The first drug that I took I took when I was 12 years old and eventually I was on the streets homeless. I started smoking crack cocaine doing cocaine and then I ended up doing heroin I just didn't want to be me didn't want to be in my skin. I was alone on the streets cold with nowhere to go. I've been through hell but my life like I'm happy today and that's all because of recovery it's a natural thing like I've always been a loving person and I have a huge heart if someone needs help I'm gonna help them like they need love in their life they're missing something that's why they're using they're missing something. Recovery is a journey it will have its ups and its downs reach out ask for help know that you are worth it.


Yeah, I know everybody knows her. She famous, she famous. No, I'm not. How you doing? Yeah, I'm gonna get you fired. So follow what? Oh my god, and the customer has been waiting for this order for an hour or so. He's already very upset. So our order number four was just cast. It is, baby. Hello, how you doing? I have a pickup for Amber W. We gonna be on the grind in the time, so let's shine. It's 10 o'clock now, and it's only our fourth order.  That's what I'm talking about. So, uh, uh, there, there, there. Shout out to everybody tuning in. If you're subscribed, make sure you subscribe and give me a thumbs up, and do not skip the ad. Today is February 11th, and we are already starting dashes, so guess what? Order number one is McDonald's 4.1 miles for 914. We about to get this green. I hope you guys enjoyed this video. Again, make sure you subscribe and give me a thumbs up. Don't skip the ad. We about to get to this bag. Also, me and my business partner went separate. We're gonna see how fast we can get to 200, who run it. So make sure you guys stay tuned to the full video. Let's go. Ease, baby. It's time for us to get busy. Oh, we got a door there. That's what we're coming in. We not doing that. That's way too little. See if they got us together. How you doing? I see a bag right there. See what's going on. Okay. Oh, it's already 4. Hello, I have a pickup. What's that for? 1B8 is the last 30, come on. Thank you, you have a great day. All right, but you stay up. Hello. I have a delivery for that. I'm supposed to meet them here. Okay. Did you call them? Oh, no. That, I thought that is. So should I call them or? Yeah. You can call them and let them know you're leaving it down to front. Yeah. Okay. So I'll just leave it here, sir? Yeah, call them, yeah. All right, thank you guys. You guys have a great day. Order number two, what to do. Chick-fil-A 18 items, 11.1 miles for 15, 75. Let's drive. So most of the majority of the miles is going to be us getting there. Well, probably not majority of it, probably about six out of miles. So it's probably going to really be about five and a half miles for us to get to the order. It was going very slow, hour number one. What would be our number one at 817? We got our first order at 717 and then we got our second order at 812. But hopefully this has a hidden tip in this joint because they get an 18 item. So it's probably for like a company or something. But either way, go, I see, guys, let me get there. Let's go. Hello, how you doing? I have a pickup for Amber W. Yeah, I'm getting it just another second. All right, thank you, sir. Okay, thank you. Oh, that's what I'm talking about. Let me get it right. Bop, bop, bop. Let's go. Bop. How you doing? How you doing? I love the pickup with these keys. How you doing? So I have to go to suite 215. Would I just go up these stairs here? Yeah, you can take the elevators as well. Okay, yep. All right, thank you, sir. Hello. I have it in lieu for Carrie and Bella. Yes. Amber, since you guys did. Aw, that's so nice. One, two, three. And three. Thank you.  Thank you, too. Let's go. So, we have been dashing for two hours in one minute exactly. I got our first order at 717, there's now 918 and I'm currently only at $24.89. Which means that I'm only making like $12.44.5 cents per hour, which is terrible. My business partner is doing better though. She's at like $40, almost $40. She has had four orders. So, either way, it doesn't matter how we get the money as long as we get the money. That's what I want you guys to understand. Look, some days she's gonna get more orders, some days I wanna get more orders, but either way, go. Together, each achieve more. Teamwork makes the dream work. You know what I'm about? So, I'm gonna try to go down here to another area to see if I can get to Walmart Lake so I can get busy. But I hope you guys are enjoying this video so far. Make sure you tell them to tell a friend to join the family, baby, because we're going up this year, 100K by December 31st, 2022. What it do? That's the plan. Let's go. Order number three, get with me, baby. Tropical smoothie, 5.8 miles for $8.69. We on the grind to the end of time, so let's shine. Baby, let's see if they got us together. I'm finding yourself. There we go. Easy, they usually have them on the other side, but we got them right here. This money, let's make a stack. Let's see if we can think of anything like that. How about this? Tropical smoothie, baby. How they do the shit? How you doing? All right, I appreciate you, boss. You have a good one. Hello, have a delivery for Savannah. Yeah, you can do it. So, mess up the stuff, thank you. All right, you have a great day. This guy. Order number four, we're not in the door. He's going terrible, it's 10 o'clock now. It's only our fourth order, just so you guys know. McDonald's, six items, 2.5 miles for $5.25. Let's drive. Beedies, baby. They got us together. How you doing, sir? I'm doing all right, bro. Let's see if they got us together. Come on, come on, come on, let's do it. What was the number? The last three are 253. I got two orders, but it's 18.16. And then the other one is 46.82. I don't know, see, see right here is 253. And then 254 brand. Yeah, cause you can see right here on my street, those two orders, but not yours. I don't know. And then it says, pick up our 10.01, which is 10.03 now. So I don't know what's going on with it. So our order number four was just cast. I'm going to put it on the screen right here. Wop, wop, whichever way, wop, wop. Either way, it's just canceled, so I'm going to get half paid for that. I kind of wanted to do that order because it's been very slow, but they canceled it and it's still on my queue for some reason. I don't know why. This order is very late, super upset. Just wanted to know that, how you picked up the order from the restaurant? Okay, ma'am. So what happened is I just came from McDonald's. It says I was supposed to pick up at 10.01. I'm actually here right now, but I also received a text message saying it was canceled. I don't see it as canceled. But it's still on my queue also. And the lady in McDonald's told me that they don't have the order in the system. Oh my God. And the customer had been waiting for this order for an hour or so. He is already very upset, but... Okay, so what am I supposed to do at this point? Well, you can contact the Dashel customer support team. The new number four, we are not in the door. It's going to air up. I told you God, it's 10.50 right now. This is only our 4th, 12th order. Halisco's Mexican restaurant, 3.5 miles, but 9.66. Let's get rich. Is it strong in here? Oh. Thank you very much. You have a great day, sir. How are you doing, sir? I try to be. Here you go. All right, man, man, your drink is strong. Thank you. Have a great day. Order number six, we're not in the mix, but we're trying to get rich. Buffalo Wild Wings, three items, 4.3 miles for $7 Wehala. Most of the miles are us going to Buffalo Wild Wings. So it's actually really not that bad, but today has been sad. I hope we get glad. So all we'll be done soon. Let's go. We are here to drop this Buffalo Wild Wings. It's too bad.  