Who is the Holy Spirit? I wanna tell you all about my friend, the precious Holy Spirit. This revelation will change your life.  It will change the way you read the word. It will change the way you worship. It will change the way you evangelize. It will change the way even you resist temptation.  This revelation, and that is not hyperbole, that is not hype, I'm not exaggerating. This revelation will transform your walk with God. And I mean profoundly when you truly understand who the Holy Spirit is. Now, for me, this revelation began to unfold. When I began to realize that the Holy Spirit is not just a force or a feeling, you can feel him and certainly he has power and might and force but the Holy Spirit is not just a force. He's not just a feeling. He can be known as a friend. And in fact, I believe that the Holy Spirit wants a friendship with you more than you want a friendship with him. You've heard it said that God loves you and that's true. You've heard it said that Jesus loves you and that's true also.  He loves you with the perfect love. He abides with you.  Romans chapter eight, verse nine makes it perfectly clear that you receive the Holy Spirit at the very moment of salvation. The Holy Spirit is not a reward for holiness. He's your source for holiness. You are not given the Holy Spirit based upon your performance.  And he doesn't come in measures. There is no baby Holy Spirit, new convert Holy Spirit, or portions of the Holy Spirit. When the Holy Spirit comes upon a life, when the Holy Spirit comes to dwell in you, he dwells in fullness of power. The same Holy Spirit, Romans eight, 11, who raised Christ from the dead, dwells in you. The same Holy Spirit who was in the apostles dwells in you. The same Holy Spirit who hovered above the face of the deep as the Father spoke words and caused all creation to come into existence. That same Holy Spirit dwells in you. The same Holy Spirit who stirred the prophets of old to speak prophetic oracles. The same Holy Spirit who inspired Psalms in the heart of David, worshipful stanzas of worship and music. And then he's also the one who inspired wisdom in Solomon. He, of course, also dwells in you. We have to remember that. And again, he's the same Holy Spirit, not a different one, not a smaller one, not a Holy Spirit light, but the true Holy Spirit, the one and only, the very same who walked with the disciples as they began to carry out the gospel message and spread it all around the world. That is the Holy Spirit who dwells in you. And again, he can be known as a friend. He is personal. Now, when I say that the Holy Spirit is a person, usually people begin to panic. And what's conjured in their mind is this idea that I'm saying that the Holy Spirit is a human being. The Holy Spirit is not a human being. The Holy Spirit is a person. I mean that he is personal. And I'm gonna go over with scripture what that means exactly. But this is important to know right up at the top because many of us imagine the Holy Spirit as the emotion that we feel when we walk into a church service where God is moving. But perhaps he's a mist that's floating in the air and just kind of stirring about the atmosphere. But no, the Holy Spirit is a personal being. He is the indwelling presence of God. He is God dwelling within you. He is the seal of your salvation. He is the one who teaches you the word as you read who inspires you to pray prayers that align with his like as we see in Romans chapter eight verse 26. He is the one who causes you to evangelize just ask Peter who denied Jesus three times. Yet when the Holy Spirit came upon him, he speaks a word and 3000 are added to the church. The Holy Spirit works with you day in and day out moment by moment. He does not leave you when you make a mistake. He's not impatient. He faithfully abides with you helping you to draw closer to Jesus because that's what he does. He points to Jesus. He glorifies Jesus. He magnifies Jesus. He highlights Jesus. That which is Spirit led will always be Jesus centered. So I could go on and on talking about some of the works of the Holy Spirit, what he does. And maybe I'll cover a little bit more of that in a moment. But let's just establish this thought. Let's get this in our spirits. The Holy Spirit is a person. And this is important because if you think the Holy Spirit isn't it, you'll want to use it. But when you know that the Holy Spirit is a person, you'll say Holy Spirit, use me. In fact, write that in the comment section if that's what you want. Just write use me Holy Spirit. Surrender your life. Or you can write I surrender Holy Spirit. But whatever you do, make a public declaration of a statement that is of surrender.  Let him use you, yield to him. But we have to understand again, that he is a personal being.  As I said, when I found out that he could be known as a person because in my religious thinking, I had thought that he was just a force. I didn't realize that there was this indwelling presence of God in my life and that I could commune with him. I could talk to him. He could talk to me. And that he would actually help guide me and work with me in all of the different responsibilities that I had as a born again believer. As a child of God, we're given responsibilities. As a child of God, you're given certain tasks and certain spiritual disciplines that you have to implement. And the Holy Spirit works with you in all of those.  Maybe, maybe you've been exhausted because of your walk with God. Well, if you're exhausted because of your walk with God, you're giving from the wrong source. You're giving from self instead of from the Holy Spirit.  