Well, well, well, it turns out Mitt Romney isn't actually a loyal member of the resistance after all Shocker Now listen, he announced that he will in fact be siding with Republicans to move forward with Donald Trump's Supreme Court nominee and You know if you are heartbroken by this because you thought maybe he'd do the right thing after voting to impeach Donald Trump after being The only Republican senator to vote to impeach Donald Trump I mean you should never expect Anything good to come from the Republican Party Republicans are gonna Republican. Okay? Anytime there's an open question about whether or not they will do the right thing You should always be cynical You should never be optimistic because this party is a terrible party and Mitt Romney is a horrible human being who is a political Opportunist so he's not voting with Democrats unless it's going to benefit him Now I don't actually blame liberals for thinking that maybe there was a chance that Mitt Romney might side with them because there were reports coming out That Mitt Romney might actually be chosen by Joe Biden To be part of the administration a secretary of state or something like that now That's disgusting the fact that maybe Joe Biden is considering that should make everyone Outraged however, if that were true, which maybe now I'm assuming it's not true It's not unreasonable to think, you know, maybe Mitt Romney out of self-interest not wanting to piss off his boss next year Might vote with the Democratic Party just because it's the right thing to do Since Republicans are the ones who set that precedent in 2016 saying we're not gonna approve a Supreme Court nominee During an election year, but I mean Mitt Romney didn't come through So look if you are hoping that this is going to be stopped because enough Republicans are going to you know Have the courage to do the right thing It's not gonna happen Democrats now have to fight they can't rely on Republicans to do the right thing even Republicans in You know vulnerable seats in swing states So that means Democrats if they actually are serious about this will use every single procedural Tool that they have at their disposal to block this to obstruct this to do everything that they can to raise hell To make sure that this does not Happen we cannot allow Donald Trump to get a third Supreme Court nominee because that means that the conservative majority on that court will be six three That means everything is on the table. It's already the case that collective bargaining rights workers rights That's already going to be gutted the ACA Will officially be gutted if we have another Supreme Court nominee because Roberts isn't going to be the swing votes Decide with the liberals on the court now. They'll have a cushion They'll have a six three solid majority and that means they could even repeal the ACA which is a garbage program to begin with But if they repeal that that's a disaster That means that protections for patients with pre-existing conditions vanished like that that means that Anyone who has insurance through the Affordable Care Act exchanges loses that we're talking about tens 20 million people potentially It's a disaster so Democrats have to fight with everything that they've got because democracy is at stake here even social issues Abortion marriage equality. These are all on the table if they have a six three majority They can do anything they want for decades reshape this country for a generation or two so they have to stop this and I'm not seeing many signs of life from the Democratic Party admittedly I'm not very optimistic. It seems as if Donald Trump will in fact get his way now To his credit Chuck Schumer did try to implement a legislative tool to limit hearings to two hours other Democrats such as Maggie Hassan were complaining about this. I mean, it's it's a sign that maybe he's willing to try something But I just I'm not feeling very optimistic It's up to Democrats, but thankfully there are some Democrats who want to fight but I don't think enough are now Ed Markey came out swinging Expectedly saying Mitch McConnell set the precedent No Supreme Court vacancies filled in an election year if he violates it when Democrats control the Senate in the next Congress We must abolish the filibuster and expand the Supreme Court And this is exactly what I want to hear because it seems like now like I'm not saying they should give up It seems like Trump's gonna get his way Mitch McConnell is going to make this happen So if this is going to happen then I hope that what Chuck Schumer means by saying nothing is off the table next year Is that he's open to this? He's open to abolishing the filibuster and stacking the court Democracies at stake you can't allow a Lochner era on steroids to take place at a time when we are facing Climate catastrophe when Americans could lose their health insurance I mean if you allow this then you don't deserve to be in power You should resign in shame. So what Ed Markey is saying here? This is what I want to hear Nothing is going to be ruled out if this happens because we have to save our democracy We can't let this happen. We can't let them steal two Supreme Court seats It's unacceptable now this idea is something that was Mold over by the media and one Democrat in particular who is horrible Diane Feinstein responded and as NBC News reporters to Hill Kapoor explains Feinstein on ending the filibuster and expanding scotis quote I don't believe in doing that. I think the filibuster serves a purpose. It is not often used It's often less used now than when I first came and I think it's part of the Senate that differentiates itself now This um is outrageous So what Diane Feinstein is doing is effectively siding with Republicans. She's saying you know what still One two Supreme Court seats from us and we are going to just let you have it because we have to uphold these Senate norms. We're not going to do anything that might upset the status quo. I Mean Diane Feinstein, I don't know how she sleeps at night This is a terrible human being who doesn't care about anyone but herself How could you literally just admit I'm siding with Republicans?  I'm not gonna end the filibuster. We're not gonna pack the court It's just it's exhausting because you know the minute that we learned about Ruth Bader Ginsburg's death I just thought this is uh This is not gonna go well for Democrats.  In fact, that's exactly what Diane Feinstein Decided to do because she doesn't want to end the filibuster or pack the court But I'm sure that you know this strongly worded tweet to Donald Trump in Mitch McConnell It's going to change things for the Democrats She tweeted out leader McConnell set the standard for Supreme Court nominations in an election year in 2016 Let the next president nominate a replacement under no circumstances Should the Senate consider a nominee for Justice Ginsburg seat until after the presidential inauguration? I mean that's just That's brilliant Diane Feinstein I'm sure that Mitch McConnell is going to see that and he's going to be trembling He's gonna think oh my god Diane Feinstein put out this strongly worded tweet so I can't go forward with this It's exhausting and just reading the news about this It's hard to not like feel completely overwhelmed and demoralized because these are our fighters Our best chance at stopping this from happening is a bunch of incompetent clowns who are too afraid to fight or don't care Now someone who actually Thankfully has been fighting who's saying what I'm saying that Democrats have to use every single procedural tool Under their belt is AOC and she actually thankfully blasted Diane Feinstein for refusing to Actually fight fire with fire So she responded to Diane Feinstein's initial statement about not wanting to pack the quarter and the filibuster and she said Senator Feinstein's protection of the filibuster is unjust and unacceptable the filibuster wasn't made with purpose It's the result of an accident in rule book revision and bloomed as a cherished tool of Segregationists now it empowers minority rule. That's not special It's unjust and I'm so thankful that she actually had the courage to call out a fellow Democrat But what she's saying here is so true like we don't say enough how outrageous it is that a minority party the Republican Party is In control of a majority of government and they are absolutely Steering this country in a direction where a majority of its people don't want to go Most Americans Want Roe v. Wade they want legal abortions even if personally they wouldn't get an abortion Themselves because they're at least you know logical enough to acknowledge that if you get rid of abortions That's not going to stop abortions It'll just increase the number of unsafe and illegal abortions that take place and if you're worried about death Then maybe you should start being concerned with all the wars that our lawmakers keep sending us to right all the drone Strikes that Donald Trump is approving So, you know for this party to continue to be in control and keep getting their way and You have this opposition party just sit back and do fuck all about it It's just it's infuriating but at the same time I get fired up because I'm angry But then I just feel exhausted a moment later.   What are you doing? But I'll leave that there because I feel like if I keep ranting I'm just gonna get meaner and meaner and end up insulting them more So we'll leave that there at least some Democrats like Ed Markey and AOC are willing to fight But most of them I just don't think that they've got it in them and if this Happens if Trump actually gets his way then they should absolutely Pay for not fighting hard enough. They should face the repercussions of their inaction They should be primaried and lose their elections


Hello, this is LaptopMedia, and today, we will show you how to open the HP ZBook Fury 15 G8 and what's inside of it. Accessing this laptop's internals is very easy. Just flick the switch on the bottom panel, and slide the panel away from the chassis. Then, you can unplug the 94Wh battery pack with the help of two further sliders. Storage-wise, there is a maximum of 4M.2 PCIe slots, which is insane. However, two of them require an adapter, which HP provides inside the box. Otherwise, you can connect a 2.5-inch SATA device in their place. And when it comes to memory, there are a total of four RAM Sodom slots. Two are accessible from the bottom, while the other two are located beneath the keyboard. The total amount of memory supported is 128GB of non-ECC, and 64GB of ECC. While HP states that this device will come with a vapor chamber cooling solution, we suppose that it will only feature on the top-tier specs, since ours had a more conventional design, including a couple of heat pipes. To access two of the Sodom slots and one M.2 slot, you need to remove the keyboard. First, undo three marked Phillips-head screws, and stick your pry tool through the open space around one of the fans. Before you proceed, make sure you have unplugged the black and orange connector from the touchpad. Then, reattach the bottom panel, turn the laptop around, and carefully pry the keyboard with a plastic tool. Please remember, it would be of great help to us if you just hit the like button and subscribe to our channel. That would motivate us to make even more and better videos for you. Keep in mind that there are two further ribbon cables that need to be removed. One for the backlight, and one for the keyboard, itself. Here, you can see that both the storage and the memory slots are covered by metal plates. You just need to unscrew a total of three Phillips-head screws to be able to use the slots. If you'd like to see more disassembly videos of the latest notebooks we would highly appreciate if you hit the like button and subscribe to the channel.


