health care communication, specifically reducing medical errors and duplicative care, the role of the HIMS professional is vital to the health care industry. For more information about the profession of health information management, we invite you to visit the website for the American Health Information Management Association. The Health Sciences major provides students with a strong academic background in the field of health care generally. Unlike most of the other HRS majors, health sciences does not lead to certification or licensure in a particular profession. However, graduates are prepared for entry-level positions in health care or for graduate and professional school in areas such as medicine, dentistry, physical therapy, nursing, public health, occupational therapy, business, and more. The medical dietetics major prepares students to sit for the national registration exam in order to become registered dietitians. Registered dietitians assess a person's nutritional status and make recommendations about food choice, which can impact fitness, health, and disease treatment. Registered dietitians work in a variety of settings including sports nutrition, food service, and restaurants, hospitals, outpatient clinics, business and industry, private practice, government, colleges and universities, public health programs, and in research. Registered dietitians use their knowledge to provide education and information so that others can live healthier lives. The medical laboratory science major has two specializations, medical science and medical technology certification. The medical science track trains students in the pathophysiology of laboratory diagnostics without actually teaching the students to perform the laboratory procedures. This provides for more flexibility when scheduling other courses that may be electives or prerequisites for professional school. This is a great major for students who are strongly considering medical school or other graduate programs in the health professions such as nursing, physician assisting, veterinary medicine, dentistry, and optometry. The medical technology certification track prepares students to become certified medical laboratory scientists. When students graduate from the program, they have the opportunity to take the medical lab scientist certification exam. In preparation for this exam, students complete an internship in a clinical setting in which they get the opportunity to practice their lab skills. Medical technologists generally work in five primary areas of lab testing which include blood banking, chemistry, hematology, immunology, and microbiology. Some of the more common work environments include clinical laboratories, quality control, public health, environmental health, fertility clinics, forensic labs, research labs, and industry. The radiologic sciences and therapy major has three specializations, radiography, radiation therapy, and sonography. The radiography specialization trains students to use highly complex machinery to take quality x-rays and images of the internal parts of the body to be used by physicians for diagnostic interpretation. Radiographers may be involved in a variety of procedures including fluoroscopy, vascular imaging, computed tomography, magnetic resonance imaging, MRI, and mammography. The radiation therapy specialization trains students to record and interpret radiologic information and administer various forms of radiation treatment, which is primarily used to treat cancer. Radiation therapists are an integral part of the cancer treatment team. The sonography specialization trains students to use highly specialized equipment to create images of structures inside the human body that are used by physicians to make a medical diagnosis. The procedure itself uses sound waves to produce visual images of the organs, tissue, and blood flow inside the body. Sonographers may examine several parts of the body including the abdomen, breasts, female and female reproductive system, prostate, heart, and blood vessels. The respiratory therapy major trains students to perform cardiopulmonary diagnostic procedures, calculate and assess test results, and to participate in the development of a respiratory care plan. Respiratory therapists treat patients with disorders such as asthma, emphysema, trauma, bronchitis, cystic fibrosis, sleep apnea, and infant prematurity. Respiratory therapists use a variety of complex machines including ventilators, nebulizers, heart and lung machines, treadmills, and defibrillators. Some of the more common work environments include pediatric critical care units, cardiopulmonary rehabilitation centers, emergency departments, sleep disorder centers, community hospitals, and other types of clinics. Students who thrive in the School of Health and Rehabilitation Sciences possess a variety of characteristics including a desire to help others, a desire to work in a health care setting, an interest in learning a specific technical skill set that can be applied immediately when entering the workforce, the ability to maintain ethical and legal responsibility towards patients in the health care profession, a desire to develop leadership, and an interest in being an integral part of the health care team. All of the majors within the School of Health and Rehabilitation Sciences have a competitive admissions process. They require a minimum merged GPA of 2.5 in order to be eligible for admissions. They require certain prerequisite coursework, which varies by major, to be completed before admission. And they require an application process, which in some cases includes observation hours, a personal statement, and or an interview with faculty members. Although 2.5 GPA is the minimum to be eligible, historically students who are admitted to these majors have an average GPA between 3.4 and 3.5. Applications are recommended during a student's first year if a student is eligible and has completed the admission prerequisite requirements. For some of the programs, applications will continue to be accepted during the second year. Most HRS majors have highly structured curricula, so it is important to decide on them early in your undergraduate career. If you're interested in one or more HRS majors, we strongly encourage you to consult with an advisor to determine the application cycle for your program of interest and make sure you're scheduling classes appropriately. With the exception of Health Sciences, all of the majors accept applications once per year, and for most of the programs, the curriculum in the major begins during the autumn term. Health Sciences admits for both autumn and spring. You can access the application through the Ohio State Professional Admissions website. In addition to the actual majors, the School of Health and Rehabilitation Sciences also has a pre-major option for interested students who are confident of pursuing an HRS major but not yet eligible to apply. Students who have a cumulative GPA of at least 2.5 and have completed at least 12 hours at Ohio State are eligible to switch into the pre-major. To change majors or meet with an HRS advisor, you must complete the online major information session available on the HRS website. As always, you are welcome to meet with any advisor in university exploration if you have follow-up questions. You can schedule an appointment with us by calling<PHONE_NUMBER> or by stopping by our office in 352 Denny Hall.


Well, this is my first time at CNI. I'm terribly excited to be here, more than a little bit fearful. I have only been a resident of the library for about a year and a half, having begun my career and had what I hope is just but the first part of it, as a professor in the Department of Classical Studies and only recently a joint appointment to the library as well. So I'm here today to give you a bit of an update on an effort that's underway at the Duke Collaboratory for Classics Computing, which is a three-person team in Duke University Libraries, which consists of myself. I'm a professor of Classical Studies and History and now jointly appointed in the library. And my two colleagues, a couple of brilliant software developers, Hugh Kalis, who is a Classics PhD and a librarian and a software developer, and Ryan Bauman. Our mandate is essentially research and development of tools and services that furnish core infrastructure to the various fields that fall under the general domain of Classical Studies, but whose impact we hope will reach well beyond the walls of that rather narrowly construed discipline. And we're able to do this exciting new thing in no small part thanks to the generosity of the Mellon Foundation, which I am absolutely thrilled to acknowledge. The project I'm going to talk about today is called IEDS, Integrating Digital Epigraphies, and builds on work that we've been doing for about a decade now in epigraphies much younger and much kinder sister discipline. Attending an epigraphic conference was once described to me by my advisor as like walking into a room full of velociraptors wearing a suit made of pork chops, which I assume is why the audience is the size as it is for today. So first, I want to give you a little bit of a word, a little bit of introduction to a project that we spent a good bit of the last decade working on. Again, with the generous support of the Mellon Foundation, has a way of furnishing a bit of context and introduction to this other project that's underway called IEDS. So the late 19th century, in the late 19th century, documents written on papyrus, antiquities paper, this is our word paper, started coming out of the dry sands of Egypt. We discovered letters, tax returns, love mail, hate mail, marriage contracts, divorce agreements, sales, leases, receipts, magical potions, petitions, administrative correspondence, minutes of court proceedings. The list could go on and on. These things, as you are seeing up here, are pretty fantastic. This is a letter from a husband to his expecting wife, with particularly awful instructions. These things, in other words, are fascinating. And they can be hard to deal with as well. They're often damaged. The Greek is non-standard. These documents cover an array of highly technical subjects. Their provenance is tricky. Their chronologies are tricky. The barrier to entry is just very, very high. Well, one result of this is that from the very beginning of the field, the curation of the physical object and the scholarly interpretation of the text born on it have always been intertwined. Collaboration has always been necessary from the very beginning of the discipline. Moreover, since the papyri offer almost our only clear view on the kinds of things that appeared in ephemeral documentation, our only part of classical antiquity from which women's voices are directly heard, for example, their contents are of really very wide interest, not just to technically-minded specialists, but to normal people, with the result that accessibility has also been in imperative from the very beginning of the discipline. And finally, libraries have historically been the owners, conservators, and catalogers of these objects so that a culture of sharing and work based on clearly developed standards has also been a key development, a key feature of development in this space since the very beginning. Now as early as 1982, pepperology started to develop a number of digital tools to support research in this very technical space. Duke at the lead, I was 10 years old and not yet there. And in the early 2000s, we at Duke started working to integrate these various resources under a common standard in a shared and open environment called papyri.info. Very quickly, we bring together the so-called Duke Data Bank of Documentary Papyri repository of some 60,000 Latin, Greek, and Coptic Egyptian documents written on papyrus in similar surfaces, the Heidelberger Gesamtversichnes, which is a database of scholarly metadata covering more or less the same set of texts, date, provenance, document, genre, controlled