By that, I just simply mean obeying him, walking with him, listening for his voice, doing what the word says. When it comes to that, you have to remember that it's not a formula. It's a flow. It's a relationship. It's something that you learn that's taught by the Holy Spirit in the realm of the Spirit. And these are the deeper things of God. When I first learned this, it absolutely revolutionized my walk with God. Because before then, I had always envisioned that God was this distant figure off a million miles away. And I thought that prayer was my audition for God's attention. And that's how many believers treat prayer, isn't it? Maybe that's how you view it. It's your audition for God's attention, that prayer is you trying to negotiate time with God, trying to beg God to give you his attention, to even look in your direction. And many believers imagine that God is just kind of slightly irritated with us and putting up with us and just reluctant to even spend any time with us, but that's not it at all. He dwells within us by the Holy Spirit. And once you recognize it, I don't have to beg for God's presence. I don't have to plead.  And it's okay if that's how you worship. That's fine if you're truly inspired to do those things. But you don't have to do any of that to receive the Holy Spirit. The Holy Spirit is God's gift to you. He's the promise of the Father who came to dwell on you the very moment you were born again. And now you have the Holy Spirit. And now he walks with you. And when I learned that, it was a game changer. It changed everything. He changed the way I talked. He changed the way I thought. He helped me to be confident in who I am in him. He did away with my insecurities. He helped me work through my temptations. And I really began to notice that change. That was the change. If you see anything different about this ministry, if you sense anything different on the content, maybe as you're listening to this, you sense the presence of the Holy Spirit. I'm telling you, there's not something special about me. There's someone special around me. He's the Holy Spirit. That's the difference maker. That is the difference, the Holy Spirit. And once I began to truly surrender to him, once I began to know him and commune with him and fellowship with him and acknowledge. That's a big one. Acknowledge that he's there with me at all times. Then I began to see boldness, holiness, joy overflowing, peace that's stable even in chaotic situations. Love, he helps me to love. Romans 5.5 says the love of God is shed abroad in our hearts by the Holy Spirit. In other words, he's the one that causes us to love God and to love others. And so this really is a revolutionary once you realize that you're not begging to be connected with God, but the scripture declares he that is joined to the Lord is one spirit with him. That's it, it's done. You are already one with him. And out of that oneness comes prayer. Out of that oneness comes ministry. Out of that oneness comes the fruit of the spirit. Out of that oneness comes boldness for evangelism and the power and the grace to resist temptation. That's where it comes from. It changes everything.  So what you desire begins to change. What you think begins to change. What you feel begins to change. But he also affects your physical being where cravings that are ungodly begin to die. They become weak. It can even get to the point where people can sense the glory of the presence of God around your physical being. Now this isn't necessarily 24 seven for every believer, but you may catch glimpses of that every now and then. Moments where the glory of God even begins to tangibly, physically affect your body and people can sense the presence of the Holy spirit around you. That's the difference that's made when you walk into a room because of the Holy spirit who dwells with you. You bring peace with you. You bring joy with you. And if you don't bring those things, you have to ask yourself, am I truly surrendered to the Holy spirit? Because John 7 38 declares that out of your innermost being will flow rivers of living water. And that's a beautiful thing when that begins to manifest and that begins to reveal itself.  Okay, I'm getting a bit ahead of myself here. I mean, let me focus in. I get very, very excited when I talk about the person of the Holy spirit. Okay, so notice first year, John 15 26. He's referred to as a who, but I will send you the advocate, the spirit of truth. He will come to you from the father and will testify all about me. So there it refers to him with personhood. He doesn't say it will come to you. It says he will come to you. He's referred to as a who. John 16 13 and 14. But when he, the spirit of truth comes, he will guide you into all truth. For he will not speak of his own initiative, but whatever he hears, he will speak and he will disclose to you what is to come. He will glorify me, for he will take of mine and will disclose it to you. Well, there we see of course that he's a person. He's referred to as a he and that as I mentioned a moment ago, he glorifies Jesus. He magnifies Jesus. Next, we see in Acts chapter eight, verse 29. So we see there that he's referred to as a who with personhood, then we see that he speaks. So he has a voice. Acts chapter eight, verse 29, even something as practical as this, the Holy Spirit said to Philip, go over and walk along beside the carriage. Now here we see a very specific instruction being given to Philip. This was not scripture per se, that is not the Old Testament prophets or the Old Testament records. Nor was this an epistle, nor was this an instruction from an apostle. This was the Holy Spirit spoken directly to his heart, spirit to spirit, that communication. Now you've often heard it said that because the word of God is sufficient that the Holy Spirit doesn't need to say anything. Well, this just isn't true. In fact, it's because the word of God is sufficient that we can hear the Holy Spirit in the first place. Why?  