I don't want that fall off. Muffins. Order number seven. Thank God for his blessings. We needed this one, baby. Buffalo Wild Wings is two order 7.8 miles for $17.45. Let's drive. Order number one, let's get it done. They're moving. I don't know if they're moving in or moving out. Either way, I just want to be, you know, let me step back a little bit. Hello. How you doing, sir? Have a delivery for Holly? Okay. I can just leave it right here, or you can grab it if you would like to. Hello. Here you go. Thank you. Number one and number two. You guys moving? Yeah. Or moving in? No, I'm moving out. Ah, okay, good luck. Thank you. Have a great one. Number two would always say, please leave us out on the map. Holly's right here. I don't want to. Maybe they'll see the door down here and drop it like this. I don't want that photo. Let's get it. Order number eight. Let's skate. Wendy's 1.8 miles for $7.69. We on the grind to the end of time. So let's shine. For Rosa G. Take that one up, please. Thank you. See if they got us together, baby. What is the name? Rosa. Rosa G. There's no G. Yeah. Rosa. That's the door. I mean, this one says, meet me at the door. So that's exactly where we're going to enter, baby. Hello. Here you go. Thank you. So, then your phone is right here. Thank you. Have a great day. Order number nine. We on the grind to the end of time. We're trying to shine, but it's not working. But we might have a problem with this order. I'm going to tell you guys this. Rosati's pieces, two orders, 6.5 miles for $13.57 with the Mac 11. He's spitting hot stuff like the Reverend.  What we might have to do is we might have to cover this up. We're going to do the best that we can, but I'm thinking about it previously. See, this is the thing though. Sometimes you get spoiled and then you start forgetting where you came from.  And ever since then that's what we've been using. But that was months ago. So we got to do what we have to do. We got to get this money. So we can go ahead and get done with this. Let's go. B, hoping they got us together. Gee. I need to go ahead and get one of these pieces there. So I can get right here. Hello. I'm going to have two pickups, one for Katerra and one for Katars now. Okay. All right. Thank you very much, sir. All right. You have a great one. The boy has the same one. Yeah, I know they kind of close, huh? Yeah. All right. You have a good one. Yeah. B. Hello. I have a delivery for Katerra. That's for you. I thought you, you do the pop-up shop finale. I'm Jerome. Hey, Jerome. What's going on? Oh my goodness. Everybody that wants food here. Yeah. No, everybody knows her. She's famous. She's famous. No, I'm not. She's famous. I'm doing fine. I'm just speaking about y'all today, actually. You're doing really good coping lives. We're doing another pop-up shop. I'm going to give you this. Actually, it's for her. It's for her birthday. It's a thank you. So, when are you doing the next pop-up shop? One second. Oh, you on the phone? Yeah, I'm going to get you fired. How do you know everybody? She knows everybody. I told you guys I networked in the community. She does. She's very important. I'm working on trying to open up a doula shop. So, I got your number. Just call me. Let me know. I'm ready when you're ready. All right, you guys have a good one. Nice to see you again. Number two, what it do for you to jump in, Jerome, to jump in front of the desk. Hello. I have delivery for Kathy. You tell me. I just laid it right under her. OK. Thank you. Thank you. We moved it somewhere a little bit. So, good to see you. You too.  That's what I'm talking about. Chili's, one item, 4.8 miles for $775. We already here. Wow, I just pulled in. We about to get it in. Also, my business partner is finished right now, too. She has to drop off her order around somewhere around this area. So, we got it in, and it's before 2 o'clock. So, uh, uh, damn, and I'm so glad, man, that we doing this, because it was being critical today. But either way, go, we got through it. We're going to keep on going and growing, and then we're going to pick up this order. Let's go. Hey, how you doing, Tameka? This is Jerome with DoorDash. I'm downstairs with the order. I'm at the main door, I'm guessing. You were talking about rice and daisies. Ah, uh. So, I worked all the way back there in the back, and I had to walk all the way up here. Thank you. I just now saw your thing now, but I got here after I got here. All right, thank you. Have a great day. Let's go. It just like that, it is in the video. I hope you guys enjoyed the video. I love making the content. Today was kind of weird. It was slow, but it was, yeah, it was terrible. Let's just go ahead and cut to the chase. It was terrible, baby. But I hope you guys enjoyed the video. I hope that you guys loved the content. And now, let's get down to business. We're going to get down to my business partner orders. She had one, two, three, four, five, six, seven, eight, nine. One, two, three, four, five, six, seven, eight, nine orders. Order number one. Dunkin' Donuts, three items, 12.3 miles for $11. Order number two. McDonald's, five items, 1.4 miles for $575. Order number three. Jewel Oscoe, three items, seven miles for $1024. She was in the dough. Order number four. Bagels by the book. Three items, 4.3 miles, 9.25. Mariano's, 37 items, 7.2 miles for $1814. She got that green. Aldi's, 14 items, two miles for $904. She was in the dough. Jersey Mike's, one item, one mile for $4. It was two orders on there, but she took one off. I guess it was too far away, but I don't know the whole story on that. Don't ask me. But anyway, back to what we were talking about. Barneli's, one item, 5.7 miles for $825. She was on the drive. 8.25, she was on the drive. Last but not least, Hyman's, 22 items, 10.3 miles for $1577 with the Mac 11. Then they did an add-on on top of that. They put the extender on that joint. Nine items, 3.1 miles for $906. Yes, we got rich. We on the way, baby. So we ended her with $104.52. Had enough to pay the rent. You know what's up? Hey, and guess what else? We did hit our 200 plus. That adrenaline rush, they twist it, baby. We are 200 plus in our total. Jump rope, please. Yeah, I know I used to play drums for the drill team. Y'all know my sister's doing the drills. I think, B, B, more so, like that, that, that, that. I used to be on there with Boy Looks Crazy and all. Y'all know that back in the day, y'all didn't know Boy Looks Crazy is. If you don't know Boy Looks Crazy is, look them up on YouTube. Okay, so our total was 205.10. We got it in, baby. And guess what? We did reach the goal. We reached it by two o'clock. It was critical. My business partner said it was critical on her end too. It was slow and it picked up around lunchtime for me. It was just bad. But I hope you guys enjoyed the video. Make sure you lock in tomorrow. Cause guess what? We going down. We getting it in again. Guess what we gonna do? We gonna get to doing it again. And guess what happened after that? We gonna get to doing it again. So make sure you lock in. Make sure you subscribe. But make sure you give me a thumbs up. Do not skip those ads and make sure you telephone and telephone and subscribe to the channel, baby. I see you guys on next one. We going, we growing, we flowing. You already know the DDK and I'm on my way.