keywords, the advanced papyrological information system, a set of institutional curatorial catalog records for many of these same papyri and many thousands others besides, and very importantly, images of the same. The bibliography Papyrologique, a quarterly scientific bibliography of the discipline, and last, a project called Trismegistos out of Leuvin, which is a crazy, varied and rich set of scholarly metadata on a wide array of subjects from prosopography to onomastics to institutional inventory numbers. They keep better track of inventory numbers than the institutions that hold the objects do. And we brought them together under a site called papyri.info. Now, we didn't just bring them together, but in fact, we allow anyone to create an account, to log in, to add and amend existing texts, to translate them, to redate them, or otherwise change the metadata, and not just the text and translation, but also these institutional metadata records, which in the case of APIS means people in the crowd are in effect authoring or emending the catalog records of institutions like Duke, which is a pretty interesting phenomenon. We then pass all of these through a rigorous and completely transparent, non-anonymous peer review process, eventually push the results back to the canonical repository. This is all citable, this is all permanent, this is all transparent, this is all get in the back end. Now, since going live, about five years or so ago, thousands of already print published papyri have been entered into the system. Hundreds of emendations have been proposed and many of them accepted by junior and senior scholars alike. I can't tell you how many translations have been added, some of them by undergrads, there is a team of undergrads at BYU that is systematically translating the largest archive of Greek documentary papyri from antiquity and passing through peer review by internationally recognized scholars. There have even been documents that have been published directly to the database in effect skipping over traditional print publication. This place has in less than five years become in many ways the center of a discipline. And in that place, we hear, I think, more loudly and clearly than we did before, the voices of graduate students, the voices of our junior colleagues, the voices of women who constitute now 50% of the editorial board of the project. There is among cognate journals in this field, I don't think a single one that can boast those kinds of numbers. So far as I can tell, there's been no blowback about the non-anonymous peer review. We gently told one colleague who tends to be a little mean that his meanness would be a possession for all time and exposed to everyone. And rather than quit, he promptly started being nice. Who'd have thought? There's, so far as I can tell, no reluctance on the part of junior scholars who are afraid that if they do their work here, they won't get tenure. And as far as I can tell, no reluctance on the part of senior scholars who are afraid that this is a piece of junk. It is great and it works. So fresh from this experience, it took about a decade and wasn't terribly easy. We decided we'd try to create something similar for Greek epigraphy. This is what I'm gonna talk about today. Now, epigraphy is the study of public documents carved on stone and erected for all to see. And antiquity was just carpeted in these things. Maybe something like 500,000 of them in Greek survive and somewhere around 300,000 published in some form. Countless thousands of those republished many times over in many print editions. In this space, we have laws and decrees, oracles and sacred regulations, letters from kings and emperors and letters back to them, records of interstate arbitration, funerary epitaphs by the thousands, hymns, inventories, financial documents, building contracts. Again, a very huge variety of document types in very, very large number from across the footprint of Greco-Roman antiquity spanning in effect from Ireland to Afghanistan. Again, this is a situation in which there is a very high return on scholarly investigation into this domain and also one with a very high barrier to entry. This isn't very clear on my screen, but I hope what you can see is not much of an inscription. Now, all of the complexities that in here in the study of papyri belong in this space as well and plenty of others besides. The texts are more numerous by an order of magnitude and come from a wide range of ancient places and no less significant perhaps even more so modern nations which tend to have potentially different dispositions with regard to how nicely they play with others when it comes to their cultural heritage. The date and provenance of these documents is often much harder to control than as is the case with the papyri and many, many stones are now lost or destroyed owing to war or other misadventure. And the objects tend to be housed in museums rather than in libraries with the result that the field's disposition to openness is often quite different from that of papyrology which tends to be driven by libraries. So here too, the work is hard and just too vast to do without collaboration. There aren't enough epigraphists to do this work. There aren't enough papyrologists in the world to do this work. The very best papyrologist ever to live, Herbert Udy who did nothing, had no teaching responsibilities and whose window in the office had a direct line of sight to the window in his house and his wife would wave when it was time to do things like eat. He said working full time he could edit about one papyrus every two weeks. That's 26 a year. There are 180,000 in Vienna, another 150,000 in Berlin. This is not the work that even a handful of the Michael Jordan's of papyrology and epigraphy can just do. But on the bright side, in the case of epigraphy as in the case of papyrology we are fortunate to be graced by a number of very useful tools. So part of what we're doing with this project that we call IDES is to bring together a handful of tools that already exist, clean up the data in certain ways and start to build capacities on top of that. Before I describe what's available here in the work we've started to do, I'll offer a word on what we hope eventually to help contribute to. That is the kind of thing we fantasize about in our joint space in the library. And this is a world in which say an undergraduate studying abroad or a tourist or a citizen who's concerned about risks to cultural heritage sites can download a simple smartphone app, snap a photo of an ancient inscription, upload the image to their flicker account or whatever and also the metadata including who they are and the geo coordinates under an open license to our institutional repository. Something that triggers a set of processes that verify whether we have other images of the same. We're pretty good at that right now. And ask the user, is this the stone you're looking at? If so, we think we have another photo of it here in the archive. The student casts the vote, yes, no. We record and attribute that vote. Align the image with existing transcriptions if possible. Again, asking the user, we think this text has been published already. Does this look like the Greek text you see on the stone? User casts a vote, yes or no. We record that. Alert the reader to relevant secondary literature on the object if we know any about it. Now, we're not yet there, but we've made a start. And again, working with others as we did with the papyri. As I mentioned, Greek epigraphy is fortunate to have several substantial online tools at its disposal. And all of them, though, are derived from prior and in one particular case, a concurrent print resource, which turns out to have really considerable impact on the development of linked approaches to collaboration across the multiple resources, which I'll get to in a minute. So first, the Packard Humanities Institute, which has been for, I don't know, 30 years now, digitizing something like 220,000 transcriptions of ancient Greek texts from inscriptions. Thousands of these texts exist in duplicate editions. Each edition carries a unique identifier, but there is no such thing in this project or any other as an identifier that corresponds to the object from which these multiple editions derive. We control only bibliography, not the objects, in other words, as is done in print. And texts are named and discoverable by a system of abbreviated bibliographic reference that is intended to be read by a human rather than by a machine, some of which is in reasonably wide use, much of which is not. That is, the names by which they call things are not the names by which most other people call things, but that's okay. Second, the Supplementum Epigraphicum Graicum, or SEG, is an annual publication that summarizes books and articles that concern Greek epigraphy in some way. And it's arranged and cited by volumes and sequentially numbered entries within those volumes. It's tens of thousands of entries feature hundreds of thousands of citations to published inscriptions. This digital project is the successor to a print project that began about a century ago. SEG began its life that long ago on paper and continues on paper as well, concurrent to its digital instance. All past volumes have been retro digitized and as a few volumes ago, each new volume appears both in print and online at more or less the same time. Most but not all of these hundreds of thousands of references have been extracted from the digital versions of the records by a combination of machine and hand processes and reside in a series of XML files, which the director of the digital effort very generously shared with us. Now these citations also use a system of human readable abbreviated bibliographic references, which only partly overlaps with that of Phi. Also like Phi, SEG has no control over objects, only over these semi-standardized bibliographical references to the objects. Now I mentioned 28 minutes ago that thousands of these texts have been published many, many times over, repeatedly in journals and books as is the standard practice of the field, each time each new publication getting its own newly minted abbreviated bibliographic reference. Well the Dizionario Grego Espanyol years ago decided that if they wanted to cite Greek inscriptions, they had better keep track of republications. Nothing would be more embarrassing than citing the 10 instances of a word as appears in Greek repigraphy only to have someone point out that you just cited the same inscription that has been republished 10 different times. This has happened, you don't want it to happen to you. So they invented yet a third system of abbreviation and started entering the indexes of journals, books and articles that refer to inscriptions into a database that they've called Claros. And there exist here more than a million and a half pairs that in effect take the form of an index for publication X, C publication Y, all right? These doublets contain no more semantics than that, no verbs, these are not triples. They just entered thousands of indexes, A, B, two columns and they have 1.6 million of those. They do not distinguish, publication X is a republication of the text found at publication Y, for example. From publication X contains a translation of the text found in publication Y. From, for example, publication X contains a totally unrelated inscription but which nevertheless was carved on the back of the stone that contains the text published in publication Y. Just A, B, all right? They just entered indices. These are really profound differences and like the others, Claros also can't control objects but only references to them. So all three of these projects feature data the extent of whose semantics is essentially for this, see that and we have those by the millions, all right? All using only partly overlapping naming systems. In effect, all three projects have operationalized in the digital space the logic of a print object and