But look at Black Lives Matter. It's a Chinese-directed communist operation.  Big corporations giving them lots of money. They have all this respectability, but it's a Chinese communist operation run out of the Chinese consulate in San Francisco. But it's a communist operation. But how many Americans understand that? So if they can't understand Black Lives Matter as a communist operation, when they talk about Marxism openly, how do you think most Americans understand that feminism is a communist operation? The LGBTQ movement is a communist operation. You look at the greats Gloria Steinem, Betty Friedan. Every one of them was a member of the Communist Party or Democratic Socialists of America. They were all communists. Emma Lyne Pankhurst, the great suffragette of the early 20s, the suffragettes were throwing themselves under horses to the King's horses in Britain, at the races to show their cause. Emma Lyne Pankhurst was a Communist Party member. They were all communists, folks. All the leaders of the feminist movement were socialists or communists. Not saying they didn't have some grievances, of course they did.  There is some exploitation of people by nasty capitalists sometimes. But if they can't find a legitimate grievance, they'll make one up. Absolutely they'll make one up. So you look at the LGBTQ movement, started by a man called Harry Hay. He founded the Mattachine Society in the 1940s in Los Angeles to advocate for the rights of...  They didn't even call them homosexuals in those days. They called them things like peculiar, or something like that. But he advocated for that movement. And then he built up a movement. And he was a member of the Communist Party. But he left the Communist Party, not because he was no longer a communist, because it was embarrassing to the Communist Party to have an open homosexual in their ranks at that time. Because social moors were different. And also they thought any homosexual in the ranks was liable to blackmail by the FBI. They might become an informant against the Communist Party. So he left. But they still called him a friend for many, many years. Then they had the Stonewall Riots. The communists joined straight in on that. Act Up, a very famous radical communist group. It's run by Liberation Road. It's run by Socialist Workers Party. All of these movements are communists. And the 1950s... No, 1970s, a group of radical leftists, mainly communists, got their selves entrenched in the American Psychological Association and got the definition of homosexuality changed from a mental disorder to just a variation, a sexual variation. And that gave the homosexual movement the opportunity to start spreading their tentacles into everything. Homosexuals are 1% to 2% of the population. And I got nothing against them. I wish them well, you know. But you'd think they were 50% of the population by the amount of power that they have. They have a hell of a lot more power than most of you guys have. Is that a fair comment? And it comes to the judiciary system. You know what kind of deal a man gets in the current judiciary system in this country and the courts, et cetera. The radical feminists took over the courts. The homosexuals got involved because they are activists. This is all they do all day long. The adoption system. You know, in New Zealand, where I come from, the radical feminists took over the adoption system. We used to have, I think, 12,000 abortions a year and about 4,000... 4,000 to 10,000 adoptions a year in New Zealand. The feminists took it over. There's now 100 adoptions a year and 17,000 abortions. The feminists do not want adoption. They do not want kids growing up in good families. They want either abortion or people growing up in welfare families. That is what they want. So feminism has been attacking the family and every opportunity they possibly can. Rapaera Tawhai


So, today we will start a new chapter namely applications of homology. Here what we will do we will do a few popular applications of homology. Some of these results one can prove in different methods also and some of them you have already seen in part one without using the homology theory. So, having said that the idea of proving these things is to emphasize how homology theory actually helps in many problem solving in anthropology especially in algebraic anthropology. So, we begin with the famous Brouwer's fixed point theorem and then go on to prove the left shift fixed point theorem which is an improvement on Brouwer's fixed point theorem. We then prove what are called as Theriball theorem, you know Jordan Brouwer separation theorem, Jordan Brouwer invariance of domain. So, these are all very very popular and when these things were proved the algebraic topology became extremely popular because of such a results ok. So, we begin with a lemma which must be it has reminiscent of similar things that we have done in part one using the fundamental theorem.  R is the continuous function from X to A, I is the inclusion map to take I and then follow by R that is the identity of A, when you pass to the homology it will give you that H star of A is a retract of H star of A that means there will be a homomorphism from H star of X to H star of A what is it is nothing but R you know R itself induces a homomorphism and that will have this property ok.  So, that is the meaning of that R star is a retraction. And whenever you have retraction of abelian groups the subgroup H star of A becomes a direct sum and this is a general theory for any abelian group ok. For any n greater than or equal to 0 SN is not a retract of the interest one. So, this is it sounds like a negative result, but this is a very very positive result ok. Remember this was the starting point of our in a simple approximation and what is called as Sperner lemma we had proved this one, Broward's theorem and so on ok. So, here it comes very easily, no Sperner lemma and so on, but of course we have to use the homology whatever big thing that we have done namely the simplest thing that we have done was the computation of Hn of SN and computation of Hn of dn plus 1. All Hn and not equal to 0 of dn plus 1 are 0 because this is contractable. Hn of SN is infinite cyclic ok. If SN is a retract of dn plus 1 then Hn of SN would have been a subgroup of Hn of dn plus 1, but Hn of dn plus 1 is 0 and this is not 0, but that is a group. So, the functoriality of the homology is strongly used here in this theorem you see from r composite i r composite eta which is happening in the topology we have got the corresponding r star composite eta star happening in the group theory in the homology groups ok. Next, so this thing I already told you I will repeat it in part 1 we have proved the above result in a different way using simple approximation and Sperner lemma. We have also seen that the above result is actually equivalent to Brauer 6 point theorem. The present proof is obviously shorter though it uses big machine of homology ok. So, we shall not bother about proving Brauer 6 point theorem. Once you have got this one you know how to show Brauer 6 point theorem namely any continuous may have from dn plus 1 to dn plus 1 has a fixed point ok. So, I am not going to discuss this one anymore because that is that part is done very thoroughly in part 1. So, let us directly do the left change fixed point theorem as a consequence you will get a Brauer 6 point theorem also. Therefore, there is no need to again you know spend any time on Brauer 6 point theorem separately. So, our next generalization is an application is a generalization of this result on any compact polyhedron dn is a compact polyhedron. So, it will be applicable there also. Now, we shall have some hypothesis on the map itself ok. On the polyhedron only compactness is the assumption. On the map we have some assumption. Recall that given an endomorphism of finite type ok endomorphism of a finite type graded module graded module C, C or C dot or C star whatever I am just trying to see ok graded module tau. We define a left change number at tau as alternate some of the traces of each tau n ok. So, I am just recalling this one. Recall that if tau star denote the homomorphism induced on the homology groups of the chain compress then L tau is equal to L tau star this also you have done ok. So, this left change number will be used now in this left change fixed point theorem. For any continuous map f from x to x on a space x that has finitely generated homology group we now define L f the same thing as L of f star. The well-known left change fixed point theorem will be the following ok. X be a compact polyhedron. What means what? It is a finite seasonably complex k mod k is homomorphic treks ok or you can say that x can be cut down into pieces of simplex s. So, that the whole thing belongs to simplex complex ok. So, do not worry about the underlying the compact the simplest structure here just take the underlying topological space f from x to x, x is a continuous function. Then if L f is not 0 f must have fixed a point. In braver fixed point theorem there was no assumption on f except that f is continuous, but x was just dn the closed unit disk ok. So, here this axis any arbitrary simplexial complex mod k of mod k where k is a simplified simplexial complex. Suppose we have proved this one then how do you prove bra's fixed point theorem? So, if x is dn ok any map from x to x is homotopic to identity map. This L f is a homotopy invariant because it depends only on the homology groups. Therefore, L f will be equal to L of the identity map. Now L of the identity map is easy to compute because the only homology group of dn is H naught and H naught it is infinite cyclic. On infinite cyclic on H naught any map induces identity map ok because connected components go to connect same connected component there is only one connected component ok. Therefore, L of any continuous function is equal to 1. Now this says is L f is not 0 there is a fixed point. So, that is an easy proof of braver fixed point theorem from this theorem ok. So, let us go towards the proof of this itself now. So, this is what I have said here I will repeat it x is if x is dn then f is homotopic to identity map of dn because dn is contractible any two functions into dn are homotopic. Since L f is homotopy invariant follows that L f is L of id identity map. But identity map is nothing but Euler L of identity map is nothing but Euler characteristic of the space dn. Therefore, L of id is 1 since dn is contractible ok thus requirement of the theorem is satisfied. So, in conclusion we can say that f has a fixed point ok. So, this shows that left shift fixed point theorem is a generalization of braver fixed point theorem. Indeed we just have derived a stronger version of braver fixed point theorem namely any self map of a compact contractible polyhedron has a fixed point we never use that in its actual dn only contractibility we used ok. So, this is another intermediary result which follows from left shift fixed point theorem. So, let us see some more results also, but