And now, we come to one of the most interesting aspects of visual ethnography, representation or presentation of our ethnographic knowledge through visuals. This is where, to use the analogy of text, we write our research output using visuals and images. As with any ethnographic text, our visual representations need to incorporate certain fundamental characteristics. Constructing such representation requires a keen understanding of meanings embedded in the visuals we create and the media we use. We need to learn to read the images we create and to learn the grammar and language of our chosen visual media. Each visual medium has its own grammar. It uses certain visual and narrative devices which viewers learn to read and interpret for meaning. For instance, use metaphor, sequencing and juxtaposition of images to convey stories, concepts and ideas. As an example, we have for you a clip from a film by David McDougall. You may remember the McDougalls from our earlier module where we had watched and excerpt from their film, Lorang's Way. They use film as a way to record and represent their ethnographic engagements. Since the late 1960s, they have been making ethnographic films and are considered pioneers in the field. David McDougall is also an academic and has written extensively on the visual and ethnography. You can learn more about their work at this link. The clip we are about to see is from their film, The Photovalas, an encounter with photography in Masuri, a North Indian hill station. The film is an exploration of the many meanings people associate with photography. The film is composed of observations and conversations with photographers and photography enthusiasts in Masuri and Dehradun. The sequence begins with an older woman and her companion making photographs of graves in a wooded cemetery. The graves are old and the inscriptions on the epitaphs can barely be read. The woman participant nevates a small anecdote to the filmmakers about falling into an empty grave. But I doubt if it's vandalism. I don't think the vandalism will come here except that it's gone too, hasn't it? That's gone. This is gone too. Yes. Okay. And it's got some sun on it too which is good. 60. Oh. That's too recent. Too modern. Oh I fell into a grave in Dehradun. I want to say 1830s or something. What happened? Well you see these very old graves with very big architectural structures you know on top. What happens is that they're kind of balanced across the opening of the grave. But animals have dug in. So one leg went right in and underneath the grave total vacuum, nothing there. Nothing there. Marvelous for creatures. Oh. That's good. They've received two reports from me through Dr. Kohli, one on the Dehradun cemetery and the one on the Indian Christian cemetery. And Dr. Kohli has reported that they are very pleased and it has led them to think about a booklet on cemeteries of India. So they'll need pictures. And what were these pictures and help from Baksa who has, they have taken a lot of photographs all around India you know. They could produce quite a nice little intact booklet on cemeteries, whoever wants to read it I can't imagine but it'll be a record, heritage record. This sequence is followed by another featuring another old woman, someone who is possibly connected to the family whose name appears on one of the old gravestones. This is my cousin, my only living relative in England. The one with the child standing on the railing is Edith Gawler with her cousin Ray, Ray Malklu her name is. Is that a different Edith? No, the same Edith, myself. Edith was very fond of keeping chickens at one time. She kept Australops and Rhode Island Reds and here she's feeding her Australops. The Gawlers were very fond of keeping cats. So that's one of their many cats. Don't remember his name. I don't remember his name. That's Laltaboo by the television towers, before the television towers. The highest peak in Missouri and that's why we've climbed up the tree to be higher than anyone else. I suppose I'm about ten or eleven years old in that picture. The elephant is in Pudgawna near Gorkbaw and the cousins are riding on the elephant, the little cousins. And yourself? I'm not on the elephant. I don't know. I may be on the elephant. Now I think only the children are on the elephant. And the sequence ends with photographs of missing persons shown on the state's television. Now what are the filmmakers trying to say through these seemingly unconnected scenes? Put together in such a sequence. And what do these visuals and conversations tell us about photographs and photography? Can you think about this and write down your answers? Some of you may have said the sequence conveys the feeling of losing someone or something. Others may have said that the visuals and anecdotes in this sequence all link photographs with memory. These are both possible interpretations of the sequence. The photographs featured in the different scenes stand in for those who are absent. They help people remember and identify those who are lost to them. According to David McDougal, this part of the film is about photograph as evidence of life and death. Photographs are acting documents which bear the traces of real people and which marks the presence of their absence. This meaning, the association of photographs with memory and identification is conveyed in the film by the careful placement of one scene next to another. For instance, the anecdote about falling into an empty grave tells us little about photography. However, it is part of a sequence that speaks about memory and absence. And it appears within a scene that is about photography of cemeteries. Placed in this context, this anecdote deepens the sense of absence that is prevalent throughout the sequence. The emptiness of the grave that she speaks about becomes a profound metaphor for absence and points to the task of the photograph as something that records absence. And so we see visuals become metaphors. By arranging visuals, juxtaposing them around one another, we are able to express complex meanings