host Barbara DeLuca, president and co-founder, along with Marisol Ruiz, our vice president and co-founder. We're the voice for the Hispanic Chamber of Commerce, Hawaii. Today we have an awesome guest. He's also a member of our chamber, Mario Patino. We'll be discussing his award-winning patino graphic designs and taking your business to another level. Mario Patino is the owner of Patino Graphic Designs. We're very excited to have him here. He's going to talk to us a little bit about himself. Mario, please. I want to hear who you are. Where did you come from? How did you get started in this? Tell us everything good about you, please. Hi. Thank you guys for having me, first and foremost. As you said, my name is Mario Patino, owner of Patino Graphic Design. I'm originally from San Francisco. I moved out here 12 years ago. Yeah, January would be 12 years. When I moved here, I was always in graphic design through school and everything like that. Then when I decided to move to Hawaii, I made the choice to just leave my job that I was with, which is a design firm too, and just start my own thing. As soon as I landed here, I just said, hey, this is going to be it. I'm going to make it happen. We started Patino Graphic Design and just been slowly building it throughout the years. It's been a while, so yeah. Were you that child? Because it's art, right? It's a graphic art. Are you good at painting, drawing? Were you that kid that was always into that? Because it's a completely different field. How did you get into that? Are you that artistic person? Yeah, exactly. All throughout school, I was always the kid who was drawing on the desk. He used to get in trouble for drawing on all over my desk and all that stuff. I didn't really know what graphic design was, but I grew up in the inner city. We're exposed to careers such as graphic design, so I didn't even know that that was a thing until I went to college. Then one of my friends had Photoshop on his laptop. We were in the dorm room, and then he showed me what Photoshop was, and he just blew my mind. I was like, whoa, what is this thing? I need to learn everything I can about this program. That got me started, and I just started teaching myself basically all the tools and whatnot. That led to me designing flyers and little party event posters and stuff for school, and then just kept building it off of that. Did you initially, sorry, just kind of going back? I always think it's fascinating to hear from people like, you might have a certain path that you're going to start on, and you end up somewhere else. When you said in college, you got exposed to the Photoshop on your friend's laptop. Did you have a different major? Were you undeclared? Were you going to take a completely different direction? Now, thank goodness we have you here. If so, what was that direction? I was actually going to do Latin American studies. That was my first idea. My idea was to work with the community and do outreach type of work, but the art was always there for me. It was always a passion of mine, and then it wasn't until I actually figured out that you can make a living off of graphic design that I started really pursuing that lane, and I never turned back from that. That's a great point. This is an awesome segue because it seems that your career path has led you to be able to use your graphic design and incorporate it into working with the community and Latin America. We're so happy that you joined the Hispanic Chamber of Commerce, Hawaii, that you reached out to us. Let's talk about your work with not only the Hawaiian community, but the Hispanic community. Recently, you did a beautiful campaign for us for the Latino Business Expo and created our logo. The whole campaign was cohesive. If you go to our website, LatinBizExpo, you can see the fact that we had the event flyer that you created to the VIP event with the Taramana, which was also a fundraiser for Maui. We had a lot going on. We even had an after party. Thank you so much for your work with us on that project. Yeah, of course. No, thank you. It was truly an honor to be involved in that. When I first discovered the Hispanic Chamber, I said, oh, this is a group of like-minded individuals that I've been searching for my whole time out here. When I started going to the meetings and stuff, it just made sense for us to say, hey, we're going to try to help out with the logo and the branding. Because it was the first Latino Expo. That was a big deal for us to put our stamp on that. With any project that we create, we start with the logo and then all the marketing materials and the collateral that go with that need to have a cohesive look, which is what you mentioned earlier. We had that in mind when we were designing the logo. It was like, how are we going to do the poster and the banners and the flyers that are going to lead up to this social media post and all that stuff. Like I said, it was a whole campaign that we were thankfully able to bring to life. It was a great turnout. It was awesome to see a lot of Latino businesses out here, more than I honestly expected. That was pretty surprising. That's true. That's why we founded the Hispanic Chamber of Commerce. There's over 700 Hispanic-owned businesses out here that employ 5,600 people. We contribute $500 million to $1 billion in sales to our economy. It's a growing community. We're so excited to work with you and for this to be a bigger and better event next year. Yeah, totally. No, I'm excited. Sign us up for the next one, for sure. Yeah, you're actually our guy. I don't know if we shared this behind the scenes. I didn't realize actually and I have a greater appreciation for, you know, because you'll look at a flyer or you'll see an ad and you'll see the beauty of it, but I don't think one realizes like what really goes on or what the creative process is like because we had some before you came. We brought you on board. We tried really hard to come up with some logos and flyers and I mean it is a night and day and it was like we're so grateful and they're so beautiful, but it's a lot of work and to capture that vision, I mean it really does take artists to be able to do that. So thank you. We're so pleased with you and look forward to working with you, me personally as well. Yeah, thank you guys. I'm glad you mentioned that because a lot of clients don't really understand what goes into a design and what all the different variations and drafts and stuff that we come up with before we even show you anything. So we kind of go through our process of the creative of where we're going to take this design to and sometimes it's a direction that we don't like personally so we have to scratch that, try a different avenue until we get you know somewhere along the right path and then we present it to the client and then we take it from there with some revisions that went up, but yeah there is a lot that goes into design. Well let's talk about your work with the Hawaiian community. How did you get involved with the Waianae Coast Comprehensive Health Center? Yeah, so they are one of our big clients right now. We're super thankful for all the trust they put into us. Before we came along they didn't really have a dedicated design firm or marketing department. Everybody was just kind of doing their own thing like all the different departments were basically doing their own flyers and all kind of DIY type of stuff. So when we came on board you know we were asking for files, we were asking for logos and none of these things were around so we were kind of like well okay we need to take a step back and assess the entire you know Waianae Coast Comprehensive Health Center as a whole and not just the department that we were initially brought on to work with. And they were super receptive with that. We started off with a few projects with them just to kind of get you know our feet wet and that just didn't it has been leading to so much things that we've been doing with them including that shuttle bus that you guys just showed which for us was you know it's a prideful thing because we're able to bring beauty to the west side with the shuttle bus designs before we touched those buses. The buses were blank so they just had like a small logo. They were very unassuming, no branding, they were you know they didn't stand out. So we started creating a design that would kind of bring pride to the people of the west side when they are on these buses. Something that they can you know feel attached to and it represents them and the you know the area. So we chose different photography that highlighted you know the west side and different you know aspects of the beauty that is around here and it's just a bus that looks gorgeous going down the road and people are proud to be you know on these buses and using them and you know these things are on the on the road all day so it was a that was a special project for us just to kind of get back you know we can as far as artistic view into the you know to this community that we are a part of actually too so we're located in Macaw so it was a it was special to our heart to to work on those projects. Right I thought I saw a mobile bus um where you can go get healthcare or is that a bigger bus? Yeah yeah exactly so with this project there was four shuttle buses that we designed and wrapped and then with the help of Han Blue who was in Star and then the big one was the mobile clinic bus. Now that is the first mobile clinic bus that is on the west side operating and it's full you know they have a bed in there there's all kinds of medical equipment stuff that people can use um so it's something that can go to rural areas that might not have access to the center so they can bring a clinic to them and that was a big project it was the biggest vehicle that we've ever wrapped so that was definitely a challenge because we were kind of going into it with you know unknown so just learning that entire process and dealing with that kind of vehicle was quite the experience and came out great the blessing we went to the blessing they invited us to that and you know there's a really great story behind the name of the bus that I can explain later but yeah overall it was an incredible experience to be a part of and super super thankful for them. How long does a project like that take or to even wrap wrap a bus like that I mean you said you're getting it is a little unfamiliar territory initially how long does it take? Yeah well that one was actually um it was a pretty long process because um from the initial concepts that we that we showed well first we start with the dimensions right so installer will come out take the dimension of the bus they'll give us a template of what the bus looks like with all the contours and all the shapes and everything else because it's a 3d object right so it's you know from every side top and bottom and whatnot it's not just the flat like a flyer so you have to take that into consideration where how things are going to fit around you know all these different shapes so from the time we showed our first concepts and those go through you know the proper channels of you know revisions and whatnot that one took a few months because it was such a large project and it meant so much the community so it was a it was a pretty long process and then the actual wrapping was another I think a week and a half or so like that and then you have to you know bring it back and do the logistics of who's going to drive it because you need a licensed driver to do those those types of vehicles so it was uh yeah it was quite the uh quite the journey on that one but it came out great so we're super thrilled on that one yes so let's talk about your next project in peace yeah in peace is a is a community organization that does great work um they help out a lot in the community they're also a um a west side based um organization in maili they also have offices in couple a as well but they basically help uh community members try to either get kids into preschool help them with you know different types of assistance programs and whatnot um so they they have their hands in a lot of things and within peace um we've been producing a lot of their products so one of the our big parts of our business is promotional products and bringing products to clients that they normally wouldn't have access to here on the island um just because it's so restricted on what's available here so we design products for them such as uh table covers pop-up tents um merchandise giveaways like if they go to trade shows and whatnot things that they give out to their you know to their constituents and their customers and whatnot like that um so we've been doing a lot of product work for them lately and it's just another way of us you know providing another service to help out you know all these organizations that you know we're otherwise trying to do it on their own so we've kind of try to help fill that void and make their life a little bit easier so they can focus on what they do best you know the programs that says he's not at and then we can focus on the marketing and the branding and just making sure that they have the best products out there for you know to keep the brand going and have that strong visibility well speaking of giving away things and you know working with the community I saw one of your posts recently and you were giving away um mouse pads to a school in macaja that needed them what was that um how did you get involved with that um yeah thanks for bringing that up um we we've been doing a lot of like small donations um to macaw elementary um this past year and year and a half um it's usually something that we don't really you know talk about a lot because I feel like you know if you're