especially the index. The impact of this is really profound if you wanna actually build something atop that where the semantics are of the utmost importance. Okay, so at the risk of overwhelming you with details I'll mention just a couple more and I'll try to wrap it up at around the 23 minute mark so that we can have some discussion. Now of course, thousands upon thousands of inscriptions are referred to in published secondary literature. In almost all cases using yet different systems of bibliographic abbreviation. JSTOR has very kindly shared both page images and OCR for classics journals with us so that we've been able to start extracting some of these bibliographic references. This of course is not easy because a standard epigraphic bibliographic reference looks like this which is totally unambiguous to a person or at least to an epigraphist pretending to be one and is also very difficult on a machine in order to get good OCR recognition or machine parsing of what is here both a bibliographic citation and a citation to the document structure collapsed into one. This is a real bear to OCR right and then for us to pull out of the data and align with the other resources that we have. And finally each year countless students and tourists photograph inscriptions in some cases inscriptions for which there is no previously published photograph anywhere. In other cases inscriptions that have been thought that are thought to have been lost and put them up somewhere online on places like Flickr and we've started harvesting open licensed images of inscriptions from Flickr and based on a training set of a couple thousand hand verified text image mappings we're now able to a relative degree of accuracy to group multiple images of the same inscription which is a non-trivial task and much more interestingly we're now on track to being able to map computationally images of inscriptions to existing transcriptions where they exist using humans then only to accept or reject alignment candidates. That's going to be spectacular when it's in a place where I can show you and we can talk more about that if you like. The first point I wanna make here is that a number of projects have collected a mountain of data painstakingly in some cases over a century for the most part exacting and reliable but done under the reigning logic of the day that is the print book not anything that we can use out of the box now. Second, our partners have been extremely generous about sharing there has been no barrier to cooperation here and these are projects that have variously different funding models SEG is a publication of BRIL which is in the business of trying to make an awful lot of money and it's to their incredible credit they've been so generous in sharing data with us. Third, the semantics of the data however are so lean that it's nearly impossible to leverage the work of one of the projects to the benefit of the other without doing a lot of heavy lifting and the heavy lifting is what we've been about. We want for example users to be able to assert in a stable and sightable and vetted way that the text in one database has been translated in another and in yet another has a corresponding image that shows that the text should be reconstructed in some different fashion which it turns out runs contrary to an argument advanced in an article that happens to be in JSTOR. Nothing like this is even almost achievable now in this space despite the wealth of information that looks like it ought to be relatable to each other. To be able to support this we'd have to in the first case be able to mint unique IDs for the epigraphic objects not the derivative editions of them which is the box within which all epigraphists think today to relate publications of the same to those objects and to each other in controlled and semantically rich ways. We need to be able to say that X translates edition Y which is an edition of inscription A. We need to be able to attribute complex assertions about these relationships. Mary says that translation X has to be changed in accordance with Fred's new proposed correction which itself was offered in the light of a newly identified fragment of that same stone. This kind of thing happens all the time in this trade and we have no way of controlling and providenceing those kinds of assertions. So the first step here is to parse and align the millions of semi-normalized only partly overlapping bibliographic references to these publications that we've harvested from Phi, from SEG, from Klaros, and from JSTOR doing our best where we can to infer some semantic significance from the structure of the data. SEG, these entries are written in prose and they have developed a kind of structure to them so that we can tell when the first string that appears in an entry is a non-word and seems to be an epigraphic citation that the entry is in fact about that text, principally not just mentions that text. And if it is followed by another reference that is in parentheses but not in square brackets then this was the convention for indicating that this was an addition that superseded a prior addition, right? So there's some semantics that we can squeeze out of the free text that comes into us. Not a whole lot, but some. Our first pass at this lives in a project, lives at ides.io. So I'll just walk you real quickly down what the human interface looks like right now. This is meant for machine consumption and right now we just have the human interface for debugging. So let's say I want to go visit an inscription that humans call IG1 cubed 40. I drill down to what we think we know about IG and from there to what we think we know about IG1 cubed and from there what we think we know about the document called number 40 within IG1 cubed 40. You can see here that we have minted a unique identifier for the object, not for the bibliographic reference to it and will later support annotation that allows users to lump and split things against the identifier so that we can start to clean up the gigantic harvest of publications. You can tell that we've been able to infer from the data that this addition supersedes to others where it says sites. These are prior editions of the same text and we just had to sort of with some gymnastics infer that from the structure of a variety of records and we've been able to infer that this text is the main topic of a bunch of SEG entries that it is cited by a number of other resources and by hitting the JSTOR API just for these three strings that we know of as common references to this object not as their other cognate bibliographical representations were able to pull in articles that cite them. There are no open licensed photos of this stone on Flickr if there were, you'd see. So the next step which we've only just begun is a user interface that allows users to create new relationships, to modify or deprecate existing ones, to mint new identifiers where for example a composite text has to be split up to deprecate old ones where for example previously discreet fragments are conjoined. Again this happens all the time in this field and in general to allow users to add the kind of rich semantics that the data streams that we have by enlarge lack that is to add in a general way to the vast property graph that stores these provenanced and contingent relationships behind all of this that I'm showing you now. Now this is only a part of the effort. We've also started similarly hair-brained and massive effort to align geospatial data associated with these inscriptions that we pulled out of PHY and SEG aligning the very loosely standardized representation of provenance in those resources with the much more closely vetted geodata in Pleiades, a vetted gazetteer of ancient place names, and with the crowdsourced data from geonames. And we've just started to align that set with the recently released Getithosaurus of geographic names. If I start in on this we'll never get out of here but the basic point here is that the geodata is as gnarly and horrendous and semantics free as the publication data are. Okay, so eventually what I'm showing you up here is just that we have a variety of very preliminary APIs that allow you to get different representations of the data out of the graph. So eventually IEDS means to be at least two things. First of all, the future basis via a set of services, tools, trusted repositories for curating the relationships across digital epigraphies, multiple resources. And in the meantime, the place and mechanism for in effect redoing to modern machine actionable spec, not just the 19th century's enormous effort at an initial pass at data creation but also the late 20th century's effort at migrating all of this to digital, both of which need to be redone from the very beginning or else we'll build nothing on top of it. Now, neither of these endeavors I fear sounds very sexy or perhaps even very fundable but they are I think the sine qua non for meaningful collaborative network based progress in this field. There is no other way forward than one that begins with redoing two centuries worth of work. It's worth it. That's where we've been concentrating our efforts with IEDS and we'll either crack it or it'll crack us and we'll find out which of those is the case soon enough. So I thank you for your patience and let's get the details if you like it.


Etiquette rules in four different Middle East countries. If you want to be a TEFL teacher around the world, it is important to make sure you are as well prepared as you can possibly be before entering a classroom. It is equally important to have a good understanding of the country and culture, you are hoping to make your home while you are teaching. Below we look at some important aspects of Etiquette in different countries in Middle East. The Middle East is an area with a reputation of modest conservatism and while this differs in degree from country to country, visitors are generally expected to behave in ways respectful to the Islamic faith of the region. Saudi Arabia. It is polite to bring a gift to someone's house if you are invited. When eating, only use the right hand as the left is seen as being unclean. It is also polite to try everything that you are offered during a meal. If you are given a gift, it is usual to open it later. Men greet each other with a handshake. If they are good friends they might kiss on each cheek also. Women usually hug and kiss close friends. Members of the opposite sex do not greet each other if they are not related. Show respect for elders by greeting them before others. United Arab Emirates. Do not cross your legs when sitting and avoid showing the soles of your feet. The left hand is considered dirty and should not be used when eating. Modesty in behavior and dress is expected from locals and visitors alike. It is common to take off your shoes before entering a building but you should look to what your host does or asks you to do. Men greet each other with handshakes or a kiss on each cheek if they know each other well. The thumbs up gesture can be considered offensive. Bahrain. People are expected to be punctual. If you are invited to a person's home you can give them a small gift. Gifts are given with two hands and are not open when given. Greeting is usually done with enthusiasm and pleasure. It is important to smile and maintain eye contact. Expect a certain amount of small talk when greeting each other. It is important to use a person's title with their first name, and you should not use their first name only, unless you have been invited to do so. Jordan. Avoid discussing Islam and the King of Jordan. Also avoid public shows of affection. As with many non-Western countries the left hand should not be used for eating. Shake hands with people when meeting them, but be aware that some women may not want to shake hands with a man. Women from Western countries may shake hands with anyone but again, Jordanian men might find this inappropriate. Are you ready to teach English in the Middle East?