before that let us try to complete the proof of this. Given a compact polyhedron and a continuous self map suppose it has no fixed point then we want to show that L f is 0 some such thing right look out show L f is 0 fine. Now, this being a compact polyhedron that is the finite series of complex we have seen that there is always a linear metric ok. You can choose any linear metric and find an epsilon such that distance between x and fx is bigger than this epsilon ok for every x belong to x alright. So, why this is true? So, you have to use some topology here on a compact matrix space distance between x and fx is a continuous function ok real value to continuous function non-negative. So, it attains its minimum and attains minimum means that minimum will be more positive to take that positive number epsilon then everything else will be bigger than that that is it ok. So, k be a simple shell compact that triangulates x. Now, I will use a special for some particular chosen something it arbitrarily chosen I do not care, but I will fix some triangulation on x. Now, x is nothing but mod k ok. Now, I can choose go on subdividing the k as many times as possible ok as many times as required so that the mesh of k which is the by definition maximum of all the diameters of f where f rings over all the simplices is less than epsilon by 3. You can keep cutting down so that each simplex will be of diameter less than epsilon by 3 ok. So, this is also one of the things that we have done in part 1. All that you have to do is keep taking barycentric subdivision barycentric subdivision each time the diameter becomes a fixed constant times that is one that constant is less than one. So, if you repeat it several times then it will be less than any given number ok. So, we have so we have got a k which has this property. Now, I further subdivided it by barycentric subdivision. So, s t k I do not know how many times. So, what this s t k is I am calling it as l, but what it serves to is there is a simplicial approximation to f. f is a continuous function ok, its phi is a simplicial approximation to f alright. Any simplicial approximation is automatically namely mod phi is homotopypt f. Therefore, l of mod phi is the same thing as l of f. We want to show that l of f is 0, we can show that l of mod f is 0 ok. So, that is what we are trying to do now. Now, how do we how do we use this information all this information why all this was done then? So, the first thing we claim is a following. Take rho to be any simplex of l namely this s d of k. Let sigma belonging to k be such that rho is contained inside sigma. So, rho is a subdivision all simplex is in the subdivision are contained inside a larger one. They are they are part of the larger simplex which have been divided right divided divided divided and so on. So, each rho is contained in some sigma. Whenever this relation happens what we say is look at phi of sigma, see a phi of rho. Phi is a simplicial approximation to f phi rho intersection sigma will be empty. That means, rho was inside sigma now because f s no fixed points this entire rho has gone away far away. The entire rho of sigma is outside small sigma. So, this is a strong result that we want to prove now. So, that is because of the choice of this epsilon that we have chosen and then subdivision the mesh of k is less than epsilon by 3. So, let us see why. Suppose this is not true that would mean that there is a in the intersection there is a point. So, take x belonging to mod rho I mean underlying space of rho such that phi x belongs to mod sigma. So, that is such an x. Then both x and phi x will belong to mod sigma because phi rho is inside rho is already inside, this rho is already inside sigma. So, x and both phi x will be inside this mod sigma. Now, mod sigma has diameter less than epsilon by 3. Therefore, distance between x and mod phi x will be less than epsilon by 3. On the other hand, if you compute distance between phi x and f x, see what is phi x and f x? phi is a simple approximation to f x. So, wherever f x is phi x will be in the same same simple x and the whole diameter is as an epsilon by 3. Therefore, this is less than epsilon by 3. You can put equality if you like less than epsilon by 3. And hence distance between x and f x will be less than epsilon by 3 epsilon by 3 which is equal to 2 epsilon by 3 is less than epsilon which has the contradiction. Because no point has this property that x and f x are less than epsilon because of this property. Therefore, this property 30 this holds. Every simplex of S t of k under phi is thrown off the the mother simplex which contains it in k. All right. Now, we can use this one. The only property problem is that when you divide, subdivide, the chain complexes are different. Right? The chain complex of the the simplexial chain complex of the subdivision and simplexial chain complex or anything, they are different. When you have different chain complexes though you have a map, there is no trace defined. The trace is defined only for an endomorphism of the same module to itself and endomorphism not homomorphism. Right? So, that is the difficulty here and it has to be overcome somehow and there are different methods of doing that. So, I will give you two methods here which I like. Some other methods I do not like and I even doubt them. So, first method I use the C w chain complex associated with the simplexial complex. Take C k, it can be thought of as a C w chain complex. Okay? So, that is what I do. So, what what I do is since phi is a simplexial map, it is a cellular map also. Right? So, it follows that mod phi is a cellular map of the C w complex k. You see phi is a map from L to k, but what phi is a map from mod k to mod k and we have a cell C w structure there. Okay? And in that C w structure, mod phi is a cellular map. Any any cell of k dimension, we go inside k dimension cell only because it is given by a simplexial map there. Okay? So, therefore, let us look at alpha n from h n of k n relative to k n minus 1 to h n of k n relative to k n minus 1. So, I have same things here. These are what? These are the chain modules for the chain complex, C w chain complex. Okay? b, the homomorphism induced by mod phi restricted to each n, you have this one. I am denoting them by alpha n. If tau belongs to k, it is a generator that is meaning a oriented and simplex. Okay? It is generator here. It follows from this property. Okay? That if you take, you know, following this property that mod phi of tau intersection tau is empty. Right? tau, what is tau? It is one oriented simplex. Okay? In k, it follows that mod phi tau, see mod phi tau, what is tau? tau has been divided into several complex, several sub complexes consisting of say rho. Each rho is thrown out of tau. So, all of them will be thrown out of tau. So, mod phi tau intersection tau is empty. Okay? So, I am using this mod tau is a union of all rho here. This is rho, this is sub of that. All tau, take all rho which are contained here tau. So, that will form the union of, you enter tau. So, it will happen that mod phi tau, this is a typical, this is a continuous function. Mod phi tau makes sense. Intersection tau, mod tau is empty. These two are the subspaces of mod k. Okay? It is empty. But this will mean that when you come to, when you come here in this module, okay, what happens is alpha tau n, alpha n of tau may be in the combination of some simplicity here, but it will never have anything to do with tau. So, if you when express alpha n of tau as a linear combination of some n i, say some sigma i's and so on. The n i's will be 0 for this tau. The coefficient of n i will be this tau will be 0 because this is never involves. It has completely disjoint from this one, okay? It follows that if you write down the matrix for this one using the basis here namely tau 1, tau 2, tau n and so on, the diagonal entries will be all 0. That means the trace of alpha n is 0. But if this is true for n, it is true for all n, right? Therefore, the sum total of all the alternating sums of traces will be also 0. And that is L of mod phi is 0. And that is what we wanted to prove, okay? The second method is slightly more elaborate, but it gives you something about the subdivision chain map also. So, how to subdivision chain map, okay? This property, whatever we have, that will be used here also. This property will be used here also, that is common to it. So, here take the subdivision chain map which you have defined from c dot k to c, c dot of sd of k. sd is now, little sd is the barycyntic subdivision itself one at a time, okay? We have seen that this sd induces identity, homoisomorphism. That is the beauty. When you go to, forget about this thing, go to h, okay? h of h star of mod k to h star of mod k is identity. By repeated application of this, take compositions from sd of k is sd, sd, sd. That will be a map from c dot of sd of k, okay? Sorry, c dot of k into c dot of sd raised to k times k, okay? Right? So, that is our sd. But mod phi is the other way around. Mod phi is from sd of k, c star of sd of k to back to k. So, I can compose it back, namely sd of k composite phi, okay? This is an endomorphism of now of sd of k, c star of sd of k, okay? Yeah? And this is, this is an, this is a, when you pass to homo, this part is identity isomorphism, because it is composite of identity isomorphism. Therefore, this Lf, which we know equal to L of mod phi, the same thing L of this composition. After this composition, you are now in the same module to module and endomorphism. Therefore, you can compute a Lf star number of this sd k composite phi from sd of k to sd of k, okay? If you pass to homology, it is same thing as homology of mod k, okay? But we want to compute somehow. So, you can do it at this level. At the chain level, so c dot of sd of k with basis elements complicit, complicit of simplisites of sd of k. Now, the property 30 here, okay? We will tell you that if you write the expression for, for this, this function when you pass to the homo, at the chain level, okay? It will never involve rho at all, okay? phi star of rho will not consist of the coefficient of rho will be 0 in the phi star of rho. That argument is the same as in this case, okay? So, that is what, that is what we have to use, okay? So, let lambda from cn of sd of k to cn of sd of k with a chain map induced by sd of k composite phi, okay? Instead of putting a star here and I have put a lambda here. From, from this property 30, it follows that for any simplex rho, okay? Lambda rho will not involve rho at all, okay? In the expression of lambda rho, estimation of sigma i, ni sigma i, etc., okay? That coefficient of rho itself will be 0, okay? In lambda rho, the term rho does not occur at all. Then the matrix of lambda rho will have all diagonal entries 0, okay? Trace is 0. So, for each lambda from cn to cn is trace is 0, alternate sum of these traces will be also 0. So, I think I will stop here and we shall see some interesting applications of the Lafichage-Fichon theorem itself next time. Thank you.