giving something you should just give it out of it you know the kindness of your heart not expecting anything like in return but um it just kind of brought to me to like the attention that we can do more as entrepreneurs right we can use our resources to help out and to give back to the community so I wanted to do a post saying that one of uh one of our friends is a teacher at maca elementary she mentioned to us that the kids in the computer classes don't have mouse pads so they were having a hard time you know doing their homework because they're you know their mouse and one now just wasn't catching hunt so we were like hey you know that's exactly up our alley that's what we do um it's something that's you know pretty easy for us to get accomplished so we just took it upon ourselves to um go out get mouse pads made for them um I delivered them to them last week I believe it was um and the kids started usually just sending some photos the other day so the kids are like all using them they're all excited because they have new you know mouse pads and things like that um and we also donated t-shirts as well for the schools um when they go on the field trips they wanted to have like a cohesive t-shirt that all the kids could wear you know also to feel pride about where they come from and then when you know for the teachers it was good for them because they can see all the kids that they are with and it's easily to point out for safety issues so that's another you know example of things that we've been trying to do on our end to try to help out and give a little bit back to your community here on the west side so you had to start somewhere getting involved with the community what was your first uh project uh with iHS how did that happen and how did that open doors to working with other community members right so iHS is the Institute of Human Services um they're located in town and their main focus is trying to end homelessness in Hawaii they have shelters throughout the islands um they also do a lot of uh you know food programs and things like that they also help out homelessness with giving them uh close to work for interviews which we thought was pretty pretty interesting because you never think about that but they were one of our earlier clients and they kind of opened the door for us to step into these bigger accounts because they put their trust in us when we were just kind of just starting out so for us to get clients like that was a huge deal because we did some amazing things with them and they kind of opened the door of their program for us to kind of just help them out with all their marketing stuff we did newsletters we did brochures we did their giant 50th anniversary gala which was at the Hilton Hawaiian village so that meant a lot to me as a as a up and coming business owner just that you know a company that is this big can put their trust in us and we delivered and they kept coming back to us which you know is a sign of the great work that we've been putting in and all the hard work that we do um so we really take pride in taking these companies taking these brands and just kind of nurturing them as if it's you know our own because you know at the end of the day that brand is a reflection of us so the work that we put out is a reflection of the work that we put in on our ad most definitely we all have to start somewhere and that's what a great opportunity yeah and i like how you say you know uh you know who we're with or who you represent is a reflection of us right of ourselves or companies so yeah when you're you're out there and you're on these you know um i how do you call it Barbara on the on the staircase there at the mall everyone's seen do you get a lot of business from you know do you get referrals that way how do you get your business yeah um the funny thing is i don't really advertise at all really most of it is through referrals it's through doing good work for other companies um and you know it's a small item right so if you do good work for one company they'll definitely refer you to another one um and it's just been kind of building like that so it's really important for us to keep our name intact to keep the quality of design works that we do you know top notch um and you know it's it's it's just it's just been growing organically um and you know we have clients on the mainland as well um so it's just a lot of word of mouth and you know he's not lying we offered him a booth at the Latino Business Expo and he said save it for somebody else yeah which is a lot of good yeah thank you bro you support each other right and so you're talking about growing organically um can you talk a little bit about the lineup at Waikai what is that what is the lineup at Waikai what are you doing yes the lineup at Waikai is a new development and have a beach um you've probably seen it around they have a big surf pool um they have a bunch of activities or restaurants bars they have a huge lawn every Thursday they do a farmers market um with hundreds of vendors uh so we've been lucky enough again uh to get in on the ground floor with Waikai when they were first developing it so we've been with them from the start and it was really important for them to work with the local design agency they kind of knew the area knew the demographics you know knew the type of advertising marketing that was going to take to make this successful so they approached us which we were super thankful for again um and we've been doing a lot of cool projects with them including the escalator that you just saw on screen that's at the El Juana Center so we did a huge wrap promoting the lineup to tourism and not only tourism but also local um because we want to have local families you know go and visit and take advantage of all these amenities that they have there um you know I take my family they're all the time we were just there on Sunday with our daughter so it's a really cool place you can go check it out it's an ever beach um there's a lot to do there's outdoor I have a lagoon they have bars restaurants all kinds of cool stuff it's a great place Marisol and I met there yeah we met a client there remember have you got on have you done the wave pool Mario no no no I'll leave I'll leave that to that to this community hey you don't need them injured I got work to do yeah oh tell us about this um Pelle award ah yes so we won uh last year's uh bronze Pelle for logo design which is a really prestigious uh design award design marketing and advertising award here in Hawaii um so every every design company submits something to the Pelle awards every year it's kind of one of those things that it's like basically like our grandkids right so uh for us to win a bronze was a huge huge deal because we're going up against the massive design firms the huge agencies that are submitting work that have done you know projects for you know everybody and anybody so for us to go in there and win the award for logo design was just massive and that's really you know kind of helped establish us in the industry as well um so something that we were super proud of and look forward to winning more awards hopefully here in the future well Marisol I look forward to you helping us with our logos and our brands and our um the state business and me first me first the fact that you support women and and and designers and a predominantly male you know industry so let's let's talk about that yeah so um I'm uh what you call a girl dad right so I have a daughter um and it's very important for me to raise her in you know world and society that she knows she's going to have equal opportunity no matter what industry she goes into so a big focus of mine is to give young female young talented female designers a chance to kind of grow and learn about this industry learn about design that's usually traditionally kind of a male-dominated industry it's changing a lot throughout the years there's an amazing talented designers everywhere female but for me it's it's it's always been kind of a focal point to give young designers a chance to get in on the ground level um you know and learn as much as they can from me learn um and you know not only are they like employees of mine but they're all you know I take on sort of a mentorship role with them and I try to teach them about business try to teach them about entrepreneurship what it takes to own your own design firm um so hopefully one day when they're ready you know they have all the skills in place to go out into the world and you know start their own thing if they want to do if they want to do that they want to follow that route which is a very tough route because you guys know being in business so but whatever they you know whatever they decide to do with their career you know I want to be kind of a a vessel of information for them so that's always been very important for me on land you said something really important that you know entrepreneurship like for me personally I don't it's not for the faint of heart uh it takes a lot of you know uh to make it in whatever industry that is and not everybody's built for it right or has been exposed to it how did when did you make that shift from hey I'm a graphic designer artist to I'm gonna do my own thing and like where did that come from somewhere do you have a background in entrepreneurship or your spear yeah it's um it's all my parents uh both of my parents are entrepreneurs uh I grew up around it my whole life um my mom has always you know had her own business my dad's had his own business my whole life so it's all I've known um going to work was something that was kind of foreign to me I always wanted to start my own thing um I I always knew that I was in some way going to be involved in business somehow so that you know that role that I see my parents play in my life uh was super influential to me and it's something that you know sticks with me to this day um and hopefully you know my daughter is uh follows in that path but we'll see you know whatever she decides to to go into you know we'll support but yeah it's all it's always been part of my like DNA as you can say well we're glad to have you as a member of our chamber and a member of our community then in Hawaii and the Hispanic community as well thank you for joining us today Mario yeah you're such a bastard thank you so much thank you and everybody at the chamber um it's such a great thing that you guys are doing for you know the community here in Hawaii um like I said earlier when we started uh it was kind of a a journey for me to try to find like-minded individuals um out here because it is a little bit difficult but you guys were opening the door for something really really special and you know we're we're thankful to be a part of it can't wait to see what else you guys have planned and you know we're always there to support and help out all right Cinco de Mayo working on it yeah yeah it will be we'll do uh we'll do another one of those tequila tastings those are great oh my gosh we have about 15 cases of tequila left for sure right yes with Tehramana's permission they they told us we can go ahead and keep it and and promote it again at our next event so working on something I won't say no to a bottle of tequila that's for sure well um thank you for joining us today on Hola y Aloha and thank you to my co-host Marisol Ruiz we've been talking with Mario Patino with Patino graphic designs and you can find him on Instagram and on what is your website Mario uh mpatino.com letter mpatino.com great thank you to our viewers for joining us on Think Tech Hawaii I'm Barbara DeLuca president co-founder of the Hispanic Chamber of Commerce adios y aloha adios


So, let us continue our discussion on multi arm contextual bandits that we started. So, just a quick recap on what the things we did, we say that we have in every round a context is revealed to us and looking at this the learner has to figure out which action to play and we said that we have about k actions ok. Then we said that when he is going to play an action I here he is going to get a reward which we said in round T is how did we write the reward? We said reward in round T is some function which depends on the context in that round and the arm he played plus a noise term. And for this we wanted to see how should we should be choosing an arm in every round looking at the context so that my regret is minimized right. So, how did we define the regret? The regret was that the regret of a policy pi we defined it to be expected value of. So, this is the context x t then we said so, i t is the arm played by the learner using policy pi in round T. So, this is the total cumulative reward you would have got and this is the best you could have got in every round ok if you knew the function this reward function yeah. So, whatever like in x t when he observes what is the best he could have gotten in that round T. This is the reward he is going to get in round T and this is the sum over total rounds T. And this we are comparing with what would have got gotten if he has played i t in round T. So, then we said that so, what then we said that yes as of now this reward function is just a function of two variable that is the context in that round T and the action you play in that or like it is just like reward is a function from your context set and action set to some number reward function. The learner does not know this ok he has to figure out. So, then we said that if there are only let us say finitely many contexts then what learner can think is for each context and the arm pair he can think that as an another arm whose reward he do not know. So, in this case instead of thinking as k arms he can think of for each context and then each arm he can think it as a