Welcome with us folks. Always a pleasure to have you with us. This one's about SPCE that we traded today. The ticker was extremely bullish, after a successful flight on Saturday, after a neutral to outperform upgrade this morning, and after an increasing amount of volume, if you see from right here, this was Thursday and Friday. These were big volume bars from these two bars here were Thursday and Friday. So increasing volume ahead of the flight, and after the flight you get an upgrade, we're bullish on this. Now, many of you got stopped out. I believe many of you are trading with a PNL attached to your computer and you're only watching your PNL. Now I'll show you how to rely more on a stop loss that will be dictated by support level or price level. Now, let's see this again. When you look at this chart, you have to see where support and resistance is from a long time ago. We're not only looking at today or intraday, we had broken above this line here when the market opened and we were above this line. So basically this line is an old line that we have to be above or under, right? And now let me put this line for you. So it's really close to 2375. Bottom, top. Let's scroll back to see how this works. Oh, again, top right here in the middle of my screen, you see it's holding as support just before in October. It was resistance. Let's scroll back again and see how it goes. So basically we are at a pretty decent line, a little above, a little below, but very close to it. Now let's go to the one hour chart. One hour chart, 20-day one hour. This is telling you something, right? It's telling you that it was resistance, went a little above it and then it started coming down. Now I was pretty happy with that line. That line looks pretty strong to me. So the idea was if we get, you know, from this big gap up, if we get a drop down to this line, I'll be happy. However, it looked to me on the one minute and I'll show you the one minute after the open. It looked as if we were not getting there, right? We started coming down, take this here, started coming down and we were starting to get bullish right here. So around this area, we alerted the trade for an entry on the call side. We moved up. The premiums were moving very, very quickly. Look at what happened afterwards. It came down pretty much on that line, that 2375 line that we had resistance about, you know, less than 20 days ago. We went up again and went down, looked for new buyers and then we were really hugging that line pretty much, right? I'll show you something else. Let's see the five minute chart, what it looks like. Five minute will tell you something else. Look at this, how we're very bullish and how when we're closing in on that line, volume is decreasing very rapidly. So in the end, we were in a little early and we came down to our support, which in the end was really the best entry point that we could have had. So if you're looking at your P&L, you could have been red at this point, obviously, but the idea is not, oh, I'm red, I'm red, I'm panicking. No, is where is support? What are chances of flushing down below and why would be flushing down below? Sometimes there's no reason we flush for no reason, but in this particular case, after, like I said, an upgrade that was really bullish after a successful flight and after this huge volume, you get something that we know will start moving at some point. So once you're in and you're looking at possibilities of having something that is bullish or bearish, you can also look at who else is buying. And if you looked intraday, you probably saw that some fella bought 2.75k worth, 74k, sorry, worth of 38 options, 38 calls for somewhere in October. And there was somebody else bought 813, 32 calls for July. That's a pretty big amount of money. If you're looking at something that is bullish and out of the money, both of these people were, in my opinion, this particular guy was above the ask. And above the ask makes it a lot more bullish than you can think of. So basically these were all traded at around 10 o'clock, better entry than we had. However, you see that people are bullish when we start getting there and in the end it started to be ramping up. So we ended up entering a little early. However, the target was still the same. My first target was the test of that pre-market. We were bullish, became bearish, and we stopped. Right at this point, well, I suspect that this point is going to be tested again, which happened. So this is first target, first exit, and then we ended up selling half of the remaining position at 100% and keeping the rest for a possible ramp up on the next few days. But we were into money, everyone was happy, and the idea was to get to 25 because we were playing the 25 calls for this week. And this is a simple explanation of how you need to determine ahead of time where your stop-loss will be. Not a percentage point, but literally a line in the chart that you're happy with. Sometimes it will dip a little below, but you need to be very strong about your line knowing where it is and knowing where to exit. Because knowing where to enter is one thing, but knowing where to exit is where the money is. I hope this helps you out and I'll see you again shortly for another great win. Take care, folks. Nice to have you with us.


In other parts of Africa, the United Nations Children's Fund UNICEF says more than 150 children have been separated from their families, and more than 170 others are feared to be missing in the Democratic Republic of Congo's Goma district. And that's due to the horrid episode of a volcanic eruption in the country. The volcano cost thousands to flee the city of 2 million people. UNICEF reports indicate that up to five may have died during the evacuation, and some houses have reportedly been lost in the north of Goma. UNICEF added that more than 5,000 people crossed the border into Rwanda from Goma, and at least 25,000 were displaced in Saki, 25 km northwest of Goma.


Waiter. Yes, sir. I'll have some cold salmon, some potato salad, and a cold bottle of Pap Blue Ribbon. Yes, sir. Finest beer served. Anywhere. From Hollywood, Pap's Blue Ribbon. Finest beer served. Anywhere. Proudly presented. Production, Mr. Blandings builds his dream house. Director, H.C. Potter. Hollywood screen directors present a blueprint for laughter. Mr. Blandings builds his dream house. Starring Carrie Grant and introducing the director of the film, H.C. Potter. A lot of motion pictures can ordinarily be expected to satisfy anyone's urge for creative achievement. But not our guest screen director tonight. For he's also the director of such significant Broadway plays as A Bell for a Dono and Anne of a Thousand Days. On the screen, he's brought you such fine entertainment as Mr. Lucky, the farmer's daughter, and tonight's story, Mr. Blandings builds his dream house. Ladies and gentlemen, Mr. H.C. Potter. Thank you. People laugh at most comedies because something funny happens to the characters. But in the case of Mr. Blandings, they laugh because the joke was on them. As millions of Mr. Blandings saw themselves discovering the ferocious fact that homes are built, not born. Now, Mr. Blandings builds his dream house for the first time on the air, starring Carrie Grant in his original role of Jim with Francis Robinson as Muriel. Man was once a carefree fellow who swung happily through the jungle trees, every man his own toss. But then he wanted to get out of the trees and into caves. Then he yearned to get out of the caves into a house. He's still yearning. This is the story of Jim Blandings, New York apartment dweller, who yearned to get out of his cave. Tall, good-looking, college graduate, advertising business, VP in charge of the Wham-Ham account, has two fine daughters and one lovely intelligent wife named Muriel. I'm Muriel. Every morning in our apartment we fought for firsts with the bathroom, the big bonanza. Started first thing in the morning. I'd open one eye and there would be Jim nuzzling the furniture like a strange dog. Looking for something, dear? My socks. Aren't you looking your sock drawer? That's where I found my underwear. Try your underwear drawer. I am in my underwear drawer. Well, what did you find? Your underwear. Then the great American bathroom derby. And there goes Jim Blandings and odds on favor. He's at the door, he opens it. That was Betsy, age 10. Joan has a different screen. Seeing what they were in our apartment, Jim would shave while I brush my teeth. Oh, Muriel. Sorry, did you cut yourself? I cut myself every morning. I kind of look forward to it. Bill Cole uses an electric razor. Bill Cole does not have my beard. Bill's beard is just as tough and stubborn. I am not interested in discussing the green and texture of Bill Cole's hair follicles before I have my orange juice, please. And so forth. Until one morning Jim saw an ad in the paper. Listen to this, Muriel. Forced to sell, farm dwelling, original beams, oak grove, trout stream, meadow, superb view, will sacrifice. So? Spends six, seven thousand dollars. We can have a home of our own, a dream house. Oh, Jim, do you really think we could? Doesn't cost anything to look. There she stands, folks, the old Hackett Place, finest old house in Connecticut. My, it's just charming. Dear, we're just looking. First year she was here, General Gates stopped right there to water his horses. Yes, sir, if you act fast, you can get that place for steel. And I mean a steel. Tell me, Smith, what are you hoping to get for that broken down old relic? Well, we're asking ten thousand dollars. Ten thousand dollars? He's asking. How much will you take? Ten thousand dollars. That's more like it. We'll take it. Good morning, children. Good morning, Mr. Brandon. Good morning, Father. Good morning, Muriel. Good morning, dear. I'll go get you whammin' eggs now, Mr. Brandon.  