and ideas. Let us look at another example of visual metaphors and juxtaposition, this time using images and text. For this, we return to the work of Prashant Miranda, the visual artist. Here we have another of his sketchbooks, this one recording his travels in Kashmir. In Prashant's work, words are more than just explanatory captions for the sketches. They express the state of mind of the observer and place us, the viewer in the context. By writing himself into his observation, Prashant makes himself and his interpretations visible. In this work, just like in photovalas, images are juxtaposed against each other to suggest meaning and words are juxtaposed against images to convey the many layers of the artist's experience. You can see some more of Prashant's sketchbook in this link. In any medium, we construct meaning and convey ideas through the narrative and sequentiality of our visuals. We can work with still images or moving ones with sketches, video recordings or photographs with visuals alone or with visuals and text. And in the case of film, the visual is accompanied by the oral and by sound. As an example of this, let us watch this clip from a film by Anjali Montero and K. P. Jaishankar. This is an excerpt from their film, So Heda So Huda. So hi so pase tini sande sochari. So ajal, so ala, so veri, so iwaru. So hi manuwase, so hi so pase tini sande sochari. We had to discuss this for a long time. Because this is very complicated. Every artist says that he loves his son in his heart. So, in this way, don't ask about my love for my son. Meri dil mein unki jo maubat hai bale wo dunya mein prada kar gaya wo abhi dunya mein wo nahi hai. Lekin unki ruhanyaat mai sojtaon meri sath. The film is about the lives and the music of the pastoral tribes of the run-of-cutch. It speaks about the importance that they attach the poetry and philosophy of the Sufi saint Shah Abdul Latif Bhitai. In the sequence we just watched, the visuals and the singing together establish the theme and the central premise of the film. They emphasize the place of music and the words of the spiritual masters in the lives of their participants. As seen in the sequence, through the visual medium of film, we can bring the voices of our participants into the representations that we construct. Take, for example, the stitchespeak. The narrative of the film is based on the voices of the artists as they narrate their experiences. Let us pause here for a moment and reflect on our discussion so far. What is the value of including the participants' voices in our ethnographies, particularly in ethnographic films? Note down your answers to this question. Some of you may have said it brings credibility to our representations. Others may have said that it makes the representation more detailed and descriptive. These answers are acceptable. Some of you may have pointed out that it makes our ethnographic engagements more equal and nuanced. This answer is correct. Including the voices of our participants in our representations is one way to bring their subjectivity into our research. It can ensure that they have greater control and ownership over their narratives. And in audiovisual medium, such as film, there is also the sensorial quality of the voice. The sound of the participants' voice is just as important as the words they speak. Sound carries with it all the markers of the participants' history and identity. Regional, socioeconomic and cultural. It expresses the emotions that accompany their words and silences. Think back to an example we had discussed earlier in this module, the work of Donna Barnes with women infected with HIV. You would recall that one of the reasons that the women chose video as a recording medium was because it would carry their complete bodily expressions and not only their words. And it is not only sounds or words, visual representations also bring in other sensorial modalities of touch, smell and taste. Like in this excerpt from another film by David MacDougall. What is this? What is this? How many times have you said it? One, two, three, four, five, six, seven, eight, ten. What is this? Do you mind how you speak? I'm on the street. I'm on the street. I'm on the street. I'm on the street. I'm on the street. I'm on the street. Are you dead? Are you dead? It is only sound and image, but viewing this scene, we experience the physical contact, the texture, the sensation of touch that is part of getting a haircut. Having experienced a haircut or a similar physical contact, we are able to understand the sensations of touch and texture that are depicted here through image and sound. Let us dwell on this point a little bit more with this scene from the film, School Scapes. The film is the MacDougall's exploration of life and learning in the Rishi Valley School in South India. Here too, the composition of visuals and sounds evokes a physical sensation that of flowing water or something being washed clean. Our understanding of visuals is at the level of experience and at the level of interpretation. The maker of the visual and the viewer work together, experiencing and interpreting what they see. Meaning is constructed based on shared and individual experiences. And so a visual is more than just seen. Through a visual, we can experience touch, texture, sound, movement, smell, and any number of sensations. Visual ethnographies, we might say, are not only visual, but multi-sensorial in nature. In visually representing our research, we often try to present our participants' ways of seeing. These ways of seeing may be very different from ours. Visual media, particularly drawing and animation films, are able to represent different ways of seeing because they are not so dependent on realistic portrayals. Sometimes these attempts at presenting the others' way of seeing may take the form of a collaboration between the researcher and the participant. In the Stitchespeak, for instance, the worlds created by the artists follow a visual and spatial logic that is unique. The placement of objects, people, animals depicts a way of seeing that is different from a more commonly seen way of drawing. Where usually all the figures are placed upright. Drawing and animation filmmaking allows us to manipulate their canvases and their perspectives to depict these alternative visions of reality. And through this, we attempt to present our participants' ways of representing their worlds. In the beginning of this section, we had spoken about the grammar of the visual and visual media. Different participants and communities too have different visual languages. Sometimes their grammar is so different from what we are used to that it pushes us to question our own ways of seeing and representing. By representing multiple ways of seeing, visual media are able to convey the constructed nature of reality. Visual ethnographers sometimes like to blur the line between fiction and non-fiction to challenge the idea of objective depiction. By bringing fictional narratives or alternative tellings together with documentary ones, visual representations are able to