pair and across this pairs he can think them of individual arms and then try to learn the mean value of that. Then this is corresponding to the standard k arm bandits in that we have, but the k corresponds to the number of context into the number of arms there yeah. And eta t we just said this is what would you say it is a sub question noise yeah it has a zero mean noise. But we said that if that is the case like if the number of context are huge then I am basically learning over a large number of arms which if I am going to just apply the standard bandit algorithm it is regret is going to be like scaling like how many pairs are there right. Then we said that say when are there as a contextual case it is not that rewards across this arms are independent may be reward from one arm for a context is somewhat similar to that you can observe from other there could be a potential correlation that is like if I have a context like this if I am going to observe some reward for this context from these arms and if I get another context and if I observe rewards for that new context across this arms potentially there could be some correlation across them right. Because if the two context let us say happens to correspond to same like young user who is trying to log in maybe their interest could be potentially similar because of that I can expect a kind of similar reward across these arms. We are going to hence forth assume a structure on the reward function which is of this form where this phi function what would we call this phi function we called it as feature map and this function is known. This is known for every possible pair of context and arm and then we said that this is an unknown parameter which is independent of context arm it is just theta star which is going to parameterize this reward function. So, this is one setting we have this is what we called as so we called it stochastic contextual multi-unbanded or contextual stochastic multi-unbanded stochastic contextual multi-unbanded. Then we said that we have another setting called stochastic linear bandits. So, let us now treat this as like a different problem for time being and then let us try to connect these two. So, what we said is in every round a decision set is revealed to you. So, these are the sequence of decision sets and let us say Dt is some subset of some Rd, but let us assume these are all this is a bounded subset. So, it is not I am not saying that Dt has finitely many elements in that that Dt could have uncomtably many, but the thing is each vector here is bounded that means each component in the vector is bounded. Now, my goal is to in every round. So, if you are going to pick, so this is Dt here. Here the reward you are going to obtain in round T is given by what is that it is already linear. So, I am already looking into the linear banded. This is going to be given by Dt into again let us say theta star plus noise. So, what is Dt? Dt is the arm. So, now I am talking about arms are nothing but the set of feature vectors. So, Dt is a set of feature vector that is revealed to you in round T. And what you have to do is you have to select a feature. If you select a feature Dt here, this is the reward you are going to get.  The maximum reward you are going to get in a expect the best thing you can get in a round is. So, over a time period T, if you know theta star already the D from this decision set you have chosen is the D that maximizes this.  Let me call this as RT of phi. So, this is what we are going to call it as stochastic linear banded setting. So, what is I am doing? I am basically trying to optimize a linear function here. So, let me let me let me put it in other way. I have a function f whose output is x star theta. So, let us say I have a function f which is linear. If I know, so this linear function is parameterized by what theta star. If I know x, I know what is the output of this function. Let us say you have a black box which is this function. You do not know what is this function. But you want to find a x that maximizes this function f. So, how you are going to do this? Every time you are going to choose a set DT, what is going to happen is you do not observe theta star here. But what you observe is the output of this function. What is that is if I am going to give it, if I give DT as the input for this function, its output is DT transpose. But the thing is you do not observe it, you are going to observe a noisy version of this. So, that is what I said that is the reward for you. But now, your goal is to find a point from decision set every time such that you are going to get the highest reward. So, every time you are going to play, you are going to observe this. This output is going to depend on theta star. What you are going to just observe is this inner product plus noise added to that. Now, your goal is to in every round you want to match this. This is the best you would have gotten, right? If you know theta star, but you do not know theta star. What you are getting is only these observations, noisy observation. From this, you want to, so this is minus here. You want to learn this theta star such that every time you are going to play an x which optimizes this function. So, then this is exactly this is stochastic linear bandit or this is you are trying to optimize a linear function. Are you following? I have just a linear function here. I do not have directly access to its parameter, but what I can do is in every round I can play a point, I can query it. So, this is like a query box, a black box to me. I can query with whatever input I want. From that, I am going to observe this output. My goal is to get this output, which is as maximum as possible. So, this is the best I could have got, but if I am using going to choose a dt in round t, this is what I would have gotten, whether this noise represent the error we made in features. Yes, at least in this model, right? We are going to treat it as some observation noise. It could be like anything, like you remember we assumed already what it is. We said that this is a conditional sub Gaussian noise, right? So, that is given your observation till time t, this noise could depend on all the things you have observed so far. But it is conditioned on that it is a sub Gaussian noise. So, you are coming to this, right? Like what is the guarantee that there is some reward function, but what I have done is basically parameterized through this features. If I am going to have a features like that, is it guaranteed that whatever that function is, it is a good approximation of that function? Is that your question? I mean, I do not think that eta corresponds to that. You are kind of assuming that yes, there exists a good features map such that this is true. We are not saying that by there exists some noise, I can add a some noise correction term here such that whatever this function is, that is exactly represented to this linearization part. We are not saying that. We are just saying that this holds, but whatever eta corresponds to here is the observation noise I am making whenever I am paying a particular feature. Okay. I have written and separate please because this is like stochastic contextual problem. This is a linear optimization problem, stochastic linear optimization problem where I have this function which I am trying to optimize over many rounds. So, this is what I have collected from it, but this is what I would have ideally like to collect from it. I would have collected this had I known this theta star, but I do not know this. Now, in the last class, we just said that this problem and this problems are identical. Right? How did we say that? What are the, how did we map this problem to this problem or this problem into this? So, we just said that dt could be, so dt here is nothing but the feature maps, feature maps for the context and all possible actions we have. So, that I could treat it as dt that is revealed to me. So, it is true that right as soon as I see the context xt here, I have assumed that I know this phi function. I could compute all of this. I am going to take that as my dt here. Now, the question is from this dt, I am trying to look for a feature map that is maximizing this. Then it is same as asking for a arm which maximizes the reward for that context. So, that is why we said that, so now everything remains here. Once I do this mapping and assume that this dt set is finite for all t because I have only finitely many arms here. Right? k, there are only k arms here or k actions here. If once I assume that this dt is this, so anyway if k is finite this set is anyway is going to be finite. So, then this actually take considers this problem as a special case. When I took this stochastic linear bandit, I say dt to be bounded set, but it could have uncountably many. But suppose now I say that I make this dt to be finite. If I can take this, solve this problem for uncountably many I should be able to do this for finitely many also. So, as a special case, this is just a cardinality of size set dt. So, as a special case in this, if I am going to take this dt to be this feature vectors for each arm in that case, dt is finite and then apply this problem and these are same. So, that is what? Yes, x t's are coming from some context set c. Whenever I got this x t, I went and mapped them to this features. This could now lie in a dimension, in a space of dimension same as theta star which is small d. Now, I am just saying that these that that set of feature vectors itself that is my decision set in the stochastic bandits. I am just what we are doing through this is there is no c here. It is just like a decision set that has been coming to give that have been given to you in every round. From that, you have to identify which is that feature which is maximizing this function. Only thing that is coming for you is dt set here and now we are saying that yes that the identity of the marks arms here is not important because I have mapped them to this feature vectors. What matters to me is now this feature vectors and now once I have mapped this I did not arms to this feature vectors and now it is just about thinking which is this feature that is going to maximize my reward. So, that is why I can think this problem are just like a stochastic linear bandit problem or just like a linear stochastic linear optimization. So, now we have done this subtraction now we can just try to focus on this problem rather than just assuming dt is finite in every round we will allow dt to be in anything in each set. We just want is it is coming from a bounded set. In this setting I am fine dt to be a bounded subset of id. It could be anything if I have it is only consist of only finitely many points in it it is still a bounded set of id. Solving I do not care whether on this set or whether I am finding whatever like see I am only finding points from the given set dt from that whether I am able to find the best point. Whether it is it is consist of uncomptimally many or finite I do not care I have to all I have been given is this dt from that I want to find a point which maximizes this. What you use optimize it I do not care that is of irrelevant to me all I care is what is the optimal value you use gradient descent or some optimization I do not care. So, right now we are not talking about how we optimize right we are just talking about this is what you want whatever this value is how far you are by using your policy compared to this that is the only thing I am worrying about. So, as long as this dt is a bounded subset of this id I am fine whether it consists of finitely point or uncomptimally I do not care it all falls in this setup okay fine. So, now the question is how to go about solving this. So, if you recall in our last class at the end we also discussed that if I allow my this dt to be unit vectors then I can think of this problem is actually solving a stochastic KM standard multi-amp banded problem right with theta stars are equivalent to the means of the arms okay fine. So, let me just write it special case. So, these are actually special cases so special case. So, if I let this case then my let me call this as slb and let me call this as scb stochastic contextual bandits. So, then it is like slb is same as scb right if my dt is happens to be this set in every round then it is nothing but stochastic linear banded is nothing but stochastic content. So, second case if my dt is d1 d2 all the way up to ed okay. So, where d is the dimension of this theta star. So, then what is this problem what is then stochastic linear banded is same as with d arms stochastic multi-amp banded with stochastic d arm banded. So, that is fine. So, now we have bit so we have bit now both this contextual bandits and this linear bandits we we have specifically studied them earlier but now we are going to study bit more general structure which is now a stochastic linear bandits. So, just for this I am going to just write this as without expectation as the regret of a policy pi whenever I want to find expectation I will write expectation on this directly expected value of RT okay. How to how we go and solve solve this. So, what is the unknown in this theta star if you can somehow figure out what is the theta star then we are more or less than right. So, in the multi-amp banded k with k arms there mu 1 mu 2 up to mu k they were the unknowns if you figure out that mu 1 mu 2 mu k that problem is I can solve it. Now here theta star is unknown but theta star is not like one real number it is a vector if I can figure out this theta star I I can solve this problem. Now how to figure out this and how to go about it E k so I see the D arm bandits that means k is already D we are treating with k D arms in that okay.