Yes. Well? Our teacher, Miss Stellwagen, says the current craze for modernizing old farmhouses is a form of total worship. Oh, Miss Stellwagen does, huh? I was just thinking, Jim, ten thousand dollars was more than you wanted to pay for a place. It was a steel, Muriel. It was larceny. Shouldn't we see a lawyer? Bill Cole would have... Well, for once in my life, I want to make a decision without Bill Cole. Well, he's your lawyer. Only because he was your old college beau. Now, I don't want Bill Cole puttering with this. That's final. No Bill Cole. There's our house, Bill. What do you think? Oh, well. Just a few shingles. Oh, it's a nice old house, Bill. It just needs someone to love. It's a good thing there are two of you, one to love it and one to hold it up. What did your engineer say when he checked the foundation in that roof? Who needs engineers? This isn't a train. I just saw it move. Now, look here, Bill. It so happens that General Gates stopped at this very house to water his horses. I don't care if General Grant stopped in for a cold beer. You're getting rude. Jim, uh, you don't think we've made a mistake? Oh, now listen to me, both of you. I've gone out and found what I'm not ashamed to call my dream house. It's like a beautiful painting. You buy it with your heart, not with your head, because it's beautiful and you love it. And when I sign those papers Saturday, I can look the world in the face and say it's mine. My house. My home. My 50 acres. Our house. Our home. Our 50 acres. Well, all right. You better let me have Joe Apollonio look the house over for you. Who? He's the man who advised the government not to raise the Normandy. They didn't listen to him and wasted five million dollars. Bill, you have my word. If I were raising the Normandy, I wouldn't make a move without Joe Apollonio. I guess goodbye for an old college chum and I'll be on my way. I'm going to look around inside again. Uh, coming along, Muriel? Jim, the porch floor! Just stand there and get me out of this hole! Bill? Hey! I guess you'd better get in touch with Joe Apollonio. Any small changes in this house, Mr. Apollonio, would have to conform with the character of the countryside. And still be functional. Well, Mr. Apollonio, what's your professional opinion? Tear it down. Tear it down? Tear it down. Get yourself an architect and build a new house.  Build a new house? We certainly will not get an architect. Build a new house? The idea. Indeed. Yeah. Four experts later, we got ourselves an architect and had the old house torn down and began to discuss plans for a brand new house. And lots of closet space, Mr. Sims. If there's one thing this family needs, it's closet space. Closet space. And bedrooms, Mr. Sims. Four big roomy, airy bedrooms. Four bedrooms, Mr. Blandings. And each bedroom to have at least one bathroom. And with your limited budget, couldn't you do with one less bathroom? Well, of course. Absolutely not. It'll save $1,300. I refuse to endanger the health of my children in a house with less than four bathrooms. Muriel. Muriel. For $1,300, they can live in a house with three bathrooms and rough it. Mr. Sims.  We must have a bar. Of course. What else? Just one thing. Keep the cost down to $10,000. Yeah. Jim, you've done it again. Done what? What's wrong, Bill?  What if he did? What of it? Wasn't anyone aware of the legality involved? What did I do? What did I do? Tell me. Didn't you realize that you're dealing with Ephraim as Hackett? Will you tell me what crime I've committed? Jim, what in the world did you do? I don't know. He won't tell me. You merely tore down a house on which Hackett held a $6,000 mortgage, which now becomes fully payable if on demand and Mr. Hackett does so demand. Well, we get it. Well, I suppose I could turn in my insurance policies. No, Jim. Not yet. Now, rather than see you do that, I'll be glad to sign a note for that amount. Oh. Thanks, Bill. Yeah. Forget it. Well, kiss goodbye for an old college chum, Muriel, old chum. Huh? Goodbye, Bill. Hey. So long, Jim. Bye. What a wonderful friend. Well, what's with this kissing all of a sudden? Lately, every time he leaves his apartment, he shakes his hand with me and kisses you. Would you prefer it the other way around? Well, I don't like it at all. Why doesn't he get married or something? Because he can't find another girl as sweet and pretty and wholesome as I am. Oh, darling. It isn't, Bill. It's the house you're upset about. Yeah, I suppose so. It isn't too late to change our minds about the house, Jim. So far, our $10,000 house has cost us $24,698.45. Well, there's one thing you've got to admit. What? We've got the prettiest vacant lot in the state of Connecticut. Well, listening to Screen Directors Playhouse, starring Carrie Grant in Mr. Blanding's Builds His Dream House, and introduced by the director of the film, Mr. H. C. Potter. You are in Detroit. It's quitting time. You, hot and tired from the day's work, push out through the factory gates. Right now, you'd give your wilted shirt for a cool breeze. Wait a minute. What's that sign across the street in a cafe window? Oh, brother. Haft's Blue Ribbon, finest beer served. Anywhere. Yes, during these hot July days, you're just one of millions of men all over America and that Haft's Blue Ribbon sign means welcome relief. For Haft's Blue Ribbon does something more than quench your thirst. It gives you taste. Blue Ribbon taste, the kind of taste you can't get anywhere else in the world except in that Haft's Blue Ribbon bottle. And fortunately, you can get that Blue Ribbon bottle all over the world. Yes, you hear it everywhere, in Detroit, and Dayton, and Dallas, and Davenport. Haft's Blue Ribbon, finest beer served. Anywhere. Your taste will tell you why. Now, back to our screen director's playhouse, production of Mr. Blanding's Builds His Dream House, starring Carrie Grant. They cleared the ground for the house. They began digging. They struck solid rock. They had to blast it. Blast it? It was now $27,000. And down at the office, Jim's deadline for the new slogan for wham was getting nearer. Mary. Yes, sir. How about this? When you want a snack of ham, why not take a whack at wham? You want a professional opinion? Never mind. The highly touted trout stream dried up. We had to dig a well. At four and one-half dollars a foot, Jim thought he ought to have a word with Mr. Tassander, digger of wells. Mr. Tassander! Oh, Mr. Tassander! Yep, how's it coming? Oh, it's coming. Mr. Tassander! How far down are you? Oh, about 190 feet. Well, isn't that pretty deep? Yeah. Have you hit anything at all? Hmm, hit some nice limestone yesterday. Limestone? Yeah. Oh, swell. Nothing on a hot day like a nice cold glass of limestone. Oh, nothing. Go right ahead. I'll just slink back to my office and drop the petty cash. Wonderful to relate. We had our well at last. In fact, we had two wells. One in the yard and another in our basement, six feet down. How do you explain it, Mr. Tassander? The man hit good water in my basement at six feet. And over there, just 25 yards away, you had to go down 227 feet to hit the same water. Yep. Well, how do you account for it? Well, the way it seems to me, over here the water's down around six feet. And over there, it's down around 227 feet. Yep. For this dish. Gussie. Not wham again. I love it. I hate it. Gussie, I spent eight long hours a day selling this stuff. I know all about its succulent goodness, its sugar-cured tenderness, its vitamin-drenched convenience. Oh, you don't have to sell me, Mr. Blandon. I like it. Beef and lamb. Binds and day under the height of me, wham. Dear, Bill's driving me out to the house again today. Every time I turn around, Bill's driving you out to the house. He's only being helpful. I thought he was a lawyer. Why isn't he out suing somebody? Hello? Oh, good morning, Bill. Oh, give him my love. What? Oh, that's outrageous. Just what does the owner of this apartment mean? I've got to move in 30 days. Oh, fine. I know my rights. I have no intention of moving in 30 days. No. No. Well, how can I move into a house without doors and windows? This is not legal, and I want you to fight it. I don't care if it takes every penny I've got. I am not moving. Right. Yeah. Yeah. Yeah. All right. Well? We're moving in 30 days. We've moved in 30 days into a house with no doors, no windows, and no carpets. We walked around in our overcoats, and at no time did General Eisenhower drive up to share a cup of hot toddy with us. Instead, the green-eyed monster showed up at all devil jealousy, because Jim, while unpacking, came across Bill Cole's fraternity pin and my college diary. He didn't say anything until just before we went to bed. I merely asked a question. What is Bill Cole's fraternity pin doing in your jewel box?  