Raw prospect coming out of college about 6 4 6 5 250 runs of 4 5 so fast especially for their size and athletic freak Who am I describing a doubt fair way? Yeah exactly in a doubt fair way He made his mark on the NFL last year now They were sometimes when it did get a little bumpy for him, but he certainly especially early on he had a good season But now they just sort of drafted in a doubt fair way 2.0 in my eyes in David a jobbo With the 45th overall pick the Baltimore Raven select Michigan defensive end Slash lying back and depending on what type of defense you run David a jobbo So they were like a doffy. We like we love what you do. We love your potential So, you know what? Let's put somebody opposite you who has some great potential as well Now this move is a very interesting pick because the talent is there straight up The talent is there. This is somebody that would have been a first-round pick But then of course that unfortunate Achilles injury that took him right out of the first round Hmm always talk about how timing is everything that was some of the worst timing Possible because he was set. He's getting ready to go in the first round Would have been had his name called in the first 32 picks Got his the guy who played opposite of him Hutchison. His name was called what number two to the Lions? But David a jobbo when he suffered that Achilles injury at um, what was it his pro day? I believe That's when it all not even necessarily fell apart because he's got drafted in the second round But it just that's when things went south for him just a little bit But see that the injury. Oh, man, it's I feel for him I feel really bad for him because with the injury it not only took him out of the first round So he lost that on some significant money still getting some significant some significant money now but it he did lose some significant money, but at the same time more so than losing the money more so than losing the draft status. He's losing a chunk of this upcoming season and In in rapper boy, he did make a report. He talked about how with David a jobbo With the Raven selecting him if everything goes well with his recovery Then he could be a full goal in October Didn't say beginning October didn't say late October just said October and I just wonder because we know he can play. We know he can ball. We know he's liked that Nice selection, but the thing that will concern me the most is the availability And I feel like Ravens are in such a a hard place right now they're in such a tough spot because You you get somebody first-round talent the talent is there obviously But you just don't know when you're going to be able to see that talent and see what makes it so tricky Is that with with this investment that you've put into David a jobbo? You got to be extremely careful with him. You got to be extremely careful with the process You got to be extremely careful with everything because you obviously want him on the field so he can impact the game So he can make plays for you But you don't want to mess up his long-term future With this short-term process What I mean when I say that is that You you want him to be fully healed fully healthy and of course they brought in different guys, especially Adrian Dixon from the Titans As a he's a recovery specialist to help all the players at the Ravens got really recover Properly from their injuries because we of course know Ronnie Stanley with Pat Rickard with Nick Boyle You get it a lot of guys just have not been recovering Properly and they've been out there on the field a couple Derek Wolf another one. They come back, but then they they're not really ready So hopefully his impact will be a huge positive in terms of the Ravens getting not only getting guys back but getting them right So with David a jobbo you want him to get right, but I wonder like I Wonder because I don't know all the details of how to rehab is gonna go and the whole process because you know He's gonna be in a film room. You know, he's gonna be studying film He's gonna be in all the meetings and whatnot But if he's ready to go by October Will he have had any type of physical practices before then? How is it gonna be leading up to October if he's ready by then and we know like now is 2022 Medicine is crazy surgery is crazy Recovery time is crazy nowadays But I'm just I'm wondering when he's gonna be able to get on the field We know when he gets on the field. Oh, it's gonna be a problem a problem in a good way but I'm just wondering when he's gonna be able to get on the field and Ravens I feel like Ravens they they can't be done addressing edge With David a jobbo reason being because you don't know what when he's gonna be available for you So they still got some free agents that are out there that they could address edge with and of course You can still double dip in the draft but right now at edge you got a David a jobbo coming off it Achilles injury an edge outside linebacker You got Tyus Bowser coming off Achilles injury penel McPhee free agent Jalen Ferguson a lot of unknown still there Or doffy away. He had I think shoulder surgery, but he'll be good to go Derek Wolf coming back from injury So you got a lot of question marks there a lot of question marks there Um, Dalen Hayes outside linebacker. He's coming off for injury, but he should be good to go by regular season But I'm just wondering like I know right Ravens are not gonna be done here They're not gonna be done here because he's somebody that I think this was really a draft pick For the future and I mean you could say that about any draft pick But this one right here was really for the future since you don't know when you're gonna be able to see him on the field yet But I'm good. It's it's a great player great player Like I said first round talent to the talent with no question about the talent at all But when are we going to be able to see that talent? That's my biggest question So I hope that he continues the process and the surgery I mean not the surgery you already had that but I hope his rehab process continues to go Well, and like I said, he goes better even better than expected because again when he's on the field, it's gonna be nice It's gonna be it was gonna be nice, especially when we get some interior pressure, too But we just don't know when that time is gonna be so we'll see how it goes take even clean appreciate y'all love y'all and we out


On the night of 30th of January 1986, months after the infamous Solidarity television incident in September, TVP's Program 1, experienced a TV hijacking in which mysterious text, together with disturbing music and imagery, was broadcasted during close down. This hijack was allegedly related to a mass suicide in a small Polish town that left many of its inhabitants dead. It isn't known where this town is located, but it is speculated to be located near Krakow, according to local reports. As it was shown at midnight, few people managed to view this unsettling broadcast, with many experiencing nightmares as a result of seeing this. Below is an account from one of the viewers, who wishes to go under the name of GL, to protect his identity. This incident goes all the way back to my college years, when I was studying architecture in one of Warsaw's top universities in the 1980s. Back then, I used to spend time watching shows on Program 1 on a small Sony TV, that I bought myself for my dorm when I wasn't studying or doing homework. The TV also came with a free Betamax as well, something that wasn't easily available in Poland at the time. Using the Betamax, I was able to get good clips of my favorite programs, using fresh tapes that were used for VHS or Betamax, such as this particular broadcast that I will be talking about now. One January night, I was watching a show from Czechoslovakia, I forgot the show's name, while lying in bed, slowly dozing off and trying not to completely fall asleep. It was 11.30 PM when the show began, but I wanted to press on anyway, because apart from this show, there was nothing on the TV that could help me stay awake until midnight. The Betamax was left on for about an hour, so I can re-watch the episode on my DHS tape. Overall, there was nothing out of the ordinary, but what happened next is where it gets dark. So once the show ended, it cut to the announcer wishing a good night, before cutting to tomorrow's TV schedule for Program 1 and Drugy, and finally, the sign-off anthem. As the channel's sign-off always does every day, the Polish national anthem plays in the background, as the screen features a white polygon, which was supposed to represent the borders of Poland, and the coat of arms inside the polygon in a blue background. When the screen zoomed into the Polish coat of arms however, the screen abruptly cut to black, and a low droning noise can be heard after three seconds. I was about to grab the remote control on my table to turn off the TV, until I heard a loud distorted beep. The beep was accompanied with a red screen that flashed in three-second intervals. For every red screen that flashed each time, the beeps grew increasingly louder, until it cut to the same screen, only this time saying, Foyadina, your fault. A voice was heard, but it was so muffled and distorted, that it was more or less impossible to make out what he was saying. Then, it cut to a distant view of what appears to be a town, judging by the fact that there was a church tower in the distance. The camera zoomed towards the church tower, before cutting to inside the town, where some bodies can be seen lying on the road. During this time, the sound of blowing wind and eerie synth music can be heard. I considered turning off the TV quick before I saw the worst of it, but in the end I had no choice but to watch the rest of the broadcast, expecting something in store for myself. The most disturbing part of the broadcast wasn't just the hijacking itself. It then showed a group of bodies scattered around at a churchyard. They were all lying flat in the ground, some of them crumpled, and some were lying face first. I don't know about you, but this unsettling clip in this broadcast kind of reminded me of Jonestown, which occurred six years prior. The corpses in the churchyard lay in a similar fashion to that of the Jonestown victims. It also didn't help that there were some children lying with the others too. The video cuts to a child, presumably a little boy, nestled in the lap of a dead woman sitting by a wall, seemingly falling asleep. I spotted some cyanide pills next to the woman, and I started to wonder if this was some kind of mass hysteria going on in that town. For a split second the screen began twitching violently. It then showed a close up of a white tablet laying on some concrete pavement. By this time, the synth music had stopped, and was replaced with the sound of muffled crying and singing, which I assume it was a dirge of some sort. The camera focused on the tablet for six seconds before zooming out, revealing a dead boy lying on the pavement. He was crumpled on the ground, with his clothes and hair messed up and flies swarming his body, and he seemed to be quite well nourished.  I had to cover myself with my blanket while peering at the TV through the folds. Text below his body appeared, saying, Stay chabe, it literally means happy in Polish. Then, a stack of OZN slashes, divided in three columns, were shown. Honestly, I have no idea what this means, but I assume it was some kind of subliminal messaging. After this horrific clip, it cut back to the same distant view of the town before, only this time, it was focusing on a row of houses. The same garbled letter stack is shown once more, as more scode can be heard in the background. After running through a decoder, the code spelled out, scora ekosi, which means skin and bones in Polish. Eventually, the screen twitched again before cutting to a blue screen, and later a test card, thus concluding the broadcast. After watching this, I could not take it anymore, and turned off the TV. For most of the night I mostly slept with myself covered in my blanket, still thinking about the dead boy in the broadcast. The next day, questions about this disturbing broadcast went around my head, still begging me to figure out what kind of sick nightmare I had just watched. I told my friends about the broadcast yesterday, all of which were shrugged off as lives. Only the datamax recording that I managed to save, did manage to convince them that it really happened, no questions asked. After my friends also, they had no word to say about this broadcast, but one of my friends speculated that this broadcast could be the work of Solidarity itself, not to mention that they hijacked TVP four months before. If it was Solidarity, they may be trying to get their message across the mass suicide in the town scene in the broadcast. Presumably, the hijackers were trying to pin the blame on Prime Minister Yaroszelski, for the incident that happened there. In journal, as well as People's Tribune, Poland's Statron news program and newspaper at the time, never reported on the broadcast that happened yesterday, although there were local newspapers around the vicinity of the town in the broadcast, that managed to give out uncensored and detailed information of the incident. Either way, it has been years since the disturbing cozy, bones, incident, that happened back in 1985. So far, the hijackers have never been captured, and apart from this account that I wrote, no other information about this broadcast has ever been found. I have since moved on from that incident onwards, but for the others who saw it on that fateful day, it no doubt stayed with them forever. GL. October 14, 2002.