So Chris, what's that your shopping list? No, it's the naughty or nice list 2011. Look at that. I moved up to 1237 this year Oh, cool. So is that like the naughty list or the nice list? I could have been nicer Not everyone makes it to the nice list. There are some real gritches out there With that in mind the fourth police department is reminding holiday shoppers to take some basic safety precautions When you're out and about the shopping season or when you're celebrating with family and friends at home Many are basic don't leave packages or tempting electronic devices in a vehicle or potential bad guys can spot them Always park in well lit areas And if you're traveling have a neighbor to watch your house for suspicious activity for more tips Check out the PD's website on a more festive note The holiday season is a time of giving especially to the power company many of our friends and neighbors take this time to decorate their Houses with lights and display honey, oh poor kitty If you want to get a safer look at some of the lights and decorations check out the annual holiday lights tour December 10th And 11th the tea and stockyard station host the event which begins at 5 30 each day Cost is $5 and children under 5 are free and highlights more than 200 decorated homes If you're looking for something non-holiday related to do then check out the special George Washington exhibit open now at the Fort Worth Museum of Science and History about 100 original objects associated with the father of our country are on display Including the only surviving complete set of his famous dentures The exhibition runs through January 22nd and goes beyond the iconic image on the dollar bill It reveals Washington as not only a general and our first president But also as a young land surveyor experimental farmer and savvy entrepreneur two one Then check out the special George Washington exhibit open now at the Fort Worth Museum of Science and History that guy hated holidays I kind of messed it up, so


This video is an introduction to classic neural networks. We're going to talk about neural networks for the purposes of regression, but as will be clear from the algorithm, they are also very good at classification. In fact, it's that most applications of neural networks nowadays are in classification problems. But to keep things clear, we'll talk about regression. Suppose, as always, that we have predictors x, and let's say we have n entries in p different predictor variables, and we want to produce a regression, let's call it f hat, that does a good job of predicting the response variable y, and there are n of those. So we're looking for a function y equals f hat of x, and the idea of a neural network is to break this up into two steps through composition. So what we're going to do is think about each predictor x as an input to some function. So I'll draw those as circles. I'll use actually capital P here, and I'll use lowercase p as an index. So I have x1 through x capital P, and we want to produce the variable y. But to do so, we're going to introduce an intermediate layer of variables here. We'll call that variable z, so we're going to go from x to z to y through composition. And let's suppose we want to introduce, let's say, m, capital M of those z's. So we want the z's to depend on the x's, and then y'll depend on the z's. So in other words, what we're going to do here is describe our function as f hat of x is actually a function y of z of x. For some, z, which is z1 up to zm as a vector. So why do we draw it this way? Well, it's traditional in the world of neural networks to think about what's actually going to be a linear map as a pile of coefficients. So if each arrow here represents a coefficient, then y is a linear combination of the z's and each z is a linear combination of the x's. In fact, we're going to make an ansatz that is a hypothesis, a premise for our model that's of the following form. We need to assume that y of z is of the form sum on the z's of some coefficients am times zm. So y is going to be a linear combination of the z's. And we're going to assume that z in terms of the x's, each zm in terms of the x's I should say, is, well, I want it to be a linear combination, but there's one detail we're going to add, and that will be the subject of the next slide.  So that's the pth chord. This is a matrix b times the vector x in some sense. But I'm going to take that output. I'm going to adjust it by a sigmoid function. So just some terminology. In the language of neural networks, the predictor variables, the input, is called the input layer. The y's are reasonably called the output layer, and the z's are called the hidden layer. So I will discuss in the next slide why we want to lay things out this way. But overall, the idea is to predict y based on x by factoring through an intermediate variable that we're going to call z. The y will be linear combination of the z's, and the z's will be linear combinations of the x's except that they'll also be adjusted by a function sigma. So we go from input layer to hidden layer to output layer. And each of these arrows here represents one of the coefficients bmp. There are capital M times capital P of those. And each of these arrows here represents the coefficient am. So if the function sigma is fixed and known in advance, what we're really trying to do here is generate these capital M coefficients and these capital M by capital P coefficients. All right. Why is a model like this useful? I think it's very important to think of this in the context of decision trees and random forests and also in the context of support vector machines. So if you think about doing a regression problem with decision trees, the problem is that if you have, say, two variables x1 and x2, the decision tree cutoff is only allowed to be x1 equals a constant or x2 is equal to a constant. And so the key limitation of decision trees, in addition to the fact that they overfit very easily and so on, but in terms of the actual structure, is that the model relies on the original coordinate system. So if your data happens to be spread out in some diagonal fashion or maybe something more complicated like this, it's going to be very hard. You're going to have to make lots of cuts to get that diagonal action through vertical and horizontal cuts. So how could we improve this? Well, what you do instead is say, look, what I really want to do is allow myself to make cuts and regressions based not just on hyperplanes, which are each individual variable set to a constant, but any hyperplane in the same way we do for a support vector machine. So I might want to say, look, actually what I want to do is I want to draw, say, a hyperplane maybe like this, or maybe a hyperplane like this, or some combination of those. I want to match my data not on a particular specified family of hyperplanes, but across all possible hyperplanes. So what does a hyperplane look like in x1, x2, or x1 through xp?  Maybe I'll call it b0. That's after all the standard equation of a hyperplane. So think back to the previous slide. We said that we want zm to be sigma of a sum of little p equals 1 to p of capital B, m, p, xp. So ignoring the sigma for a moment, this is exactly like the function part of the equation of a hyperplane. So what's going to end up happening here is we're going to make decision boundaries based on level sets of hyperplanes, not only on the chord of hyperplanes that you use in a decision tree. Now, this is where the sigma comes in. Sigma has to be what's called a sigmoid function. A sigmoid function, actually sigmoid is a class of functions, but usually it refers to one particular function, which is the function sigma of t is e to the t over 1 plus e to the t, which can also be written as 1 over 1 plus e to the minus t. This function is a very nice property that, well, this is the logistic curve. It's this classic s-shaped curve, which as you go to minus infinity approaches 0, and as you go to positive infinity approaches 1, and actually if you plug in 0 you get 1 half. So it's this long s-shaped curve, and the idea here is to have a smooth, this is smooth, it's infinitely differentiable, it's just a great function to work with for calculus purposes, and it looks something like the classic indicator function, what's called the heavy side function, which jumps from 0 to 1 at the origin. There are other examples of sigmoid functions, popular choices also include things like arc tangent, which you know takes negative pi over 2 to pi over 2, and stretches that out, just like computing the tangent of an angle. And you can also use hyperbolic tangent, which is closely related to this original logistic growth function. So the idea here is that when we make a cut with a hyperplane, we want to talk about being on one side versus the other side of a certain level of that hyperplane. So let me draw a picture of this. Suppose I'm working in two-dimensional space x1, x2, so in this case p is equal to 2, and I consider some hyperplane family of the form b1, x1 plus b2, x2, or b1, b2 are some fixed numbers. If I draw the level sets of this function, it's a family of parallel hyperplanes. Well, they're supposed to be parallel, anyway. Now what I want to do is suppose I'm working on a data problem where I want to say, actually, the data I'm working with has concentrated up here, and the data does not appear down there, or maybe it takes a different value down there. Maybe there's a class distinction between this region and that region. So what I'd like to do is make a decision cut right about here and say that the property of being an x versus an o is true here versus false here, or rather the function takes one value here and a different value here. So what we'll do is we will say yes and no by drawing a sigmoid function along these levels. So imagine you have a sigmoid function, which makes that transition from 0 to 1, and in this picture, the sigmoid function, we're feeding it this value to cut off at some level. So we could say take a sigmoid of B1 x1 plus B2 x2, say minus B0, where B0 is the level at which you want to cut. If you leave that off, you'd be always slicing through the origin. So combining a sigmoid function with a linear combination is a way to express the idea of making a decision boundary with two important properties. One is that it's a smooth function. The cutoff is not discrete. It's a differentiable function. It has all of its derivatives of all degrees, and it's very easy to work with because it's based on exponentials. And two, you can use any level of any family of hyperplanes. So those two properties together mean that this form of Zm is a sigmoid of some equation like this, some expression like that, linear expression. So you can make a sigmoid and feed into it what's effectively a family of linear, a family of parallel hyperplanes, gives you a picture like this. Now to be precise, you might want to include the minus Bm0, that sort of term here, or you can include that in your definition of sigma, or you could include it by having one of your x-coordinates B1. It doesn't really matter. There's many ways to include that variable. For the simplicity of presentation, there's a lot of constant terms, but there's many ways of including them with minimal disruption. Okay, I'll pause this video here and we'll pick it up in the next one. But this is why we want to introduce the hidden variable Z, which depends on the x's, through a sigmoid of a linear combination. The next question is how does y depend on Z and y?