present diverse versions of reality. This includes reality that are not visible per se, such as imaginations and memories. Memories and dreams form an important part of the ethnography of the graphic novel Memories of the Vani, which present the story of Tamil refugees affected by conflict in Northern Sri Lanka. The ethnography depicts the experiences of refugees during the war and afterwards as they wait to be granted asylum. It represents their lived experiences through fictionalized accounts based on anecdotes, dreams and memories narrated by the participants. The characters portrayed in this work are fictionalized. The fictionalization of narratives empowers the participants by making their stories visible while also protecting their safety by anonymizing them. So we see visual ethnographies often bring fictionalized narratives and mythical stories to create analytical and descriptive presentations of their participants' lives. Instead of compromising the reality or truthfulness of ethnographic representation, we can use forms such as fiction and storytelling to provide a common ground for communication between the researcher and the audience, thus making it easier to convey meanings and concepts without falling back on verbal explanations. In We Make Images, a folk tale, a fictional story becomes an ethnographic film. Representing the meaning of painting in the lives of the Beals. The story is set, as you may have noticed, against a blank background. The blankness represents the nowhere space in which myths and folk tales are situated. The visual medium used in your animation film enables such a representation. The conscious exclusion of detail contextualizes the myth. The blank background seems to say that for the Beals, myths and folk tales exist in the mental landscape and are not confined to one particular place or region. These are some of the elements that form the visual language of different media. They are by no means all the elements to use in constructing visual ethnographies. Our ways of representing can be as varied and unique as our participants' ways of seeing. For those of you who may want to explore this subject some more, here is a presentation by Angelin Montero and K.P. Jai Shankar. Through our course, we have seen many excerpts from their films and have discussed them. In this presentation, they discuss one of their films, Satcha, The Loom, and at the end of the presentation, there is a quiz that you can take to reflect on your learnings.


Thank you, Sam for that presentation a shout-out to Charlotte Baker who's joining us in the symposium And now I'd like to turn it over back to Dustin Nabeen the University of Arizona Wildcat to take you through a Q&A All right. Thank you. I really enjoyed that session We have a ton of questions for you guys our first question is for Matt Matt if you could unmute your mic Matt's good to see what you guys are doing up in Calgary the Calgary Sport Institute You've been an inspiration for us we had a question on There's this period that they called the dark window which is after an athlete gets injured and then when they have surgery and Do you believe there any assessments that are valuable during that time period to guide their rehabilitation? You know Dustin I think to keep the answer short. That's a gap for us. It's not something that at the current time that we have any Specific strategies around But back to the idea of scaling conversations, you know after surgeries have occurred You know, we do try to get some neuromuscular testing done as as soon as we can Mostly to begin to scale the oftentimes over potentially overly optimistic outlooks that we might have very early on in the post surgical period You know as we start to look to return to sport that that is important to us and Similarly, I think you know getting getting some data points in and around the injury is key the last little piece I'll say is that a future work for us is you know, we're looking potentially at some blood biomarkers in and around injury to help guide these sorts of conversations and Importantly trying to correlate the pathology that we have around ACL injury so all the associated injuries that occur to to that return to sport timeline and The recovery rate that we we described in the presentation Thank You Matt. That is excellent Ernie you brought up some Some good points about coach buy-in so Initially, it seems like your coach came to you with a question asked, you know provided you a task of decreasing the injury rate Then you talked about how you Used videos to get other staff on board I think I'll kick it over to the other two first then we'll come back to you if you want to expand on it Matt well, you're on do you want to take that question first? What have you done from a coach buy-in perspective to make sure that your interventions? Are are used by the team effectively? I mean it's funny. We were just I was just having a chat about this with one of our One of our staff that Dr. Courtney Brown is actually watching this as well And and certainly coach buy-in has been an athlete buy-in has been has been a has been a huge challenge It always is a challenge. The main strategies are obviously around building that initial rapport Building building that initial trust that I think takes time So, you know from a from a from a personal relationship standpoint I think that's sort of the platform to to move forward into some of the more Technical stuff that we're doing Certainly as well, you know when we've had a few wins with some more complicated situations the reputation of our care and our And our you know putting athletes first is also been something that you know We're continually trying to get better at so it's that whole thing of you know Assessing the problem debriefing so we can get better quickly Because I think that's that's kind of your cornerstone for building trust with the coach and being able to get the buy-in And coach Gardner, what are your thoughts on this? Yeah, I think it's gonna be it's gonna be tough to get anything accomplished If you don't have a good relationship with the sport coach as an SNC ideally I try to be as present as possible at training sessions and meet with coaches off-site as much as possible to Kind of relate to each other more as a human being instead of just coach the coach all the time So something as simple as a coffee chat something as simple as grabbing a Burrito together just something I do with the cycling coaches And hopefully just including them in the process so they're they know what's going on every single week And hopefully there's more more buy-in from their end if they're actually educated like Matt said on what the process is and Hopefully if you could connect as humans not just coaches once in a while that usually helps me out of it with the relationship side of things I've interrupted many of coach Gardner's coffee chats with coaches at our local coffee shop down the street So I know he's telling the truth there Ernie outside of the video example. What other things have you found effective? It's it's