Item Number – SCP-250 Object Class – Euclid Special Containment Procedures – SCP-250 is to be kept in a 50m x 50m enclosure, simulating a prairie environment with padded steel walls 15m high and 1m thick. The temperature must remain between 20 and 28°C by day and between 10 and 14°C by night, with an average humidity of no more than 8%. This serves the dual purpose of ensuring that SCP-250's overall behavior remains predictable and of maintaining the physical integrity of its component parts. Vegetation within the enclosure is to be maintained on a weekly basis. Although SCP-250 does not physically require nutrition, it is to be fed one live adult pig every two days in order to regulate its aggression and hunting instincts. The remnants of its meal are to be removed from its enclosure no less than one hour after the onset of its nightly dormancy period. This includes cleaning any residual biological debris from SCP-250's physical components with compressed air and whisk brooms. At no point during cleaning are any of SCP-250's physical components to be moved by more than one meter in any direction as this risks disrupting its dormancy. Dormancy ends within five minutes of sunrise. Access to SCP-250's containment during its activity period is prohibited. SCP-250 is the animate fossil skeleton of an allosaur, originally identified as Allosaurus fragilis. However, an incomplete scientific article found in the personal effects of paleontologist Dr. P. indicates that this classification may have been erroneous. It consists of 153 disarticulated bones and 14 plaster and fiberglass replacements held together and animated by an unknown force. Study of this force is hindered by SCP-250's aggressive behavior, which has been assessed by Foundation paleozoologists as being well within theoretical norms for an Allosaurus. SCP-250 emulates what are presumed to have been the standard daily activities of a living Allosaurus. It wanders its enclosure by day, enters a state of dormancy by night, and will attempt to kill and devour anything which it perceives as suitable prey, including humans. Its lack of organs does not seem to affect its behavior in any way, except in that the remains of any prey it consumes will inevitably fall out of the gaps in its skull, neck, and ribcage, at which point it ignores them. SCP-250 was first excavated as an 80% complete skeleton in 19 records from the excavation do not include any report of anomalies. Several years later, it was transferred to an undisclosed museum of natural history and where it was assembled, mounted, and put on display. On the night of SCP-250 seized and killed an intruder to the museum, although damage to the intruder's remains was so extensive as to render forensic identification impractical, they were conclusively shown to not be those of paleontologist Dr. who's office in the museum was extensively vandalized that night and who has not been seen since. Foundation personnel embedded within museum staff reported the incident, and SCP-250 was taken into custody. Item number SCP-317 Object Class Safe Special Containment Procedures SCP-3171 is to be preserved in a vat of liquid nitrogen. Requests for tissue samples from SCP-3171 must be made in writing. All research into tissue samples from SCP-3171 must be in compliance with Class 5 Biohazard Protocols. Examination of SCP-3172 must be done in Class 3 clean room facilities. Requests for examination of 3172 must be made in writing. SCP-3173 has been disassembled. The parts are stored in separate locations. Requests for examination of 3173 must be made in writing to two separate 05 level personnel. No two components of SCP-3173 may be brought within 100 kilometers of each other. Description SCP-3171 is the cadaver of a sapient reptilian entity tentatively identified as a previously unknown species of Pachycephalosaurid. Subject was bipedal, female, and 3 meters tall, and wore clothing made from synthetic polymers. Subject also wore corrective lenses. Subject was largely herbivorous and had prehensile digits. Subject's metabolism was adapted to a higher atmospheric oxygen content, and therefore, subject wore a respirator device when not in its quarters. Biochemical analysis post-mortem, rhodopsins, mitochondria, homeobox genes, cytochrome P450 confirms that SCP-3171 shared common ancestry with current Earth life. Autopsy records are available in Archive 317b685. In the 40 days between its arrival and foundation custody, and its death from a lactobacillus infection, SCP-3171 learned to communicate via a combination of sign language, crude vocalizations, and drawings. Video Archive 317b36 shows interview sessions with SCP-3171. Drawings made by SCP-3171 are available in Archive 317b42, general access, basic anatomical figures, interactions between itself and foundation personnel, demonstration of knowledge of mathematics, demonstration of knowledge of chemistry, demonstration of knowledge of nuclear physics, and Archive 317b58, restricted access, circuit diagrams, mechanical schematics, data expunged. SCP-3172 is the personal effects of SCP-3171. A tunic, a robe, a tool belt, six tools, corrective lenses, an oxygen mask, three empty oxygen tanks, a fire-damaged document pouch made from synthetic polymers, and its fire-damaged contents, and a fire-damaged digital camera, whose contents were unrecoverable. SCP-3173 is the fire-damaged remains of what is believed to have been a time machine, which SCP-3171 was attempting to repair at the time it was taken into custody by the foundation. Preliminary testing of the intact components revealed data expunged, at which point, all testing was halted, and SCP-3173 was disassembled. Note, there's something wrong with this one, people. A technological civilization should have left some trace in the stratigraphic record. If there was a Holocene epic before us, where did the evidence go? Doctor, it's not just the complete lack of trace in the fossil record. It's the species. How could it have been a Pachycephalosaur that developed intelligence? They were at best average for Cretaceous fauna. Why not a Trudontid, an Ornithomomid, or another small theropod? There's something going on here that we're missing. Dr. M. Item number, SCP-346. Object Class. Safe. Special Containment Procedures. SCP-346 is to be kept in a store-bought bird cage, at least one meter in height, at 1.5 meters in width, either way. No locks or additional security measures are required, as SCP-346 is no stronger nor smarter than the average parakeet. SCP-346's cage is to contain at least two water dishes with standing perches, to be refilled daily, and fed a diet of five to six medium-sized live crickets daily. SCP-346's cage also contains one tree branch for perching, scratching, and climbing, one open-top nest purchased at a commercial pet store, lined with moss, and a string with bright colored bells on it for entertainment. The bottom of SCP-346's cage is covered with corn cob-based biodegradable bedding, and is to be cleaned out and replaced every other week. During cleaning, SCP-346 may be either held by hand, allowed to fly around a room with a closed door, or placed in a paper bag with a book over the end to be held out of the way. SCP-346's cage is held in Dr. Wright's office, and may not be moved without her permission. Despite SCP-346's habit of nibbling fingertips and pulling strands of hair, SCP-346 poses no danger upon escape, and may be recaptured gently, with either a net or by hand. Description SCP-346 is a small member of an unidentified family of pterodactyl, ancient flying reptiles. SCP-346 is approximately the size of a small bat, and has very lightweight bone structure. Although its head, wings, and legs are bare, its main body is covered with a soft coat of fur-like dark-colored down. The origin of SCP-346 is unknown, and was purchased by agent in a small pet shop in Brazil, being marketed under the name Congomotto. The owner of the pet store claims not to know where SCP-346 came from, having purchased a set of eggs off the black market, of which only one, SCP-346, hatched. Believing them to be from a rare species of parrot, some theories suggest that there may be a large colony of creatures similar to SCP-346 somewhere in South America. Testing has revealed that SCP-346 is an adult, but appears to have had its growth somewhat stunted by malnutrition and being raised in a small, cramped cage. SCP-346 is also a male, and has been nicknamed by staff who find the little creature's appearance charming, as Terry. SCP-346 behaves in a manner similar to birds and bats, being most active at dawn and dusk, and energetically flying in whatever space it's given, snapping up insects either out of the air or off the ground in branches. SCP-346 chirps and squeaks in a manner similar to birds and rodents, and is most vocal during the evening hours. Some describe this as endearing, others as annoying. Addendum 1 After the discovery of SCP-1265, some theories suggest that there may be a large colony of creatures similar to SCP-346 somewhere in South America. However, the existence of SCP-346 implies that these alleged colonies, should they exist, do not possess the same anomalous properties as SCP-1265. Addendum 2 It has been suggested that further investigation into the origins of SCP-346 should be taken, in the hopes of finding a large colony of similar creatures, perhaps indicative of a surviving member of the pterodactyl lineage, or a rip in space and time. SCP-346 should be kept well away from SCP-529, as per request of Dr. Reitz. Item Number SCP-363 Object Class Keter Special Containment Procedures SCP-363 specimens are contained in a 2 meter by 2 meter by 2 meter room, that is to be constantly illuminated by high-powered lighting. This lighting must be connected to multiple redundant power sources, and in case of total system failure, Mobile Task Force 8A7 is to be dispatched to assess the threat. SCP-363 is to be fed 20 lab mice, administered once every 48 hours. Description Ostensibly, SCP-363 are identical to Scolopendra Gigantia, or the Amazonian Giant Centipede. Dietary needs are identical, and DNA inspection has proven no dissimilarities to normal S. Gigantia. SCP-363 is, under normal circumstances, the appropriate size for S. Gigantia. In darkness, darkness defined here is any level of light under two luxe, which it actively seeks out however. SCP-363 will grow rapidly and erratically, to sizes up to and exceeding 10 meters by 2 meters. SCP-363 does not retain the form of a centipede under these conditions. So far, reports have documented proboscises, tentacles, highly elongated mandibles, an inconsistent number of eyes and legs, and, in one case, data expunged. SCP-363 will revert back to normal size and appearance after 2-3 hours of illumination of a level of at least 50 luxe. SCP-363 will attack any animal emitting body heat, and appears to be able to detect and hunt in total darkness. It is assumed it uses other senses to hunt, with vision in a secondary position. Reproductive cycle of SCP-363 is similar to that of normal S. Gigantia, with one difference. Rather than in a cluster of leaves and dirt, eggs are laid and fertilized in the cavity of paralyzed data expunged, followed by death. Addendum 1. Note from Dr. Scalder. We've