Family Theatre presents Deborah Padgett and Stephen Dunn. Cooperation with Family Theatre presents Stephen Dunn in the clown. To introduce the drama, your hostess, Deborah Padgett. Family Theatre's only purpose is to bring to everyone's attention a practice that must become an important part of our lives if we are to win peace for ourselves, peace for our families, and peace for the world. Family Theatre urges you to pray. Pray together as a family. Tonight Family Theatre takes great pleasure in presenting an original story based on the life of Dan Rice, the clown starring Stephen Dunn. Does the tale of a comic know its own star? Sure I knew him. Dan Rice, the greatest clown that ever lived. I followed him on the way up. And I followed him on the way down. Me, Cappy Flynn. The kids, when we met, Dan was only eight. Just run away from home. I was 12, jockeying for Colonel Stanton. Dan loved horses. He started in as a stable boy, and within a year was the country's ace jockey. Yeah, that's how our friendship started, and it grew through the years. Good years and bad ones. Till a dry spell when we were both working for beans in a little traveling carnival. Hurry, hurry! Horsy language, of course. And as for his Terpsichorean skill, well, ladies and gentlemen, just see for yourselves. That's right, bacon. Heroette! Balance! Who is that man? Looks like he swallowed a dictionary. Oh, him? That's Dan Rice. Dan Rice, he can do just about anything. Sing, dance, recite Shakespeare like a play actor. But don't play cars with him. He's a handsome one. He's a big and strong one. Let's see the rest of the freaks. That snake charmer looks good to me. And now to see bacon perform the rest of his amazing tricks. Step right this way and buy it. It's right. This mighty putt. So step right up and buy it. To see this gorgeous girl. Folks, don't crowd. All right, Stella, that's enough. Get inside. That's right, good people. Step right up. Oh, you boy, out of the way so that gentleman can buy a ticket. Sorry, friend, no free list on this show. Are you the owner of this carnival? Yeah. Where's your permit?   Oh, yeah, we'll see about that. I'm up and spin and the sheriff has to put in an appearance. But we got away, Stella. That's the important thing. I don't see what's so funny, Dan. The irony of life, my dear. The irony of life. Irony? As defined by Mr. Webster as state of affairs or events which is the reverse of what was or was to be expected. A result opposite to and as if in mockery of the promised or appropriate result. As the irony of fate. Well, that happened to us. Oh, you're awful smart, Dan. Because I quote the dictionary. My dear Stella, to anyone who was weaned on Shakespeare, Daniel Webster is kinder guy. I don't know what you're talking about, but I still think you're smart. You would have made a wonderful actor, Dan. You think I'm not? What is carnival but acting? Selling people what they don't need or want. For that matter, what's life but acting? Like, Dan, what's wrong? Oh, I was just thinking. There must be more to life than a carnival wagon one night stands. Faceless crowds. Roads and no wings.  You can't be and run out of town. Actin' again, Stella. One must act or go mad. We live not as we like, but as we must. Dan, we... Yes? We got each other. Dan, you do love me. Of course. And you're not acting when you say it. Oh, boy. How could I be anything but sincere in loving you, Stella? You don't know how the whole world's changed for me since you joined up with the carnival. Before you came, one day was like another. No one town, no one friend. Just a livin'. As phony as the carnifreaks. And then you came along. No one use changed everything for me, Dan. Even this carnival wagon's beautiful now. It's like bein' a gypsy. Rumblin' along under the stars. Jay, Stella, you're wonderful. And I have plans too, big plans. I'll do great things someday. Stella, how would you like to do an act with me? Me? In an act with you? Or Dan, it would be heaven. You could background me. Dressed to kill. I'll sing, dance, clown. We'll play all over America. Or Dan, it's almost too good to be true. We'll be headliners, Stella. Dan, rice and company. I'd dress you in red. I'll need at least six changes. And we could have a little home someplace to go to between seasons. You stand around and look beautiful in the hypnotist act. I'll be all in black, tails, top hat, cape, all the rest of it. Yes, sir, there are great days ahead for us, Stella. And then I'll end up the act as a Dixieland minstrel man in blackface, of course. And I'll make him laugh and I'll make him weep. It'll bring down a house. Oh, Dan, it'll be wonderful. Wonderful? Yeah, you had to think about it. You did. Right now, we're just working in a carnival. Great days are still a long way off. Maybe never. Our day is right now, Dan. We've got each other. We're cozy and warm in here. We had bad luck in the last town. Sure, but there's always another town tomorrow. Another chance. Tomorrow, it's sure to be good. So come on, Dan, smile. Sure, Stella. Tomorrow will be a great day. Oh, Dan, I love you so much. That's the way Dan planned things, but fate had another card up its sleeve for him and dealt it in the next town we stopped in. It happened first thing in the morning. Dan and me were feeding bacon. Stella was standing by laughing. I agree with bacon in this, Berg. He seems extra hungry. Nothing but the best for those we cherish, eh, bacon? He gets the best, all right.  When you can dance as well as bacon, you may eat as well, Cappy. I doubt that very much. Hey, hey, hey, we got a visitor. I think I'd better get Tom. No, no, let's wait and see what he has to say.  Yeah, we think so. I caught your show last night, Rice. You look pretty good. Well, thank you. You don't need that pig, you know. I beg pardon? I say you don't need that pig or any other trick prop. Given the right chance, you'd make a great single act. Dan, tell him about it. Wait, Stella, just what do you have in mind, sir? Spawning. Hey, that's big time. Big enough. Is that just a notion of yours, Mr. Morley, Joe Morley, here's my card. So, you scout for spawning? Oh, Dan, how wonderful. Didn't I tell you? I'll be honest with you, Rice. We need top performers. Barnum's eaten into our talent, and we want to develop new stars. I think you'll be one of them. Just what would I have to do? Clown, as I said, and double as a strongman, singer, dancer, driver, black face, 23 men after the show. Pay us $15 a month in cakes until we see how far you'll go. Oh, Dan, we could do fine on that. This is your big chance. Just wait a minute, lady. I'm only interested in Dan Rice as a single. Dan? Well, this is my big chance, Stella. When would I have to leave? Right away. The circus opens in two weeks in St. Louis. Well, I just can't walk out. I'll tell the boss and do the night show. It's understood. You'll pay your passage to join up with us. Well, that's no problem. I made my living once on the river boats. Guess I can do it again. I'll meet you in St. Louis within the week, Mr. Morley. You won't regret it, Dan. See you in St. Louis. Travelers' hotel. The big time. Well, Bacon, I... I guess you're through. Come on, now. I'll give you your bath now. Stella. So, we were going to be together. Always. But we shall, Stella.  I'm only taking this until I become known.  Why? Why, you even predicted this, dear. Don't you remember? You said tomorrow would be good. Yeah. Now that tomorrow's come, it don't look so good to me. Stella. Stella, you want me to take advantage of this offer, don't you? Why? I... Sure, Dan. All I've ever wanted is what's good for you. But I sort of hoped I could kind of tag along. Well, haven't I just said I'd send for you as soon as I could? This is our big chance. $15 a month in cakes without Stella, without the pay. That's another thing to guarantee me sending for you, Stella. I'll give Bacon to you. He's valuable. You can keep him for Cappy and me. Cappy and you? Yeah. You're taking Cappy and leaving me? Well, I...  He's somebody to help. And you make a fortune with Bacon. Dan, all I want is you. Stella, I have to go where I feel I must. All right, Dan. It's all right. I'll send for you. Yeah. You send for me when you need me, Dan. So Dan left, Stella, in the carnival. We took passage on a riverboat. The River Queen, she was called. She was mighty good at Dan because the first thing you know, he got real chummy with the captain. And we had us a card game. Gentlemen, what's your pleasure? Uh, two cards for me, Dan. All right. There you are. Captain? I'll take one. One. Dealers stand, Pat. Bets 500. 500? That freezes me out. Captain? Will you already hold my IOUs, Mr. Rice? You've cleaned me out. But I sure would like to bet on this hand. Well, sir, I never like to let a few IOUs stand in the way of a good hand. Tell you what, Captain. What about putting up the River Queen? Marble? I'm willing to gamble your debt to me and what's already on the table against your Queen. Done. All right, what have you got? Straight flush. Parks, King High. Well, what's the matter, Captain? Straight flush. And spades. Jack high. Too bad, sir. But have no fear. I'll take good care of the River Queen. Yes, sir. Excuse me now, sir. Dan, what'd you go and do that for? Do what, Capy? Go and win the River Queen. We need money, not a boat. You're always winning the wrong things. I always wanted to be captain of a riverboat, Capy. All right, Mr. Rice, you've got a riverboat. Now what are you going to do with it? Use the captain's cabin as a gambling salon till we dock in St. Louis. Then I'll give the Queen back to her master. After all, Capy, we got to make a good stake to afford to work for Spalding Circus. And that's the way Dan started in the big time. I was hard at first, plenty hard, just like Joe Morley had said. Dan had to drive wagons. Dan had to sing. Dan had to dance. Dan was the strongman act. But in all the hard work, Dan learned and studied new tricks. He bought himself a white horse, called him Excelsior. And wearing Uncle Sam's chin whiskers in a dress suit, he became a star clown overnight. See, he reels into the ring in his very rumpel, but very elegant even clothes, pretending to be drunks, see? But there's something about Dan that always gets an audience right till a minute he appears. They gasp as he makes a flying leap for Excelsior's back and misses it a mile. He tries again and they scream as he misses it