unique to each environment the reality is like in collegiate athletics coach buy-in is is Probably more important than the athlete buy-in because in collegiate athletics in America at least we get to For the most part dictate what the athletes are going to do during those mandatory periods So they they're kind of at our disposal and for that reason I actually feel that collegiate athletics practitioners have to be some of the top practitioners out there I don't know if that's necessarily true But we have to be because it's because gaining athlete buy-in isn't as important because they they just have to do what we say so that's why the coaches actually act as the they're kind of the CEOs of the sport program and We do a really good job at Utah with our sports forms teams the dietitian the athletic trainers the physical therapists the strength conditioning coaches The psychologists the scientists we all meet at regular intervals to talk and strategize how to maximize health safety and performance of our athletes but all of that's at at a loss like we can do all this work around The athletes, but if we can't get the coach engaged in that process Then I I think we fall short of what we could do so With the football case the video was the right option because once we go to practice you saw those practice plans We have ten different position coaches and they're all taking their experience to the table So how can we get the same message to the coaches? That that was a really good strategy there but with a lot of other sports like for example with our volleyball team we meet as an entire Group all the coaching staff operations and all the support services meet as an entire group once a week And so now it's just it's just real-life conversations and they're frequent conversations So we formally convene for about an hour a week talk about all things in the program So so in a way a long story short videos work When you need to give the same message to a lot of coaches and you don't always have that opportunity to provide that message But in some settings it could just be those formal conversations and building those Relationships so that the coaches start to take heed on what the sports performance team is suggesting to maximize the success of the program Coach Gardner, you've had an interesting career path With different sports and in different organizations. Can you talk about how those experiences helped you prepare for coaching adaptive sport athletes? Yeah, I mean, I've been been really fortunate to have had the journey I've been on I think everywhere I've gone I've been surrounded by great people And I've been fortunate to be able to pick people's brains and know a lot more about certain areas than I do I think having exposure to a variety of sports and human performance settings has helped me because Any lesson you learn from one sport culture or one athlete can help you with a future athlete or a future coach and Just the whole idea of learning different communication tactics and skills and different ways to build relationships Seems to be a common theme right now in this Q&A, but there's no one one way to connect with every single person So being able to kind of draw back on all these different experiences I think has helped me relate to athletes in different situations better than how I just come from one setting. I also think working with Holistic teams or high performance teams for the last decade. I've been fortunate to learn new ways to connect with staff as well And hopefully learning how to actually build relationships helps with communication And then that just helps with the buying process So each of you are lifelong learners who started your career in S&C and then have pursued additional education and are continuing to pursuing academic opportunities or different types of micro-certifications or Looking always looking for new skills Can you talk to us about? We're gonna go to each of you But how did your career start and then what made you think I need something else from an education standpoint and why you chased that? Matt, let's start with you Yeah, no, thanks for the question Dustin You know, I think I think the key for me is that that awareness that You know, we throughout our entire lives. I think we need to be pursuing you know mentorship and I just know that the oftentimes the impetus has been You know sort of innate things, you know, you're I'm curious I like to learn more I all those obvious Obvious pieces, but there's really an active component that you know for me It's about it's about continuing continuing to seek mentorship and knowing that that's a kind of a core value for myself in terms of my own personal leadership You know, the other thing I would say that that Coaches and practitioners may struggle with is that there's times in your career where you know You're going wide as a practitioner and obviously broad with how we work and then there's times Especially if you want to take a more of a research oriented approach where you've got to kind of come narrow and go deep And I've found that another thing that's been helpful in addition to that awareness of always wanting to seek mentorship is Honestly knowing when I'm in a mode of being wide and when I'm in a mode of needing to go deep Because it changes how you think a little bit and obviously brings up blind spots With whichever mindset that you happen to be in But I know for myself that's that's kind of been a cornerstone for my career and a theme that keeps coming back up Is mentorship and seeking it out? All right coach Gardner you're on the hot seat Yeah, I mean, it's pretty cliche, but I think every year I learn how much I actually don't know and a lot of my personal interest in learning and education are derived from Potential problems that we need to solve with the athletes I work with so if it's a new sport I'm working with or a new coach. I'm working with or a new new set of athletes There's always kind of unique challenges and situations that I want to educate myself on to better help those individuals that I'm here to serve so a lot of my personal Education and Continuing continued learning has been kind of derived from me trying to help answer a question or try to solve a problem that was placed before me Dr. Imer well for for me, you know when I started university I was a film production major and That was probably my most advanced skill set as a teenager was my artwork But I realized during university that I was spending so much more time reading about nutrition and training and training it that The homework wasn't inconvenience because it was taken away from that study my favorite book at that time the first book on training I read was Arnold's encyclopedia on bodybuilding and as I advanced through my career I discovered strength conditioning I transferred to Northern Arizona became a lumberjack as they had an exercise science program I was hired by the US ski team by their their sports science department as the years went by I Mean in reality We were only training the skiers Consistently for like eight weeks