determined that fire seems to scare or ward off SCP-363. In light of this, we've equipped three of the members of MTF-8a-7, creepy crawlies, with military issue M2A-17 flamethrowers. Addendum 2. Incident report of breach. Document Number 363-Alpha Breach 1 Personnel Involved MTF-8a-7 Date 21-5-2003 Location Site Description Attempted retrieval of SCP-363 specimen during power failure slash containment breach Start of Audio Log MTF-8a-7 Commander Johnson Perts Any word from technical on distortion cameras? Contactsman Perts No Dice Commander Complete Equipment Failure Throughout the Sector C. Johnson All right. Night vision on. Motion sensors go. Fredman McSean Adelaire Report to rendezvous point Lieutenant McSean Copy that Commander Subteam Hornet coming in Over C. Johnson Subteam Wasp Come in Radio Silence C. Johnson Wasp Do you copy? Over Unknown Shouting Jesus Christ Almighty Torch that Signal cuts out C. Johnson Damn it Oden Oden, can you hear me? What is your position? Over Lieutenant Oden Outside of Lab 8 We found it sir It's holed up in there It got DNA'ing Over C. Johnson Casualty L. Oden Mangled legs sir We scared the f*** in there with a flamethrower Don't think it's coming out Are they fixing the power yet? Over C. Johnson Forget about that Oden Tell Von Howard to keep his flamer trained on the door Hornet, can you hear me? Over L. McSean Loud and clear sir C. Johnson Forget the rendezvous Relocate to Lab 8 Don't engage yet Copy Lieutenant McSean Going Holy f*** What was that? Adelaire Do you see anything? Over Flamer Adelaire Extensive swearing There's another one of those f*** in here Second containment breach commander C. Johnson Has it seen you? Over F. Adelaire I don't reckon sir C. Johnson Good Try to keep it that way Perts How many of those things that they keep in here? C. M. Perts Relays question to contact 8 sir C. Johnson Good god Okay Tell them f*** the preservation And detonate the gas charges C. M. Perts They uh They can't sir C. Johnson Why the f*** not Perts? Data expunged L. Oden So we're all f***ed three days from Sunday Good to know Orders commander C. Johnson F*** them all and burn it down Oden Tell Von Howard and Adelaire to set fire to Lab 8 Then split up and do a sweep of the area Neutralize all hostile centipede L. Oden Copy that C. Johnson Perts Still no contact with Blackfly? C. M. Perts Blackfly report in Radio silence C. M. Perts No Blackfly C. Johnson I gathered Perts All right Oden Status report Unknown Gasping Groaning C. Johnson Who's that? Identify Unknown Flamer tell sir C. Johnson What is your status tell? What of Blackfly? Over F. Tell Dead Everyone C. Johnson Repeat that tell F. Tell Screaming We're all f***ing dead down here Commander I saw one of them One of them pulled Doug apart Just Just in half It laid all these eggs And another one squirted this jizz over them They hatched They hatched so fast More of those things ate him so fast Dozens of them Eating Howard now I liked Howard commander Eating him Eating C. Johnson Calm down Tell for God's sake What's your personal status? F. Tell They're on my legs I can see them But I can't feel it Biting me Radio silence F. Tell I feel something burning Like bubbling C. Johnson Tell Self terminate That's an order I'm sorry F. Tell Unintelligible C. Johnson Goddammit Tell Do you copy?  F. Tell We are one C. Johnson I think he's gone crazy F. Tell One is all Cracking noises C. Johnson Wasp Hornet Come in Radio silence C. Johnson Wasp Hornet Come in, dammit L. O. Den Same warped voice as documented with Flamer Tell We are here There are many C. Johnson Pertz Tell command we're evacuating the premises Mission failure C. M. Pertz Sir, yes, sir C. Johnson Air strike and full bombardment once we're out Nope, interrupted by crashing sound Jesus Christ, what? Tearing sounds Five minutes of radio silence C. Johnson presumed dead Unknown individual Presumed C. M. Pertz Here, oh Israel Y. H. W. H. is our God Y. H. W. H. alone Gunshot End of audio log Post script Site Fire bombed Several undamaged and fertilized SCP-363 eggs retrieved Contained All members of MTF-807 presumed dead New team established O5 Addendum 3 Interview Interviewed Genitor R Interviewer Data expunged Referred to as I Forward Interview conducted after said janitor professed to a possible SCP sighting After firebombing of sight Begin log I Hello R Please sit down Thank you Now, you said you saw something after the firebombing Get or expand on that Janitor It was, well One of those guys from the MTF you had stationed there Eight of seven One of those guys, yeah I Do you know his name, perchance? Janitor Yeah, yeah, I talked to him once That guy Tell One of the flamers I Are you sure it was him? Janitor No, no, I ain't sure It, it looked like him, for sure But there were all these things growing out of him Like insect legs, but all in random places From his chest, his arms, and one of them was poking out of his eyeball His eye was just gone And his mouth, there were these like these pinchers Mandibles All black And there were these things I Continue Janitor These things Centipedes Crawling in and out of holes in his flesh He looked at me His one eyed gone all It looked all like a bug's eye With facets and stuff And he laughed I think he did anyway I And then Janitor He, he ran away I Thank you And log Addendum four Security level four Announcement Signal of standard MTF anti-defection tracker located data expunged 18 miles away from site Signal associated with retail Tracking procedure initialized Infection risk to be negated at all costs O5 Lesson complete To continue with your orientation training Subscribe to SCP orientation right now And make sure you don't miss any of our upcoming videos


God's beauty is all around us and my goal as an artist is to capture and interpret that beauty on canvas and to take you the viewer along with me on this painting journey. Hello and welcome to Painting Journeys. My name is Kitty Lynn Klisch and I'm going to take you on a journey today. We're going to go to County Claire, Ireland. This is the second time I've been to Ireland and it was a lot of fun the first time so I decided that we would go back. I'm really glad you joined me today. I started on my painting yesterday and in my studio in the lower level of my home and I wanted to show you the viewer how I go about changing things on a painting that I'm not quite satisfied with and also I wanted to show you that a finished painting today. So I'm hoping to get this finished during our time together. I'm really glad you joined me. Once again this is Painting Journeys and my name is Kitty Lynn Klisch. I'll show you my palette. It is pretty much just the basic colors and I don't get too fancy with don't use too many colors. Some of this muddy looking stuff down here is what I have left over from yesterday's painting. So now without further ado let's get busy here. We've got a lot to take care of. First of all I notice the most that this fence right here is not as high as it should be here. This line it should be a little straighter. So I'm going to take my wipeout tool and I'm going to wipe from here out going up just slightly there. And when I paint that now that will make that fence and that fence by the way is not wood. They have very little wood in Ireland and they don't make their fences with it. They make their fences with stone. So this really should be a stone fence and I will be making that look more like stone for us here. Now on the top of this it's going to be just a little bit lighter as it's coming across here. And this was kind of an interesting place that I happened on driving through Ireland, traveling through Ireland. I came upon so many different areas and the scenery varied so much. I was really surprised at that. Ireland is a rather small country and so I kind of thought that the whole thing would look the same but it doesn't. It's quite different as you travel from one region to another like the east where Dublin would be where we flew into is completely different than the west coast. In central Ireland is quite lovely with lots of trees and rolling hills with the you can see the little rock fences that were built many many years ago by the farmers, the tenant farmers. Most of the farmers were part of an estate land was owned by someone else and they had the tenant farmers that that farmed the land for them. So anyway now we're getting that to look a little more like rocks and see here. And that looks a little better because it's a little straighter so that that takes care of that. Anyways I was telling you so in traveling over to western Ireland it was very sparse and barren looking and you could just feel the water coming off of the Atlantic ocean and it was so windy and just barren and land with rocks, lots and lots of rocks. And of course the national, I would almost say the national flower of Ireland. I mean it's not really but it's in a very invasive plant called gorse and they have it everywhere. It just has invaded Ireland and the people would like to get rid of it but it has such a strong hold. I don't know if that's going to be possible for them but you see the gorse. Now in the middle part of Ireland gorse is very green and lush and full of yellow flowers and quite pretty but when you get over to the other side, the western side of Ireland, it's not that way at all. It's quite, even the gorse is very sparse and sickly looking. Okay so now this looks a little more like a could be a boulder fence. Then the other thing I was looking at about this painting that I wasn't too happy with was it it looks so perfect. It looked like it needs to be messed up. I think I need to go in there and actually mess things up in order to give it the feeling of reality. We don't see everything so sharply as I have it painted here. So I'm going to take a big brush and I'm going to go in here and I'm just going to take some strokes and just try to mess it up a little bit. Now of course this is always risky. It's very risky because you know you have the chance of that you could just ruin it. I want this green to come down over here a little bit. I don't want that to be so pronounced over here and this right in here. I want this to come down a little bit in there. I want to soften those edges. I'm just softening these edges and bringing the back with the background into over the foreground there and that little bit of softening is going to knock down the sharpness of this and make it look a lot more natural, more painterly. That's the word I'm struggling for painterly. We want it to look painterly not like it's a photograph. If we wanted to photograph we have one up here that we're painting from and we know we can always paint like a photograph but then why would we want to bother? I think this is a little too wide here. I don't like the way that looks so I'm going to come in here and I'm going to just come over here and bring in what's behind this. Bring it in a little bit and lose that edge a little. We do have all the tree that's going to be coming around and over here and that's all believe it or not coming from this huge tree right here. You see that? That is the tree right there so okay perhaps I'll take the wipe out tool and just wipe this out here. There we go. Isn't this slick? When your paint is