Jim Blandings, I think you're jealous. And his name all over your diary. Oh! Now you've been reading my diary. Well, it just happened to fall open. I'll just bet. If you were so crazy about the guy, why did you marry me? I'm beginning to wonder. Maybe it was those big cow eyes of yours.  Or maybe I just happened to fall in love with you. Don't ask me why. Oh, Muriel, I'm sorry. Sometimes I act like a schoolboy. Forgive me. Oh, Jim. Oh, why do I love you so much? Peace? Darling, it's awfully late.  Well, what for? The windows are all out anyway. You better get to bed. Do you think the mattress will hold on these four chairs? Certainly. Good night, dear. Good night. Good evening, Danton and Baskham advertising. Oh, yes, Mrs. Blandings. He's right here. It's your wife, boss. Yes, Muriel. Yes, it's raining here, too. Well, no, I'm sorry, dear. I can't make it for dinner.  What? Bill is coming to dinner. Bill. Oh, all right, Muriel. I've got to get back to work. Bye, Muriel. Bill. Boss, how's this for a slogan? East is east and west is west. Ham is ham, but wham is best. Sorry. Wait a minute. How's this? If you'd buy better ham, you'd better buy wham. That's boil petroleum. You better buy oil. You better buy boil. I can found those monopolies. Wait, wait a minute. I've got it. Win with wham. The ham that came from behind. Brother. Well, by five o'clock in the morning, Jim gave up in disgust and started out for the house. Jim, dear. Good morning, Muriel. Oh, you must be exhausted. How'd it go? Oh, fine, fine. Oh, Muriel, I can't seem to find Jim's other slippery. Oh, hello, Jim. Morning, Bill. What brings you... What are you doing in my pajamas and dressing gown? Well, how would I look without them? Bill had dropped in and had to stay all night when the bridge was washed out. Yeah? Slept like a rock. Rock? Slept like a rock. Last night was in lands there. Gussie wasn't here last night? Lansdale. I saw the girls at the Williamses. They'll be along for breakfast in a minute. The children weren't here last night, either? Visiting the Williamses. Williamses? If you'll excuse me, I'll slip into something more comfortable. Williamses? Now, Jim, you're upset. You've a lot of things on your mind. There's only one thing on my mind. That's not what you're thinking. Well, maybe I'm thinking I was once a happy man. I didn't have a closet and I didn't have three bathrooms, but I did have my sanity, a few dollars in the bank, two children who loved me and a wife I could trust. That's a fine thing to say. I also had a job, something I don't have at the moment. Jim. I'm resigning, and I blame this house for everything. You love this house. I hate it. Anybody who builds a house today is crazy. The minute you start, you're on the all-American sucker list.  Take out the hand, they find more pockets. It's a conspiracy against every man and woman who want a home of their own, against every boy and girl who were ever in love, against... Excuse me, Mr. Blandings. What do you want, Mr. DeSander? We've got our will. There's a matter of $12.86. $12.86. Why be a piker, Mr. DeSander? Take everything I've got. Here, take my watch, my keys, my pocket money. My driver's license, my wallet. Take it all. Yeah, Mr. Blandings, you don't understand. This $12.86, you don't owe me. I owe you. Huh? The founder overcharged Jan the well. Almost three feet. Three feet. Oh, thank you very much, Mr. DeSander. Well, yes, I better be getting along. Sure got a mighty pretty place here. Now, you folks take good care of it. Wonderful man, DeSander. What's he saying? If you ain't eating wham, you... You ain't eating ham. Darling, that's it, the slogan. Give Gossier $10 range. Oh, Jim. Oh, Muriel. Oh, and, darling, you didn't mean what you said. You do love our house, don't you? Oh, Muriel, I don't know. If I had it to do all over again, if I had to put up with tearing it down and architects and well diggers and builders and contractors and bathrooms, if I had to mortgage my future, my job, my peace of mind just to wind up with a house, a simple $45,000 house, if I had it to do all over again. Yes. I guess I'd do it. In a moment, our star Carrie Grant and screen director H.C. Potter will return to the microphone. In spite of the glamour and publicity surrounding Hollywood, most of the movie stars lead a quiet home life, just like you and me. When they entertain, more often than not, they'll serve a simple but delicious buffet supper. A baked wham, perhaps, with potato salad, toasted English muffins, and cold bottles of perhaps blue-ribbon beer. Yes, everything in perfect taste. Blue-ribbon taste. And it's that blue-ribbon taste that makes this internationally famous beer so popular here in Hollywood. For instance, I happen to know that perhaps blue-ribbon is served in the home of Mr. Blandings, who is standing right here beside me. Mr. Blandings, of course, is none other than Carrie Grant. Carrie, it's true, isn't it? You serve perhaps blue-ribbon in your home. James, when beer is called for, it's pabst blue-ribbon. Well, I think it's time that director H.C. Potter and I revealed the truth about the real Mr. Blandings, huh? Oh, you mean the fellow who actually built the house? It's a sad story, isn't it, Hank? Before Mr. Blandings, the inevitable finally caught up with him. His house was finished. He bought his furniture. He planted his lawn. The dream house was complete. And then they came. The little men in white coats. They took him away, Jimmy. Daffy. Leaky faucets. Well, good night, Hank. Good night, Hank. Good night, Jim. Good night, everyone. Good night. And good night to you, Carrie Grant at H.C. Potter. Just remind you that tomorrow is the beginning of the long and glorious Fourth of July weekend. Three whole days of relaxation. You'll be planning picnics and backyard barbecues. Be sure you have plenty of pabst blue-ribbon beer cooling in your refrigerator. It's the delightful way to celebrate the fourth with friends and neighbors and pabst blue-ribbon. Finest beer served anywhere. Your taste will tell you why. Next week on Screen Directors Playhouse, pabst blue-ribbon presents The Big Clock, starring Ray Milland and Maureen O'Sullivan. Mr. Blandings builds his dream house, was presented through the courtesy of RKO Pictures, producers of The Big Steel, starring Robert Mitchon, Jane Greer and William Bendix. Carrie Grant is starring with Anne Sheridan in the soon-to-be-released 20th Century Fox production I Was a Male War Bride. H.C. Potter is preparing the MGM production Europa and the Bull, starring Greer Garson. Included in tonight's cast were Frances Robinson as Muriel, with Anne Whitfield, Don Bender, Fred Howard, Willard Waterman, Frank Gersel, Wilms Herbert, Herb Butterfield, Betty Moran, Ruby Dandridge and Dan Riss. Mr. Blandings builds his dream house based on Eric Hodgins' novel, was adapted for radio by Milton Geiger and original music was composed and conducted by Henry Russell. With the supervision of Howard Wiley, Associate Producer Bill Karn. Listen again next week when Papst Blue Ribbon Beer presents Screen Directors Playhouse, production The Big Clock, director John Farrell, stars Ray Melland, Maureen O'Sullivan. Screen Directors Playhouse is brought to you by the Papst Brewing Company of Milwaukee, Wisconsin, Newark, New Jersey and Peoria, Illinois, and sent your way with the best wishes of the Papst Blue Ribbon Dealers from coast to coast, James Wallington speaking. This is NBC, the national broadcasting company.


Can you tell us your name and where you're from? My name is Bogdan and I'm from the Tri-Cities. And so Bogdan, can you tell us the problem that you were having and the testimony you have to share with us today? So the problem I was having is I had an intense amount of pain in my left ear and I couldn't hear whatsoever. And how did you, how did this happen to your ear? You say you had intense pain, but what happened to you to cause that pain? I was working on it, I was looking under my car and it was parked on a sidewalk. And as I was looking under, the car fell on my left side of my head and that's how I happened. And how long ago did this happen to you? It actually happened last Sunday. And for how long were you having that pain and you said you couldn't hear out of your ear when, how long were you having that pain? Just for the day. And so Bogdan, how did you receive your healing? Well, it was the day that there was home group so I went to home group, we prayed for my ear. I didn't receive it immediately, but the next day I woke up and I heard clearly. Wow, let's put our hands together for Jesus. So you mean to say that the car actually fell on your head, on the left side of your head? Yes. And you couldn't hear whatsoever. Not one thing. So if you were to put your hand on your right ear and someone were to talk to you, you wouldn't be able to hear anything. I can hear. No, of course. Oh yeah, of course. I couldn't hear, like I couldn't even concentrate during the home group because of the pain and I couldn't really hear through that left ear at all. Like I don't turn like this sideways to hear.  Yeah, perfectly. Yep, perfectly. Praise the Lord. Let's give Jesus Christ another round of applause. So Bogdan, what advice can you give for people here today who have pain or anything like that similar to like what Angela had? But for you, you received your healing in the home group. What advice do you have for these people?