in the summer Maybe if we had eight weeks and then the rest of the year was about managing all these other things to give them the best chance to succeed During every ski run, which is very expensive by the way So I started to shift my focus towards sports science Realized that I was a craft sports scientist tried to figure out say can I short fast-track this nope have to do It the hard way so I grinded my way through a multidisciplinary PhD and Now here I am and this I've kind of recreated my career as a sports scientist for you for University of Utah But you know over the past year I've had a PhD hangover now that I'm done and now I'm starting to look ahead Here's what I realized though is that all of us who's here. There's 3500 people here We have this tremendous amount of domain expertise the problem is we don't know how to automate it The world is run by software and automation and there is a world in our future where Kids right now in the same way we were taught to write cursive and type on a computer kids are being taught to develop software a World does exist when domain experts also know how to develop software. So I'll be starting a Full software development course at 16 hours a week. I'll be a full stack developer by the end of the summer. Let's see what happens I'd say software developments a little unusual for most sports scientists. That's a pretty impressive one to take on Ernie there's been a lot of talk about Athletes we don't know what return to sport looks like yet for the most part and there are a lot of athletes who are not training or doing Workouts in their house or a local park and then they're going to be put back into some formal training environment You guys believe that assessments should be in place during the return to training period to help prepare the subsequent training plans athletes are given Ernie will you're on we'll go to you first Well, absolutely first of all We're heavily constricted in the collegiate environment the NCAA rules due to liability have prevented us from really supervising any form of workout and so yes the entry assessment for our athletes during our return to place will be critical and What we're currently going through right now is which assessments are critical and how do we need to adapt the athletes abilities when they come in to Whatever timeline we have to our first competitions And so it's going to be really critical But we have to be super strategic because all these athletes are going to flood the campus at one time faster than they ever have in one Mass group we have to be really strategic about really identifying the critical assessments We need and most likely we're going to upscale our monitoring efforts and our surveillance efforts to do everything We can to mitigate risk during what will most likely be a very rapid timeline Yeah, that's a good point and we're pushing our Our monitoring programs really hard right now So we have some baseline activity level Understood as people try to ramp up because it's also a concern of ours Sam do you want to expand on that in the Paralympic population you're working with? Yeah, I mean I like Ernie said I think it's pretty important to make sure that we actually go through a formal assessments when athletes Come back to not make any false assumptions to understand where they actually are As best as we can before and knowing where the sport coach wants them and make sure that we have a logical progressional on the way But before you don't worry about or performance right now Obviously with impaired populations. There's a good percentage of the athletes I work with have Out on you deficiencies or we can immune system states. So Before I just worry about performance. I think it's going to be imperative to make sure that we identify athletes who might be more susceptible to Contracting anything before I just worry about pushing performance parameters. So that's obviously Kind of priority number one on my list right now with a pair of populations Yeah, it's a great point and Matt what are your comments from the the Canadian perspective? I mean, you know, I'll like some similar comments as my counterparts And maybe to add a little bit, you know something different to the to the mix You know, I'm just really fortunate to have such a strong team of practitioners at the community sport Institute Calgary our physio is a melodric with strength coaches and you know Courtney Brown as I mentioned who's on this call and so I think you know to manage right now, especially with our return to sports Cases we've got athletes coming back from injury Certainly one key has been over communication. So, you know, we've been we've been touching base with them in a very strategic way building out these return to performance training plans for each of the athletes that details not only sort of I guess the Like like a yearly training plan would for for a non injured athlete, but also Layered in this is our communication strategy. So making sure that we're, you know, we've got our touch points planned We're we're reaching out in the most appropriate ways And then the last piece is similar to what's been sort of discussed here is the use of wearables been been working with a company at a Vancouver and in trying to Implement through sort of a smart insole Health check that can be done on a weekly basis with our athletes to be able to look at, you know, walking Jumping and running as they're progressing back after injury. So all of those are sort of layered in right now and Certainly, it's it's it's going to be important because I think like we're all seeing is that athletes are at different levels right now And and when we sort of keep back up here, whenever that time will be We're gonna need to sort of drill down and figure out where the athletes are physically mentally and Make sure that we're meeting them where they're at and that we have a sensible progression as they make their way back so definitely on our radar and it's something that we're we're attending to you know with with With with the technology that's available to us Thank you, Matt. Thank you, Sam. Thank you, Ernie. That was a great session great Q&A We're gonna kick it back over to Charlie who's gonna take us to the lunch break Thank you gentlemen for that last session and Dustin for the Q&A Just to wrap up before we break for lunch There were a couple questions. I'm gonna just clarify a couple things in terms of questions. We've received What is an NGB in the United States the US Olympic and Paralympic Committee? identified by congressional law Organizations to run sport. So in the United States US swimming is the swimming NGB for The sport of swimming USA hockey USA tennis are the NGB's that run those sports. So hopefully that answered your question Question are the materials can be shared Materials that are approved to be shared will be posted to the spry YouTube channel in a couple weeks. So approved materials will be shared through the spry YouTube channel and Lastly, how do we register for next year? We do have dates just in Invail next year April 28th through May 1st. We have everybody's contact information. So once we finalize that people will be receiving Information about how to register for next year's event in bail exciting a Couple things reminder post questions post questions. Do I need to remind people we are team USA you post a question? Okay, reminder about that Trivia polling will have two trivia questions one a medicine question one a sport question So please do the live polling for our next two questions and just a reminder In order for us to expand sport medicine and research capabilities We're privately funded so donations are critical. So if you choose to donate, thank you very much We have a 25 minute break for lunch before we break a shout out to show high Miyachi from the Toronto FC football club That is soccer for your University of Wisconsin Badgers on the line that are Green Bay Packer fans That is soccer not American football. So everybody enjoy lunch. You have 25 minutes You