wet you just wipe it out if you don't like it and we'll bring this in a little bit over here and and then we have the darker blue-green in the background there where it's a little bit further back and that'll look nice there. Now that's that's much more soft and much more natural looking. I do have a little problem right in this area here so I have to soften this edge and bring it out just a little bit so that this post that's right there is is okay. Another thing that I noticed is that the house seems to be going up too much this way. We need to bring that down just a little bit here right across here and straighten that up a little bit and we'll use some of our grayed blue a little bit of black in it. Actually it's Payne's gray. I'm gonna come over here. There we go. And see I want that much softer going along there. This right here we'll grab some light and put in there. Now I like that much better that looks a whole lot better. The only problem here now is that these doors aren't straight so we just straighten them up. This has got a lot of you know it's kind of a funny material it's it's like they've stuckled over the rock. This place when I came along upon it I was really I just thought it was just so pretty. Such a quaint little place I don't really know if it was you know habitated by anyone inhabited by anyone or not. It just seemed to be there. It could have been forsaken, abandoned or it might have still been someone's home. In Ireland it's very difficult to tell if I see this is a little too wide here so I want to narrow it up. It's very hard to tell with a lot of the places that you go by if there actually is anyone that lives there or if it's been abandoned because so many of the places are really very very old looking and they can look abandoned and yet they're not. You know like I thought possibly this place was abandoned and then I went a little further down the the road along the fence line and there was this most gorgeous sheep. He was just a beauty. Okay now is that looking a little more painterly that's what I want a more of a painterly look. Don't want everything to be jumping out at us. Yeah I think I like that better. I think that looks much better. Mm-hmm and I like my dimensions better. Yeah okay maybe we overdid it a little bit in this area. So anyway you know the reason I mentioned that sheep is because I thought when I got to Ireland that there would be sheep everywhere well I was very surprised that there's pastures absolutely full of cows you'd think it was Wisconsin there's tons of cows over there of which I found very surprising because I thought they would only have sheep and in fact I want to show you this picture now of the cows and the pasture there and if you'll look beyond you'll see how the pastures are all broken up into different segments from the little rock fences and it's just it's very it's very beautiful very peaceful scene and then and here's a picture of my sheep and as I was saying he was about a block well not a block but just down going to the left of the building here maybe about a hundred hundred and fifty feet and he's just standing there just beautifully posing I mean he was like he was like the star of the show he really was a beauty and he knew it and so I took his picture because I painted him I wanted to paint him okay I better quit piddling and diddling around here and do something constructive kitty all right okay I think that looks a lot better I hope you can see the difference there it's it's it's a lot looser and now I think what we'll do here is we'll put this we'll make this fence we'll straighten up this fence right here because it's not going in the right direction either I don't know where my mind was yesterday when I was painting because I was really off kilter this should be going a little bit more like this to go up or down I think it should go up I think the camera fools the eye and makes you think that you're seeing things that you're not this is kind of a dark rocky like area in here behind that fence there okay you know I just I wanted you to be able to see how I go about finishing a painting now I see on the on the photograph that my line on my fence is going like this okay but here I have it straightened out now the difference here is that I have the photograph the size of the shape of the photograph does not correspond with the shape of the canvas the canvas is actually wider and so I am filling in that's why there's so much more fence over here and I look at that and I think that does not look really that looks like a photographic kind of a thing that's where it's distorted and I just seems to me that as I was looking at the place I was looking at it more frontal and so that's why I'm going to straighten the the fence out there we go there yeah I think that will be nice and I think what I'll do back here is come in with some of my dark so that you get a kind of a feel of how this is going to be when I start putting the the leaves on the tree back here this has got a lot of dark over it and it even comes way out and over and on top of the roof a little bit I'm just kind of blocking in some shapes you don't want to paint every individual leaf that's for sure you know what is so interesting when you travel through Ireland is that the you'll go by a place like this and then just down the road you'll see a brand new beautiful home very modern looking and they're all sort of mixed together you know it's just it's like here we seem so conscious of our neighborhood our quote-unquote neighborhood where in Ireland you know they just if they purchase the land they build what they want to build and if it happens to be next to a little a little tiny cottage that's a couple hundred years old that's okay you know that's I found that very interesting it's quite a contrast it truly is you know yesterday when I put all this stuff behind there I knew that I was going to do this over it but this gives me good base on the canvas to apply the leaves and everything on this tree because this is a huge tree just humongous so I just keep fighting along here I want some of this really dark because without the dark we don't we won't be able to to show the the the light I'm not going to bring the leaves over as far as they are here because that would be out of out of context I think I don't think that it looks okay on the cat on the photograph but I don't think it's gonna look good for my painting that's the nice thing about being an artist you can choose pick and choose what you want in the in the composition and that's really quite important because without being able to do that then you have you you don't have the control you you want to have the control of the brush and of what's happening as you journey across your canvas that's very important okay let's see here should we maybe we'll make a couple of little tiny lines that look like little I'm dipping into a medium here that will kind of thin my paint and make it go on a little easier these little things here I don't usually use a medium but today I am I since I'm painting over wet paint this really helps the brush move and you can see these little branches you don't want to make them go straight you know or curly q you want them to be more shaped like little pipes coming they're jointed branches are jointed you don't want like branches that look like wet noodles bring that down a little bit there come a little bit further bring this down over the house here just a little bit to kind of tuck that roof back consciously thinking you know you some you subconsciously as an artist you subconsciously know what you should be doing but you have to consciously be aware of what you're doing because it's so easy just to stick that group that brush and gear and just keep going and before you know it you've overdone it right let's see a step back I'll take a look okay when we put some leaves in on top of that I think that'll help a lot now this area right here as I'm bouncing my eye around the canvas evaluating everything this area kind of bothers me here it's a little too pronounced I think we need to lighten that up a little bit and make it not so important and I think that'll make it look a lot better okay now then we'll take the little thin brush and we'll see if we can just barely make those little lines on there again with this thin down paint okay I'm thinking really hard trying to do this I guess I didn't make it any better did I well when that happens then you always have the option of taking a little bit of tissue in your hand and just blotting it there we go you take off that extra paint and it softens it right on down there I think that's pretty good maybe we'll just do that again just a little bit on this side right here there that's much much better not nearly so and I and this door here you see my eye is always moving always looking at everything as I'm as I'm working I'm always comparing one value one shape to another one value to another that not so much the color as the value this right up here is a little bit darker and it comes down there there we go yeah that now see the how that set that back that looks much better right okay and then I get really excited and I start talking real fast okay all right let's let's do something with this before we go back to this let's see here I think what I'm going to do is I think I'm just going to kind of mask that all in with some dark I use my big brush and I'll mask it in with some darker paint that will kind of be the base and then I'll come back over it because I don't want to paint each brick you know I don't think I do anyway but maybe that isn't going to work either let's see here you know see everything on the canvas is a it's a each new painting presents a new problem to solve and that's why oil painters well that's why all artists love what they do so much because it's there they it's always that challenge of solving that problem how are we going to solve the problem what to do what to do okay this goes up and so this is golder back here a little bit golder back in there and then this is a little higher right here I don't want the fence to be too much detail I really want to try to get that you know that block look and rock rather rock look that it has this is going in the other direction right in here and it's a little warmer it's going like this and I have to just kind of paint right over my my lines here for my gate but that's okay I know where they are and I'll just put them right back in there and you notice how the brush is going in the direction that the that the stone is going that's how you describe form there okay see already it doesn't look too bad it just needs a little bit of more detail and and it'll look just fine so now we'll come over here and we'll try to accomplish the same thing on this side okay we have a big big one up here and then it's a bigger one underneath it then it kind of comes down right in there and it's going to go let me see here this is about this wide and that is coming there there we go so this is coming down this way I get some dark in there I think it's coming down this way a little bit of light isn't this fun I hope you're enjoying our journey today as we're journeying and journeying across this canvas depicting a quaint cottage I would say