You guys asked for it, so today on Vintage Space, we are doing a very quick run-through of the Saturn family of rockets. The Saturn rocket has its roots in the V2. The ultra-short, simplified version of the story is that Werner von Braun was among 110 German engineers brought into the United States under Operation Overcast and Project Paperclip in the 1940s at the end of the Second World War. Working for the U.S. Army, the men first reassembled and launched recovered V2s in New Mexico before they were sent to the Redstone Arsenal in Huntsville, Alabama to develop larger missiles, the Redstone and the Jupiter. In 1960, Werner von Braun and his team from Redstone, the Army Ballistic Missile Agency, was transferred from the U.S. Army to NASA's Marshall Space Flight Center. They brought with them a rocket called the C-3, a three-stage rocket with a C-1 first stage powered by F-1 engines built by the Air Force, an S-2 second stage, and an S-4 third stage. By the fall of 1961, von Braun had developed the next rocket in the family, the C-4, which featured an upgraded S-4B upper stage. The C-5 came next after he added a fifth F-1 engine to the first stage of the rocket. The C designation was dropped, but the numeric designation stuck when the family of rockets name was changed to Saturn. Saturn simply because after the Jupiter family of rockets, Saturn was the next planet in the solar system, so it was the next family of rockets as well. It was the C-turned Saturn family that launched Apollo. The Saturn-1 was NASA's first heavy-lift vehicle designed to put payloads into low-Earth orbit. Saturn-1s were two-stage rockets with an S-1 first stage and an S-4 upper stage. They were used to launch test versions and boilerplate models of the Apollo spacecraft. The Saturn-1B was another two-stage rocket, but this one replaced the S-4 upper stage with the more powerful S-4B. This rocket was big enough to get the Apollo Command Service Module into orbit, but not the Command Service Module and Lunar Modules together. These rockets launched unmanned tests of Apollo's spacecraft and also launched Apollo 7 on the program's first manned mission and the Apollo half of the Apollo Soyuz test project and all three manned Skylab missions. Finally, we have the iconic Saturn-5, everyone's favorite. The Saturn-5 was a three-stage rocket that used an upgraded S-1C first stage, an S-2 second stage, and the same S-4B third stage that the Saturn-1Bs had used. This was the rocket powerful enough to launch the whole Apollo spacecraft, the Command Service and Lunar Modules, into Earth orbit so the S-4B stage could fire a second time and launch the whole spacecraft all the way to the moon. So what's your favorite of the Saturn family of rockets? Let me know in the comments below and if you have any questions or ideas for future episodes, let me know in the comments below as well. For old timey space updates every single day of the week, be sure to follow me on Twitter as AST Vintage Space. And with new episodes going up every Tuesday and Friday, be sure to subscribe right here so you never miss an episode.


The happy dream in the most simplest terms is a dream of non-judgment and what that really entails is at some point you start to realize that human beings seem to organize the world they see and their lives on earth so to speak based on a belief system and forgiveness which is what the happy dream is about it's like it's like a giant all-encompassing belief in fact it's it's such a large belief that it literally like swallows up it's like Jonah and the whale it just swallows up all the other ones and what that means in practical terms is when you have the experience of forgiveness you you have to experience that all specific beliefs are completely untrue and so it puts your mind in a state of openness complete open-mindedness complete all inclusiveness complete acceptance so that means practically speaking that that you absolutely can never get into an argument ever again because you have this experience that that there's no specific beliefs that are more true than other ones they're all equally false and therefore all the labels the things that people seem to be defending of different religions different cultures different beliefs associated with ethnic differences and everything you find that that not only are there zero significant differences but there are zero differences you have an experience of the unified mind unified awareness in which everything is you literally everything is is mine and everything is you're identified with that so so you've completely transcended arguments debates being right being wrong you completely transcend opinions you could possibly hold the slightest opinion about anything because that opinion would be based on specific beliefs and the happy dream laughs at the very idea and so for me as it's very joyful because here we're calling this a oneness festival and that's a beautiful name for it we're not promoting a course of miracles we're not promoting any theology including the course and the course itself says that you know he's got the end of the paragraph in lesson 189 the one that starts off simply do this be still I said all thoughts of what you are what God is and he goes on to say forget this world forget this course and come with open arms unto your God that's the experience of the happy dream so you you literally lose all sense of discrimination in terms of the specifics there's still the spirit can still flow through you with what call guidance but that guidance is for the whole it's for the whole universe it's not really for specific ones it can still involve words but the presence of love is so strong that that there is there the rejection becomes impossible abandonment becomes impossible all the things that seem to be the sticking points around religion all become impossible suddenly religion becomes the experience of peace of mind which is like oh that's a different definition that are you Hindu are you Muslim are you Christian piece oh piece that's it's an experience that literally transcends all the theologies and all the concepts so talk about the idea you know I've never met a stranger you know who would a stranger be if love is welcoming to one and all then there's that feeling of home it's a presence of being home you might say that it's where heaven and earth cease to exist as separate states I always like that part of the course heaven and earth cease to exist as separate states you know it's the teaching heaven is here heaven is now and that's the feel of the happy dream that's what makes it happy it's not a future state it's not something that you hope and wish for someday some way we'll find a new way that's not it either because that sounds very hopeful you know but but hopefulness doesn't really have a place in the happy dream it's not hoping for anything it's it's an actual state and for me that's been kind of a treat for me when I travel around the world and met all these different people and different cultures and languages and traditions and everything it's it's a fiesta it's a party it's like an ongoing party because there's no point to be made you know that's that's the fun of it there is absolutely no point there's not it's not like that thing on Saturday night like point counterpoint there's there's not even there's no counterpoint but there's no point and when people sometimes say to me what's the point of this world I say well really there is no point you can't find anything that's a point but you could say that happiness if God's will for us is perfect happiness if you really had to come up with something like a purpose it would have to be happiness forgiveness is just a name we could say that that can equate with happiness and forgiveness is our function while we perceive a world then Jesus says in the workbook my happiness and my function are one they are the same you imagine you're growing up with your parents and they're going what are you going to be when you grow up and you're like five years old you want to be a fireman you want to be a ballerina happy happy I'm going to be happy you'll be like no you don't understand the question but but actually that is the answer really you know what's the point of your being here to be happy okay that's good and we're not talking about a temporary happiness that's associated with specific outcomes you know all I'm happy because I got the raise or I'm happy because I got I found my soulmate or happy because I won the lottery or I'm happy because I finally got through the workbook lessons of the course until the guidance that now let's do it again you know it's not a temporary happiness you know it's not really aligned at all so really that's the thing and that's what I have enjoyed in just meeting with people when people invite me to their homes or you know stay with me or travel with me or so and so forth it's a very joyful experience because there's no agenda with it you know that's another thing happy dream has absolutely no agenda I kind of use enlightenment as synonymous with the happy dream in a sense that the course even says that that's really the goal the goal is forgiveness and and the abstraction of waking up is you know there's one part in the course where it says God will take the final step like we make the mind ready by simply emptying the mind of everything that's not of God and even though God doesn't really take steps it's more like like once we're just in a sustained state of happiness that that the body and the world can be gently gently laid aside in fact I really like that part in the teacher's manual where it says that there are those who have laid the body down laid the body aside in order to get this word increase their helpfulness isn't that an interesting phrase in the Course in Miracles there are those that have laid the body down in order to increase their helpfulness now from the ego's perspective it's like increase dead is not really a dead inanimate body you know it can't do a lot of speaking it can't do a lot of smiling can't do a lot of hugging you can see where the ego could come right in and say oh you made a you made a transcription error there to increase and that's not to say that Jesus is encouraging suicide because some of us have gone through and thought what's the fastest shot here this body thing I'll get rid of this thing that eternal life is not reached through death it's reached through resurrection of the mind it's reached through forgiveness so when he's saying many there are those that have laid the body aside to increase their helpfulness they're saying there are those who have forgiven the world who have have just gone into the glee and joy of the happy dream and then had seemed to cease in appearance but it's not like anybody goes anywhere I mean for years people have said well you know I gotta go get talks at unity churches and everything and like in unity churches when you go around nobody talks about death or dying it's always making the transition nobody that's the buzzword transition you get there they're given a eulogy you don't come out here and hear the dead word out here in California very often past transitioned you know something but not died nobody dies in California transition they pass but where do they pass to and I used to say where do they transition to and then they would say well to the other side and I say how many sides are there in unity I mean at unity church if you guys are still talking about going to the other side how many sides are there in unity so it's you start to just pop all the assumptions and when you start to realize is it's just it's a perceptual dream it's it's entirely like a quantum way it's entirely just a projection of consciousness of belief and when you let that consciousness be purified and released of judgment that's what the happy dream is and because of it's a quantum world so to speak it's a quantum universe that when you accept the happy dream then that's the only dream that there is there's not concurrently a happy dream running and then below it an unhappy dream the unhappy dream was the nice perception and the happy dream is is what is the closest touch them the closest thing to like heaven and earth being the borderland yeah that's another call yeah it's called the borderline as well and that's where there's this unification that's it's so close to heaven that that it's like your feet no longer touch the ground so to speak you know you're just like carried in


Yes, I would like to introduce about she. She is Doma Mamin. She is an assistant lecturer of the music department. She will teach the xylophone also. These students were the pupils. This is the very basic classical songs of the Myanmar traditional music. The name of the song is Senlele. The composer composes about the natural beauty of the royal palace and the very beautiful scenes of the surrounding of the royal palace. This song was composed by the Myanmar Diminister. It was sings about the 18th century. In ancient times, the royal palace is the center of the moat. So at night, the security boat is around the moat. On the boat, the musicians and the soldiers were including. So at night, the musicians were playing the music. So the kings were hearing the music. The security manboats were where they would arrive. In the east or the west or the south or the north. So the kings were already knows about that. I would like to introduce the violin player. He is Uttar Luen Anton. He is a tutor from the music department. The title of the music is the Usui Uttambo. This is a folk music. This is a very traditional and joyous music of our traditional music instruments. This music is arranged by the new format. So in this program, we use the four instruments, two violin and one viola and one cello. This instrument is called the Myanmar harp. In Myanmar language, the sound. It is one of the oldest musical instruments. It has been appeared around the new period. The new period means the 4th century between the 8th century. The Myanmar harp is the beginning of the 7th century. After the 11th century, it became the 11th century. After the 18th century and the 13th century, the Dewa and Amamalji added to the 13th century. After then, the distinguished harp is Dewa and Amamalji and Linga Jozwan Upa then added to the 2 strings. Now we have to use the 16 strings instruments. These strings are made of the nylon strings.  We need to press the particular strings with the left thumb. Because of that, they have only the five tones, five sounds only. For example, do re mi fa so la di do. We have the seven tones but we have only five tones. So mi re do la. If you can get the fa and ti, we have to press the particular strings with the left thumb. Okay, I would like to introduce about her. She is Tochu Thaden, assistant lecturer from the music department. Now we have to present the classical music. Namely, Nyainji Hema. This is the Yodhya kind of the sounds. It was an anonymous sound since the 18th century. We are using behind the, the timing bell and clap ball is the zone C. Zone C means the clap ball and the timing ball is played simultaneously at the same time. So this is called the zone C. This song has ten D, R, D, D and Yodhya by harmony system but it's not large construction by Western music. This is called, all of these are used by harmony system in Yodhya traditional classical songs. We will, we have to play these classical songs. I have in Mamori without seeing the nose. She is Fasiha on a student. Her name is Phu Vio Nai. The name of Mamori's song is Thila Mianju. It is composed by Prince Prince in Goma period in 19th century. This song means the power of king and peace of our country. It is played in C mode.