again. And he tries again and stays on the horse's back. And he teeters from main to tail, trying to keep his balance. See? And then Dan throws all foolin' aside and performs like the great star he is. And the audience goes wild. Then comes the war between the states. Civil war. Sad days. Sad days. But Dan Rice was still welcomed by both the North and the South. He had his own show by this time. I call him the King of Clowns. He talked to men like General Grant, General Lee, even men like President Lincoln. Hello, Dan. It's good to see you again. Mr. President, it's an honor to be here. Sit down, sit down. Thank you. You must be tired these days. Not half as tired as you, sir. Let's forget about me. Forget formality. Let's even forget the war for a little while. Dan, give me something to laugh at. How about a minstrel joke, Mr. President? Good, good. Well, that seems like Sambo had been ailing lately. So his friend says, Sambo, I hear you've been havin' a misery. Sambo says, That's right. I ain't been eatin' like I oughta. Did you go see a doctor? Sure I went to see a doctor. Fine doctor. He gave me some whiskey and little pink pills. He ain't told me to take one of them pills with some whiskey three times a day. Not like mine at Good Medicine, Sambo. Would you follow the doctor's orders to the letter? I sure have. Only one thing bothers me. I was about three weeks ahead on the whiskey and six months behind on the pills. You're better than any medicine, Dan. Even Sambo's. I only wish I could do more, sir. And I wish. I wish I could change places with you if only for an hour. You? You want to be a clown? Not just any clown, but Dan Rice. Welcome to everywhere. North or south. Just one hour to be loved. Understood by everyone. So they love you, Dan. This war could end in that hour. Really end. It'll come, Mr. President. Richmond has fallen, Lee surrendered. The Confederates will cool off in time, you see. And you'll be the best love of all the Presidents. I had a dream, Dan. A warning. I won't live to see the surrender of the rest of the Confederate states. President Lincoln. Now, I'm sure you're joking, sir. Think so? I'd like to forget that premonition, Dan. That's why I was extra glad to see you today. That's why I'm going to the theater tonight. Theater, Mr. President? Laura Keane is playing our American cousin. Who knows, Dan? Maybe I'll find a solution to my problems at Ford's Theater. Extra, extra! President Lincoln shot it for a theater! We got a money! Booth's bullet might just as well have struck Dan, too, and the weeks had followed. I didn't think or talk about anything, but what President Lincoln had wanted so bad. So, Dan went up and down the states. He talked to everybody, Northerners, Southerners, gave all his salary to help, and he was earning $1,000 a week. And finally, one hot night after the show. Cappy, I'm changing our schedule. We're playing next in Philadelphia. Oh, but Dan, we got our paper up in New York. We're going to Philadelphia, Cappy, because the Republican Convention is opening there next week. Dan, it's the best reason I know of to stay away from Philly. How do you expect to get good circus houses with a convention in town? Cappy, I talked with the President just before he died. Since then, I've talked to a great many more people in the South and here in the North. And I know that our country needs help as she's never needed it before. Rumor and discord everywhere. Right now, America needs nonpartisan leadership. Men who can see both sides of the question keep a cool head. I don't think either Grant or Greeley are those men. Huh? Dan, do you mean... I mean we're going to Philadelphia, Cappy, and the Republican Convention. Hey, Drew, please. Pardon me, sir. May I get by, sir? Huh? Thank you. Uh-oh. Why, it's the clown. Dan Rice, hey, let him through. Hey, and Rice himself, come to the convention. Hey, that's right. You're right up on the platform. Thank you, Mr. Chairman. No need to introduce you with or without your makeup. Everybody knows the great Dan Rice. So, Lord is yours. Thank you. Thank you. Please. Please hear me, my friends. Please. Thank you. Thank you for your warm welcome. But I haven't come here as a clown to entertain you, my friends. But rather as an emissary. I've made it my business to travel all over America recently to look behind the scenes in the north and in the south. I've heard bitter words, seen much hatred. But gentlemen, our country is still our country. We're all brothers, members of one great, magnificent family. The civil war has ended. Who is the winner? Who is the loser? What good are the fruits of victory of bitter? There is no room for hate or revenge in this election. And with that in mind, and because of my experience, I... I offer myself as a candidate for the presidency of the United States. Yeah! Oh, a joke. One time I was serious. And they laughed. They laughed, Mr. Lincoln. Dan's greatest audience broke his heart. He wouldn't talk to me that night when he came back from the convention. He'd talk about his joke in the morning papers. The thing that made it worse for Dan was that he was more popular than ever. People flocked to see him, but for the first time in his life, Dan hated his audience. So to hide this, he did two things. Two more firsts for Dan Rice. He wore a painted smile in his clown act. And he kept a new prop behind scenes. Whiskey bottle. Things got worse and worse, and when I saw he was killing himself, I went for the only help I knew. Come back just before the matinee. Where's the drink? I can't get this confounded smile on the street, Dan. There's... There's somebody here to see you, Dan. See me? Who is this vice president or just the secretary of state? This smile always gives me trouble. Maybe I can't get it. Maybe... Maybe I can help you, Dan. Who's that? I'm pretty good at painting on a smile. Hold still now. Who are you? Have I changed that much? James, do you look familiar? It's alright, Dan. It's alright. See? You're smiling just fine now. Why'd you come here? Didn't I hurt you enough once? Dan... Maybe that's why you came to see me bleed. Great joke, eh? Dan Rice. A clown who wanted to be president. Well, I came because I never stopped loving you, Dan. I read all about you. Followed you every step of the way up. Oh, it's been wonderful. Dan Rice, the greatest clown in the world. The greatest... Stella. What, Dan? You're right. I can't help but clowning. President Lincoln himself wished he could change places with him. What, Dan? The universal language of laughter. Make him laugh again. Oh, Stella, Stella. It's true. I'd rather be clown president. You know, we bring you this program each week of encouraging and promoting prayer throughout the world. We stress family prayer particularly, for the family is the firm stone upon which a nation is built. In these days, when the nations of the world are in a topsy-turvy state, prayer is more important than ever before. I'd like to read you a poem that appeared recently in one of our daily newspapers. We all have a secret weapon which can cure our deepest woes. It can tear down walls of hatred and confound our godless foes. It doesn't cost a billion dollars, yet can guarantee world peace at the A-bomb or the H-bomb, yet it makes the wardrobe cease. It's not guarded from the millions. Each of us can do our share. It grows stronger as you use it, for it's better known as prayer. Yes, prayer is the secret weapon which we all possess, and if we but use it, we can bring peace to the world, peace to the nation, and peace to our homes, for the family that prays together stays together.  Herb Lytton and Hal Arona. The script was written by Virginia M. Cook with music composed and conducted by Harry Zimmerman and was directed for Family Theatre by J. F. Mansfield. The closing poem was written by Nick Kenny. This series of Family Theatre broadcasts is made possible by the thousands of you who felt the need for this type of program, by the mutual network which has responded to this need and by the hundreds of stars of stage, screen and radio so unselfishly given of their time and talent to appear on our Family Theatre stage.  This is Tony LaFranco expressing the wish of Family Theatre that the blessing of God may be upon you and your home and inviting you to be with us next week at the same time when Family Theatre will present J. Carol Nash and William Lundigan in the new frontier. Join us, won't you? Family Theatre is broadcast throughout the world and originates in the Hollywood studios of the world's largest network, the Mutual Broadcasting System.


Use Case 3. The IT for IT standard provides a framework for defining and improving data flow in an organization, helping to ensure that data is available and of high quality and that decisions are based on data-driven insights. The standard is designed to address organization's significant problems when trying to integrate tools and data. These include slow response times to development changes and incidents, lack of traceability and data integrity. Difficulty transferring data and ownership through a digital product's lifecycle and poor visibility into the value of developed solutions and products. IT for IT solves these issues by providing a standardized data model and traceability across the value chain. The IT for IT standard ensures end-to-end integration of tools and data, resulting in improved data flow, quality and decision support. The standard helps organizations clearly understand the value of their solutions and products, leading to increased agility in development and operations. The IT for IT standard enables organizations to respond quickly to development, changes and incidents by providing traceability and data integrity. This leads to a seamless flow of information throughout a digital product's lifecycle. Customers can use the IT for IT standard to analyze their current and future state data models and prioritize toolset improvements to maximize business value. This will help ensure the organization has the information it needs to make data-driven decisions and achieve its goals. Vendors and digital practitioners can also use the IT for IT standard to create a blueprint for their desired state for their tool chain and integration landscape. This will help vendors and practitioners to standardize interfaces and data models in their tool sets, improve the flow and quality of data, and promote data-driven decision support.