a farm certainly not a hobby farm I think that this one has been around a lot longer than hobby farms maybe a gentleman farmers do they still have those gentlemen farmers don't know okay this seems to be going back there and something's wrong right in here we'll have to come back with some more paint and bring this green in right here because I think it needs to be put right in there I think that's a little bit brighter right there and it's probably a little bit brighter right in here and here okay this is a bright painting I like that I love I love the juiciness of the colors okay so now we've got a nice little top that we're going to show and that's going to have and then we have these rocks here and this is dark right in here where that is coming and I'm just gonna just scumble this in for the sake of getting it on there I'm gonna scumble it in and then I'm gonna come back and make rocks grabbing a bunch of colors big mist mixed mash of of colors and we'll just put this in here and using our brush in a kind of a violent sort of way to describe the movement of the rock I want to just kind of get that blocked in there there we go and there again we're trying to keep it soft too we don't want it to be too realistic looking okay now we can come back and we can grab a few places and make a few rocks then a lot of this will be finished work that I have to do back in my studio I can see that now seems like the time that I have with you is is never never enough time to to show you everything I want to show you okay we've got quite a few gray rocks here and we've got some pink ones you would not believe how the people in Ireland over the centuries have gone out and picked up the rocks from the fields and made these gorgeous rock fences and it's like it's like a quilt pattern everywhere you go there's these little tiny like areas that are some you know some maybe a quarter of an acre that are outlined in rock and you know you you know that well that was probably where they had their garden or maybe that's where the cow or the a couple of sheep grazed or something but just a little small small places that that I have to go back into that and make that a little bit better but I just want it to be now then we'll come back to that if we have time we'll come back to that area at least now you can see what you have a good idea what it's supposed to look like now I'm going to take a clean brush and we're going to go in find that deep rusty red that we have back here and we see that it's echoed here in the fence in the gate rather you see that here it's echoed it's brighter here and it's brighter down in here okay and of course that's over there a little bit so you see it flowing through the through the painting and that will help keep the eye in the painting because your eye is pulled to that red color I think this fence is mostly looks like it's pretty well rusted I'm mixing up several different colors here to try to get something that I that I think will will work okay so now I have to take the wipeout tool again and wipe out where this fence post is see how slick that thing works it's really awesome we'll widen that and widen that then over here on this side okay now that is all set now we'll just put this center post in first for the most part right now I'm just trying to get the blocking in does seem to be a little bit redder gonna come in with a little bit redder right in here there we go and now this other post is narrower and it's gonna be right there oops it looks crooked isn't it all gonna say it's okay and see what we can do to straighten it up here there we go that looks pretty good you know I I really appreciate you being with me today as we are painting and talking and sharing I without you there would be no need for me and I thank you so much for tuning in today and watching my show okay is this gonna is this gonna seal the deal here or mess it up what do you think huh I hope I'm hoping to seal the deal I really am I wanted to just write for you so that you can share this journey with me see what I saw in an artistic sort of way something better than a photograph photographs are nice in their place but that's nothing like being able to create art the act of creating no matter what you create no matter if you crochet or knit or sew whatever you do you know cook whatever you do whatever you're able to do whatever gift God gave you you know rejoice in it and use it okay right that needs a little help and then we have this so we have a thin black right here coming down and then we have it coming right down here too and then there's a brighter red about it okay I just got I have a darling little camera girl here today who is working with me for the first time Leslie and Leslie has just let me know that I have 15 minutes left so we still have we still have time we'll see what we can accomplish here okay now I think it needs to be made to look a little bit older you know me I want to mess it up now that I fixed it I want to mess it up I think that looks a little better maybe this should be a little bit darker down here there we go and then this right here needs to come down is this the brush I was using yeah okay we'll have this come down just a little bit more right here and that's going to go back there we go all I'm liking this yes we do have some areas that we have to fill in here with the yellow green from the from the background so this is what I call painting from the outside in when you have these little spots like this you have to very carefully just kind of come in and fill them in and keep it nice and soft and there was you know what they actually have dandelions there and that surprised me too that they had dandelions but no mosquitoes they don't have mosquitoes but they did have dandelions wonder who had them first us or them you know what would have really been lovely I like to paint outdoors and it really would have been lovely to have had the time on this trip to have actually been there with you and have you see me actually working in the on-site painting that would have really been lovely to put some little dark green in there to make it look like little little things are growing or it doesn't look like things are growing it looks too plain there we go okay all right now then let me see here hmm I think we need some some blue in the foreground a little bit of blue with the green in the foreground to kind of make little things look like they're growing here I mustn't tarry too long because Leslie is going to show me a little sign here in a few minutes and it's going to tell me that I have even less time and I do want to get back to those to those leaves but I think I think you can kind of get the idea I hope you're feeling the excitement that I'm feeling over it I think it's getting getting there we'll just darken this side just a little bit to make that show up just a little bit more and a little bit on the back there we go yeah all right now we'll take I think I'll take this brush and I'm going to put some nice lovely lighter colored leaf formations up in here a little bit too bright I think too much yellow to step back and make sure that it's not getting to be too much in here too this is the exciting part because you have to be so careful that you don't overdo you don't want to overdo I do want this one to come down in front of that corner there that certainly changed the look of it from when we began and they we did not have that darker green on there yeah that that is looking considerably better I think this really balances it out nice to have the dark in the back and the light in the foreground of the tree and I don't want it to be too picky so I have to come and kind of smush it isn't that a nice technical term smush will smush it kitty and that will make it better there we go and I think this back here even though it's it kind of like a dead area in the photograph it needs to have some balance with all this vibrancy that I have going on down here so I'm going to do it just kind of go in here nothing ventured nothing gained and I'm just going to come back behind here and have a little bit of of a that tree it back there be just a little bit more there see and now it gives it a nice balance that's what we want yeah and then we'll grade a little bit as we go out a little bit there we go okay now I think we have a few minutes left I'll try to show you a little bit more on this fence what I would like to do on this rock wall I would probably take and try to define a little bit of the of the stone a few little not everywhere just a few little marks and the the stones are different shapes so oh I see I didn't get this covered either I don't want to see that yellow in there that should be a darker blue well Leslie has just told me I have five minutes left can you tell me where this hour has gone I have no idea it just seems like it has flown by for me I hope that you has gone by pretty fast for you to I don't want to quit I want to stay here and paint right let's see here okay so I'll work out just a couple more minutes on the on these and maybe try to get a couple of lighter colors in there just just to give you a little better idea of what they're going to look like when they are all completed okay this is this is kind of a bright yellow one right here kind of a bright yellow rock and there's another kind of an orangey rock over here now I'm not going to pick out every one but I will pick out some shapes to put in there and then we have some nice blues the blues are very pretty there's a little bit of blue in here down in here and this up here has got a little bit of blue in it a little bit of blue there okay now you see how that's starting to look a little more nice it's not the idea is not to make it look exactly like this we're not going to paint every every rock as it's been stacked there we're just going to do a suggestion hopefully that will be convincing enough to represent a rock fence I do want to make this a little bit darker right in here so that we can see that that is the where the top is the top of the fence that we're seeing there so we would have we would have rocks going this way and then these here would be coming like this and then over here a couple maybe that where it goes in behind there right in here that should probably be a little bit darker in there because that's behind and this is sticking out you see that just with a little bit of shadow that's what we can do okay it's not completely done I had hoped to finish it for you it's not completely done but it's very close to being done and you see me make the corrections in it that I wanted to make and I do believe that it looks a lot better now than when you first saw it today so on today's show so I hope that you will join me next time when we journey I'm not sure where we'll go next time maybe we'll stay in the United States and maybe we'll go to oh let's see let's go to Washington State that is a gorgeous place and you're really gonna like it yeah I think we'll go to Washington State and we'll look at the Pacific Ocean while we're there we'll journey to Washington so do join me next time my name is Kitty Lane-Klisch this is painting journeys and this is County Claire Ireland thank you so much for joining me and we'll see you next time bye bye for now