Have you wondered what causes rainbows? But more importantly, why is it that you always see red on the top and the blue on the bottom of the rainbow? And secondly, why is it that you always see rainbow in the direction of the shadow? Always. It means you need to always look in the opposite direction of the sun to see a rainbow. Why is that? Let's find the answers to these. To understand rainbows, we need to shine white light on, say, a medium and see what happens. You probably know when light goes from rarer to denser medium, it will bend towards the normal. However, white light is made up of all the colors of the rainbow, right? And it turns out, different colors bend different amounts. It turns out that the red color will bend the least. Look, it's not bending much compared to the initial direction. And the blue color bends the most. And all the other colors in between bend in between. This phenomenon, where different colors bend differently and therefore this split when refraction happens, is called dispersion. And you can now guess that dispersion is one of the main reasons why we see colors in the rainbow. But wait a second. You may be wondering, well, if dispersion happens here, shouldn't dispersion happen everywhere? For example, when you see sunlight through a glass window, why don't we see colorations? Because dispersion should happen there as well, right? Well, that's a great question. But to answer that question, let's look at a glass window a little bit more carefully. So you see, the edges of the sides of the glass window are parallel sided.  Well, just like before, you do see dispersion. White light splits. However, here, rays of light bent towards the normal, just like we saw before. But now when they're exiting, they're going from denser to rarer medium, the ray of light will bend away from the normal. And so look at what happened. Here, the light bent down, and then when it exits, the light bent back up. And therefore, finally when the colors exit, they all become parallel to the incident direction. All the colors become parallel to each other. So what? So what happens if the colors become parallel, you ask? Well, if you now look at all these colors, these parallel colors, then your eye lens will focus them all at a single point. Remember, all parallel rays get focused at a single point on your retina, and therefore you will see white light. This is the reason why when you're looking at the sunlight through glass lab, your window pane, because they have parallel sides, even though dispersion is happening inside the glass lab, you don't see the colorations anywhere. So that means we now have the question, what if the sides are not parallel? Then what happens? Well, let's look at them. A typical example is a prism. Again, let's shine the light. You can see the rays of light are bending towards the normal, just like before. And now when they exit, this time the rays of light will bend away from the normal. But look carefully. Even though the rays of light are bending away from the normal, here again, they bend down. So you see, the first time the rays of light bent down, but because now the other side is not parallel, this time again, they end up bending a little bit more down. And so now you can see the colors are no longer parallel. They are getting separated unlike what we saw here. So this time when you look at the colors, you will be able to see them distinctly. An example of this is when you shine light through diamond, you can see the colors. So when you shine light through a non-paddle sided glass lab, like for example, a prism, not only do you get dispersion, but you actually see the coloration coming out. This coloration is what we call the spectrum. So you see in a prism, you have dispersion and a spectrum. But in window panes and glass lab, you have the dispersion, but you don't see the spectrum because the colors don't separate out. OK, now that we have that basics, let's see what happens in a rainbow. So for a rainbow, you need a raindrop. And you can see raindrops don't have parallel sided glass. Sorry, they are not parallel sided because they are curved. And therefore, you also have dispersion and the spectrum coming here. Now let's look at it carefully. When white light enters, it splits. And again, I'm only showing two colors, but you'll have all the colors in between. And just like before, these rays of light, these colors will go out of the other side. But for rainbows, we are not interested in the light that goes out. Most of the light actually does go out. But a small portion of the light actually reflects back and comes out from this direction. This is the light that's responsible for seeing the rainbow. Now immediately, you might say that, wait a second, the blue is on the top and the red is on the bottom. So shouldn't we see blue on the top of the rainbow and the red on the bottom of the rainbow? Not really. Because you don't get to all the colors from a single raindrop does not reach your eye. Here's what I mean. Look at this drawing. So if you look at the top raindrop, you can see only the red of that is entering your eye. The blue is missing it. But if you look at the bottom raindrop, its blue color is entering your eye and the red is missing it. And so now, when you look at the raindrops, this raindrop appears red to you, this raindrop appears blue to you. And of course, all the raindrops in between will appear different colors. And this is the reason why you see the red is on the top and the blue is in the bottom. This also explains why you need to always look at the rainbow in the opposite direction of the sun. Because look, you have to, because the raindrops come due to the reflection of the sunlight. And so in order to see the reflection of the sunlight, you have to see in the opposite direction. Look at this, the sun should be here somewhere. Its light will get reflected and then comes towards you. So by understanding dispersion, we can also understand what causes the colorations of the raindrops, why the red is on the top and why you always see rainbow in the opposite direction of the sunlight.