Fundamental rights generally, and the rights of the child are of course protected in the European Charter of Fundamental Rights. Protection of the child is a function of the EU generally and of the Commission under the Lisbon Treaty. And of course that's all done against the backdrop of the fundamental international legal instrument and all of this UN Convention on the Rights of the Child. Today Margaret is going to concentrate on the migration area and as everybody knows vulnerability of children and protection of children in the migration field and the huge problems that have been with migration in recent years has been a very central issue. It has affected a lot of attention but as we all know the attention span of media and public opinion can be short and this remains a very problematic area and one in which it's very important that the focus is kept on it and that the effort to deal with it is maintained. So Margaret will speak to us about that so we look forward to what you have to say Margaret. Thank you to the Institute of International and European Affairs for focusing on this topic. I'm really glad to be here, it's a privilege. Today I'd like to tell you a bit about the current situation given overview of some of the figures at European level and what's happening. Look at the European Union actions and European Commission role, what's in the pipeline, what we're focusing on right now and a quick look at some of the challenges ahead over the next year or so. So when we talk about the protection of children in migration we mean all children not only unaccompanied but including those travelling with their families because they have also been exposed to a lot of risks and violence and trauma and for example when we gave, we diverted our money on violence against children to support IOM Save the Children and UNICEF in boosting child protection and they have confirmed that the extra focus on children with their families is needed as well. So we broadened it, you're all aware I'm sure of the 2010 communication on the action plan on unaccompanied minors which was very good at putting the needed focus on this very vulnerable group of children and we keep that focus on unaccompanied children while expanding it a bit to cover all. I will speak mainly about what happens on EU territory because my work concerns the member states of the EU and also because all member states have ratified the UN Convention on the Rights of the Child all member states have a protection responsibility for any child on their territory irrespective of their status and then of course we have a body of EU law on asylum migration. So we know there are a lot of problems before children ever arrive in Europe and when they're returned but I'll focus really on the area where we all should have the biggest fear of influence. So first of all perhaps some figures because it's good to keep in mind child asylum applicants in the EU in 2016 there were 281,520 child asylum applicants both with their families and unaccompanied and that compared to only 45,000 in 2010 and for unaccompanied children where there were only 10,610 in 2010 we have a growth to almost 100,000 in 2015. Out of these almost 100,000 in 2015 where did they apply for asylum? Sweden 33,000, Germany 22,000, Hungary and Austria in the 8,000s Ireland and Malta 40 children, Estonia 0 children just to show the range so we go from the 30,000s to 0. There's a lot of talk about the increase in the number of children. Basically the ratio between unaccompanied children and children in general is pretty stable in 2010, 1 in 4 children who arrived were unaccompanied and that's still the case even if the numbers increased. In terms of some of the big EU programs and the policy focus over the last two years you're all aware of the EU relocation program which was set up for 18 months with two purposes. One to relieve the pressure on Greece and Italy and two to facilitate access to asylum procedures, international protection procedures and I suppose with that in mind they said we'll only include nationalities where the overall asylum recognition rate is 75% or more and that list of countries has changed a bit over time but it has a rather negative effect especially when we think about Greece of excluding Afghans which is one of the biggest groups and for example Pakistanis. So this program was set up it included a focus on vulnerable groups including unaccompanied children. It was very very slow to get off the ground and the numbers inched up sometimes by one a week but as at the end of August from Greece out of 586 unaccompanied children who are eligible for relocation 420 had already been relocated and 526 were accepted. Ireland has accepted 68 children and as at the end of August 22 had already been transferred to Ireland. Finland has been the champion in the relocation of unaccompanied and separated children. They have accepted 141 and transferred 132. There were also some difficulties in Greece because of the definitions around unaccompanied and separated children and there were issues with unaccompanied or separated children who were married or unaccompanied children who themselves had children. So there were a lot of very complex cases. In any event the progress has been going faster in the last few months. About one third of all the unaccompanied children are below the age of 15 and some are below the age of 9. There have been cases of very young unaccompanied children arriving. With regard to Italy there are all sorts of difficulties and the relocation of unaccompanied children hasn't really worked. It only started in May 2017 and only 31 have been relocated to date. Most of them to Belgium and a couple to Belgium and Norway and one to Germany. The relocation scheme is coming to an end. In the last report that the commission issued at the beginning of September they urged all member states to make whatever pledge is possible before the 26th of September. So any cases that will be in the pipeline or have been initiated can be followed through. So there's still an opportunity to relocate some more people. There are still 2,800 people who are eligible for relocation from Greece. A little look at Greece as at the 15th of August the Greek Center for Social Solidarity had 2,400 unaccompanied children on their books are registered and 1,500 of them are on a waiting list for a shelter place. So a shelter specifically for unaccompanied children. And unfortunately 142 of those are detained in police cells. We've been following these figures over the last year and a half and in November last year the number of children detained in police cells had got down as low as 2 and it's sad to see it go up again. Overall there were 8,000, just over 8,000 referrals for shelter placement in Greece from the beginning of January. With regard to the EU resettlement scheme, 2,518 people have been resettled under these schemes. Ireland has fulfilled its pledges under the July 2015 conclusions but member states are invited to submit ambitious new pledges by today the 15th for 2018. While children and families are often resettled, the proportion of unaccompanied children is really low. Definitely below 3% of all the resettlement cases. So if we think of 22,500 people resettled in Europe, we should also bear in mind that in the UNHCR forecast of resettlement needs for 2018 they have said 1.2 million people need to be resettled. So one of the main challenges I think and it's something we need to address in all our work is the concepts around deserving versus undeserving children or the hierarchy of sympathies. We do not consider these children as children. They are minors, they are migrants, they are whatever label. But if one of our own children or one of our national children or a child we know was in any of these situations that we often see for children migration, we would be horrified. So I think if we can really focus on ensuring that we consider the needs and rights of all children, we have all subscribed to the fact that all children have rights, we can achieve a lot more. And we see that across the board. Why is it okay to leave a child sleeping in a ditch or on cardboard? Why is it okay to see children being starved and detained in Libya? Why when an unaccompanied child goes missing from a reception centre, we see situations where there might not even be a headcount, nobody pays any attention, nobody reports that child missing to the police, there is no alert issued in the Schengen information system and so on and so forth. Even when cases come tonight, there's a notion of, well that's what unaccompanied children do, they go missing and that's simply not good enough.  In regard to the protection of children, the primary responsibility lies with member states and that of course implies costs as well, often quite a lot of costs. So the EU plays only a supporting role and we have to recognise the work that member states do and all the good things member states do. Let's look a bit at how the EU does support the protection of children migration. First of all, EU silent migration law. There were very good provisions in place already over the last seven, eight years which offered safeguards and protection including in reception, dedicated reception spaces for children and so on. Implementation lags behind sometimes and in 2016 the Commission proposed modifications to the common European asylum system laws on qualifications and reception and asylum procedures and some of them are child specific and very valuable including in the area of reception with more focus on training of staff and child safeguarding and one of the biggest, the most, if you'd like, ambitious changes was in the area of guardianship. There were already provisions in guardianship but they stipulated requirements for example to appoint a guardian as soon as possible which doesn't say very much. So in the proposals we tried to pin that down a bit more and there have been cases for example where a guardian was responsible for a thousand children. So several cases I mean well known. So clearly knowing how complex it is to protect children migration who might be on the move, who don't speak your language. While the guardian isn't a panacea they can really help to safeguard the child's rights to improve child-friendly information, to protect the child's right to be heard, to ensure the child has access to legal representation. So I am sure that the efforts we're making to improve guardianship are on the right track and I hope that when Member States continue to negotiate those laws they won't roll back too much. For example saying 10 days is too short even for a temporary guardian for the appointment. When we know that if children are going to go missing or in the hands of smugglers and traffickers it's going to be within 24 to 48 hours. If there's no guardian in place by that time they cannot help. So apart from the legal proposals we committed in the April communication set up a network on guardianship to help guardianship authorities work together to exchange expertise and often because their work involves cross-border aspects, Dublin regulation transfers, family reunification so on. So that will be set up by January 2018. We've already met Member States once this year on that next meeting on the 6th of October. We've also funded under the Rights, Equality and Citizenship Programme some projects to promote guardianship for unaccompanied children and also foster care. We see that even if EU law provided for foster care for unaccompanied children, which is the case happily in Ireland, it was underutilised and we've been trying to promote it as a more successful way to protect children and it's also much more cost effective. If you have a big reception centre or a big detention centre, more importantly you need Phyllis, don't you? The communication that was adopted in April this year covered some of the main areas, identification and protection. So one thing that doesn't happen is that when children arrive, a common set of data is recorded across all states, so name, nationality or statelessness, date of birth, whether they're unaccompanied or not and it makes it more difficult if they move or if they go missing. We also put a lot of focus in the communication on what happens when children go missing. You're all aware of the estimated at least 10,000 missing children by Europol. It's likely to be much higher with reports of at least 20 children going missing a day in Italy