was reading a story. Oh really? Yeah. Was it porn? Nope. Okay. About the very last surviving member of an indigenous people group in Brazil, he finally just passed away of natural causes and the total genocide of the people is now complete. He was for the last 26 years living alone, untouched. They left him supplies, things of that nature. He was referred to as the man of the whole because he would dig holes to catch animals and he'd also hide in holes.  It's Corbin. I'm Rick. Follow us on Instagram, Twitter, follow us on Twitter. Thanks on Patreon. Follow us on Twitter.  Kombucha. It's good for your poop. Also, call your mom and say, I don't know what it means. But you gotta do it FaceTime kids. Doesn't mean as much unless you can see what you're doing. Just tell her to me, she'll know what it means. It's true. Just say Corbin told me to say. Today we got a first look teaser of Vishal Bardovashi's new film. First look teaser. Kuchia. Yeah. Kuchi Kuchi. Kulfia. That makes me think of the ice cream. Kulfi. Kulfi. Kulfi. I'm not crazy. Kulfia. Kulfio. Bengali. Starring a toast in. It's true. Ali Faisal. And a future toast. And a future toast, hopefully, in taboo. And it's obviously directed by Vishal Bardovashi's the first teaser of this. A mystery has been brewing. Yeah. That's all we can tell you for now. Very nice. Cool. Excellent. And it's a Netflix film as well. Hey, shout out to Netflix India, man. They have been making some serious. Garbage. Complete and utter garbage. Contracts with all of the movers and shakers in Indian cinema, the studios and stuff. I was reading it in Variety Today, how Netflix India is making a concerted effort for the future of OTT in India. So whatever they're not doing internationally well, they're starting to do really well. I don't know what they're doing as far as their prices are concerned, but. Sorry, I wasn't listening. What did you say? What else is known? Okay. Here we go. Nope. That's the wrong. That's the wrong speaker. I love taboo. I was hoping it was a different word. I love taboo. And that's a taboo subject. It's a double. That's her. Thanks. She's a bird. Do you think he composed the background score? Yes. I bet he did. I bet he did because it was amazing. Yeah, it looks a mystery is brewing. And I'm hoping I think that's all they can tell us for now. I think I think I think Ali Faisal is going to laugh. I think she's going to light a cigarette. I'm hoping we get a someone's going to scream really loud. And she's going to smoke. You're going to see it. You've read the stereotypical cigarette after sex. I know you don't smoke now, but you've had sex before now, I think. I may have because there was a very small period of time where I was trying to smoke. How did you try to smoke? The character I was playing in this play, he was a smoker and I was smoking during the day. And the most I could do was like four cigarettes a day. I can't remember if I lit up after sex with Cindy. We'd have to ask Cindy. She'd remember. She lit up. Hey. Damn straight. Sorry, Kenny. That's her husband. This is weird. This is weird. They're really great friends still to this day and Kenny and Cindy have been married for they got together right after she and I broke up back at 19. How does that? She's like, OK, this is what I don't want. Just look at him. What? Oh, got it. You're funny. Yeah, I know. I'm hoping we get even though we've gotten plenty of great performances from Ali Faisal, I'm hoping we get like a header performance. That little Shakespeare. Anyway, I'm aware it's Shakespeare, but it was an adaption by Vishal Bartolage. Yeah, it was, but this isn't an adaption to Shakespeare. Yes, because he's the only one who can write crazy.  It was almost like he's going a little crazy. You couldn't hear it. You don't know what he was like. No idea. That's like somebody saying someone's going to win an Oscar based on a photograph. I'm always right. No, it's not true. But you were right on that one. I'm probably going to be right this year. Yeah. Did we tell you about that? We were we were we were watching a movie and the trailer came on for Cape Lancet's new film and it ended and he said she's going to win the Oscar for that. And I said, I am not betting you money on that at all. I'm not because I lost $100 to him on the whole Gary Oldman, freaking Gary Oldman thing for. He straight up. Darkest. Sent me the photo. It was him in character before Darkest Hour. They were filming Darkest Hour. Yeah, it was the poster of Darkest Hour. It was just the poster of his makeup. And he said, give the man his Oscar already.  He said, bet me. So we bet $100 and he won the freaking. We went and we got to meet him that year, too. It's we went to Oldman's screening at that sag and got to meet Gary Oldman. Really nice guy. It's like I just bet on good actors. It's like if if Fahat Faseel was going to be in a name of great American director film, right? Christopher Nolan. Sure. Well, maybe not him because he doesn't make Oscar films. He makes more massive Steven Spielberg. More massive.  The who did Grand Budapest? Why am I forgetting his name? Christian Hans Christian Anderson. It's Wes Anderson. Thank you. If he was in like a Wes Anderson film or like a Quentin Tarantino film. And like he came out with a poster and went to Epic. I'd be like Fahat Faseel is going to win. Yeah, but that's that's different than actually it happening. And I'm the only reason I'm saying American artists because it's that would just give him a direct line to the Oscars. So you're saying right here in front of everybody that your expectation based on that laugh is that Ali Faisal is going to win an Oscar. Yes. Okay. You heard it here for 100 bucks. Ali Faisal, Vishal Bardwash and Taboo. They're all going to win Oscars trip. Actually Vishal is going to win two. Yep. Director and score score. Yeah. And the world will know their names. Yep. Well, they know Taboo's name and they know Vishal Bardwash's name. Unfortunately, a lot of the world know Ali Faisal. I don't think they know their names. I think they'll they'll know their face. Did you ever see Victoria? No, I never saw Victoria and Abdul. Yeah, this one really, really good. I was introduced to him in that before the fact that this has obviously, even though they're not crazy recognizable here, even though they're probably two of the more recognizable ones, Taboo and Ali Faisal. This has a good chance, obviously, depending on how it is, Vishal Bardwash is probably going to be good of reaching some more Western audiences. And we've said it like a broken record, but one of the reasons for that is because like I mentioned a friend of mine is saying they see more and more recommendations to watch Indian films because of the success of RRR. Yep. So more people are going to watch this because it's going to get recommended on Netflix because so many people who watch RRR are going to get Indian film recommendations and this will be a new release. Coming soon, which is great. And it's weird because it's a Netflix film. They're releasing a first look teaser and there's no release date yet. So I wonder when it's going to come out. Anyways, let us know what you thought about the teaser and how's dinner? If it's been golly, is it good? It's going to be all day today.