and in Sweden in one week 1,000 children have gone missing in one region. In reception, apart from the EU law modifications, we put a focus on alternatives to detention because often children are detained and it shouldn't be the case. Under international law and the standard set by the UN committee on the rights of the child and UNHCR policy, immigration detention of children is never in their best interest. So in order to avoid detention, we need to ensure that viable and accessible alternatives are in place. We also encourage member states to monitor reception. It's not only about having a centre up and running, somebody needs to monitor how it's run. Another chapter of the communication concerns swift and effective access to status determination and improving procedural safeguards. When we talk about status determination, we don't only mean international protection, but also I think we're all aware that there are undocumented children living in every state, some of them for many years, and it would be useful if member states could consider ensuring that there is status resolution procedures and especially for children who might have been in a country for a certain period of time, as it's in nobody's interest to have an invisible group of children. Durable solutions for every child. They could include integration, a move to another third country, or sometimes only if it is in the child's best interest, return to the country of origin or another third country. But it does require a robust and thorough best interest determination procedure. So we're looking at how to promote standards and improve training and guidance on areas such as that. We committed also to collate good practice on the protection of children and migration across all areas. There are a lot of wonderful things being done, but unfortunately the information isn't shared, whether it's by authorities, national, regional or local, including cities or NGOs, we need to gather all this information. Access to education crops up again and again, and healthcare. Irrespective of a child's status, they should have access to formal inclusive education. The EU funds can also be used to promote non-segregated education because there's a risk that where there have been large numbers of children arriving, they will be segregated. There's funding. There are various funds, many, many funds that are used in the context of asylum migration, most notably the asylum migration integration fund, which is run for the most part nationally under national programs. And then there are other funds, structural funds and so on. And we have asked member states to prioritize children in funding. Often they're not visible, even in the summer when I was looking at top programs for member states for the AMAF fund. Some member states reflected children throughout. In some you would not know there were any human beings under the age of 18. So we're really trying to ensure that when we're talking about asylum migration, we have an increase in the number of children. So it needs to be visible. Also, as you may be aware, there is more of a push on returns, on effective return policies in line with the EU return directive. If children are to be returned, we want to make sure that the best interest assessment has been done properly and that reintegration is a real focus because it's not clear that it is yet. So funding also in the context of return, if detention is to be used more, we want to ensure that alternatives to detention exist. Ireland I think does not detain any child in the immigration context. Other member states do. But a lot is being done and has been done. There's a lot of good things at European level and among member states and many, many countries and international organizations. The Ombudsman, for example, the ENOC, the European Network of Ombudspersons for Children, has been focusing on children migration consistently and continuously over the last couple of years as well. And even for children who are accepted in countries, it's quite a huge integration task in terms of access to education and so on. So we should not lose focus and there has to be continued attention and not only in a negative way.


Hi guys, my name is Ben. Hi, my name is Cameron. Hi guys, I am Amanda. Hi, my name is Andrew Hello to the world. This is give me one. Hello. My name is My name is Bahdan. Hello. I'm Marissa. My name is Max. Hi. I'm Rachel. Hi there. I'm Diego It's Cassandra, Korean, Jessica, Ryan and Lisa, Elias, Francesca, Edina, Ken, Maddy, Matt, Mike, Muhammad Saleem, Lydia and Vixana, Omar Al-Hurani, Salah, Sylvia, Skye, Thelma, Tiffidy, Nylanda, Harley, Tori, Anishpa, Danny, Amag, Salih, Zeki, Jeff, Gileb, Sibani, Sparta, Sigo, Genji, Ruhi, Niki, Peter, Tori, everybody. I just completed the 120-hour test certificate course. I wanted to take these courses to further my education in teaching English to students of other languages. I've recently completed the online TESOL course and I'm pleased to say that I've passed. I thoroughly enjoyed all 20 minutes. Yes, 20 minutes. It was great. I wanted to teach English in a foreign country, therefore that's why I took this 120-hour online TEFL course and I have to say it was fun and very enjoyable. I just completed studying my TEFL online course. I really got a lot of resources from the courses. I'm glad to be part of this team now. I took the 120-hour online course and I really enjoyed it. I am using things I have learned from the course every day in my school. I did the 120-hours course, the online version. I helped you to find the kind of jobs or positions that you might be wanting. I would like to try some other courses as well. I chose this course because of its flexibility. Now I'm teaching English to children. The tourist support was great. Well-organized lessons, good material. Now I've just recently finished the path of online course. I like the fact that I could do the course at my own pace. I'm going to do this. I felt more confident. I also appreciate the tutor help. I now have a binder full of lessons and tips and ideas. I just got a job just today. He went to me for his interview and he stopped straight away. Right now I teach English and Chinese. I also enjoyed the videos as well. It was a good supplement to the lessons. I think that the evaluation system was very nice. I'm currently in Turkey and I recently found out about the IEEE online course for teaching. I can take care of my kids and deal with all day staff of the house. I can study at my own pace. No matter what your level of experience or level of interest is in teaching English as a foreign language, I'm sure that you can be a better teacher too. I feel very comfortable and relaxed. I have to say that I have passed the course. I moved to Mexico about a month ago and I got a job. I could find many useful ideas in these 20 units that would help me improve my teaching skills. Now I'm searching for a job for a couple of days and I've already received several job offers. The idea of the course was absolutely vital for my career. If I could do it, so can you. I received my tiffle certificate. Got this certificate from ITTT. Here is our tiffle certificate. Don't hesitate. Go ahead. Do it. That's a right course for you, so it's worth it. Thank you ITTT. I'm ready to teach. Thank you ITTT. Thank you ITTT. Thank you. So thank you very much. Thank you. Thank you. Thank you. Thank you. Thank you. Thanks everyone. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you again ITTT. You did a great job. Thank you so much. Good luck.


If that becomes a social norm, then how do you decide somebody has whatever, multiple wives and how do you decide somebody has no wife? You're opening up your memory body. This will cause a whole lot of turmoil within the system. Sathguru, my next question for you is, why can't one husband be with multiple women and one woman or a wife can be with multiple husband in today's society among consenting adults and what impact do these people have when they're involved in such relationships? See, body is the front end for every other creature on this planet. The only reason this creature is dominating this planet is not because we have the best body. You're not comparable to an elephant or a tiger or anything for that matter, you're not even as good as a buffalo. Yes, in terms of strength and physical prowess, you're nowhere comparable. This is dominant because of its intelligence. This is dominant because of its consciousness. But right now we are creating a world where your biology is the front end of your life. These things were done at a certain time when the social situations were such, or men were married to many more, I mean more than one woman. This was mainly because men died more often than women. Today both men and women are outside, both may get killed, that's different. But at that time largely women stayed home because she was continuously pregnant. From the age of fourteen to forty-five-fifty, she's almost all the time either she's pregnant or she has a young child. This is how life used to be. So because of that she stayed home and she took care of the property and the agriculture and stuff. She went out to do business or for war or something else, she went out. So men always died more often. So generally in most societies in the past, the number of men was much less than the number of women, always. This has been the state all across the world. So naturally when so many women were there, they needed care and they needed support in the society and those days a woman could not exist by herself. Unless she's protected by a male partner, it would be very difficult for her to exist by herself because she would be exploited in so many different ways. So always they attached themselves. So naturally a man ended up having two-three women because the population ratio was like that.  This will become a social, you know, collision. It'll become, it'll become lot of problems in the society because we may act civilized. I'm very particular, I'm very clear about saying we act civilized. But when we are denied basic things that we need, all our civilization evaporates and we will behave, behave like animals, yes or no? So when fundamentals are denied, people will go flashing. So that's not going to work in today's world. And above all, the women's condition will become very bad. If you're asking this question in a more existential way, well, see this, this is a certain framework of not just of bone and muscle and flesh, there is a certain energy framework only because of that it takes, you know, certain form.  Such a thing never happens because there is a clear cut inner framework to which flesh and blood is added. But there is a framework and evolutionary memory framework is there. It never gets broken, isn't it? So in this framework, how strong you keep this framework, how how much integrity is there to this energy framework will determine many things about your life, many aspects of your life. Especially if you want to raise this life to another level of function, it's very important you maintain this integrity. This is why irrespective of which religion, which spiritual process, if people want to raise them till to a certain point, first thing they will talk about is becoming monks or brahmacharis or sannyasis because the idea is to create such a level of integrity that this is a whole life by itself, that it doesn't lean on anything else for support either for physical well-being or emotional well-being or psychological companionship. It doesn't lean on anything. It stands by itself because you want to take it somewhere else. If you want normal function, these things are not necessary. Now you want to become a rocket which breaks through a certain dimension of space. Now you need to be in a different level of force and integrity, otherwise it'll crack up. So you don't want to open your body to anything and especially opening to multiple partners has its own negativity in that context.  So these things happen for variety of reasons. You can't blame everything on that one aspect but that aspect also has a say in these aspects because you're opening up your memory body, your energetic body which is essentially ruled by memory to variety of memories. This will cause a whole lot of turmoil within the system which could affect that life and many other lives. So Draupati's life is in a way a sample for that. It's not an absolute. This is not an absolute but this has an influence.