The word of God, the truths of scripture are the building blocks with which the Holy Spirit creates the image of Christ in you. Now, when it comes to the word, the word is not a barrier to the Holy Spirit. The word is not in conflict with the Holy Spirit. The word is that foundation. So the scripture is sufficient in that it did its job to connect you to an active, living, breathing relationship with God through his Holy Spirit. So it's those who think that the Holy Spirit does not speak directly to us anymore that have an issue with the sufficiency of scripture. I believe it's sufficient. And therefore I believe it's done its job to actually connect me with God and not just tell me about him. Additionally, some will say, well, if it's in the word, the Holy Spirit doesn't need to say it. If it's not in the word, the Holy Spirit wouldn't say it. Now, that type of thinking is a false dichotomy and it fails to take into account those specific instructions that we need for everyday life. How do you know where you should live? What job you should have? Who you should marry? Who your business partner should be? What church you should attend? What school you should attend? Where you should have your major? All of these decisions, some of those are large decisions and then sometimes the Holy Spirit could even speak to us about very specific decisions that we make. I, for example, have a testimony where I came to a stop at an intersection. It was a four-way stop sign intersection and the Holy Spirit urgently spoke to me, wait. So I just waited. And moments later, a car came through, headlights not on, this was in the nighttime. And that car went right through the intersection without stopping at the stop sign. Now, I don't know if I would have been taken from this earth necessarily, but I definitely avoided something I didn't wanna be involved in. And that was thanks to the voice of the Holy Spirit speaking specifically, directly to me. So yes, the Holy Spirit primarily speaks to the word. Yes, the word creates the foundation of our understanding with God and our relationship with him. But the word of God also helps us to connect with the Holy Spirit, to know his voice, to learn his voice. And therefore, the Holy Spirit still speaks today about those specific instructions for everyday life. So he has a voice and that's wonderful to have that when you think about that. Think about the fact that everywhere you go, the Holy Spirit goes with you. So imagine this, the one who can see the future, the one who's aware of everything all the time, the one who can see behind the intents and the motives of the people around you, the one who can hear what they say when you're not around. He speaks to you.   Because when he speaks, he can cause you to be at the right place, at the right time, under the correct circumstances with the right people when they're in the right mood. And he can cause all sorts of doors to open and he can even close doors and he doesn't want you to walk through. I can't tell you how many times I've had to say to the Holy Spirit, Holy Spirit, I need your instruction, I need your help. If this is not of you, I need you to slam this door in my face and he has. And I'm speaking of spiritual doors, okay? Unless someone misquote me there.  And again, don't be offended by that. I'm not saying he's a human being. I'm saying he's personal.  He is one with a voice. He has a will. First Corinthians chapter 12 verse 11 says, but all these worketh that one in the self same spirit dividing to every man, severally as he will. This is speaking of the spiritual gifts. The Holy Spirit gives those out as he wills. So the Holy Spirit has a will. The Holy Spirit has feelings. Many believers totally overlooked this fact. Ephesians 4, 30. And grieve not the Holy Spirit of God, whereby ye are sealed unto the day of redemption. Now, there's a lot to unpack here, but first let me mention that when I first began ministry, I was afraid of the criticisms of people. Let me just tell you honestly, I was. Their words affected me deeply. Today, not so much. When people say things, I'm able to even laugh some of the things off and just go, it is what it is. That just comes with being in ministry and it doesn't hurt the way they think it hurts. It's actually going to ultimately help me. So I just leave it be, let it be in God's hands. My policy is typically just stay silent, don't respond and let God handle it, unless of course the Lord leads you to respond, then you respond. So I'm not really afraid of man anymore. And I used to when I first began to practice deliverance ministry, be afraid of demons. Many believers treat demons like their pathogens.  I shook hands with the demoniac, my friend. If that's the way you think, you don't understand the power of the Holy Spirit.  That demonic spirit is going to jump off of them because greater is he who's in me than he that is in the world. So the Holy Spirit in you actually would force that demonic power out. This of course is why we know that Christians cannot be indwelt with by demons. We know they can be attacked, oppressed, demons can come against them, but the demons cannot influence from within because there's a stronger man in there and that's the person of the Holy Spirit. So I'm not afraid of the criticisms of man. I'm not afraid of people. I don't fear man and I don't fear demons. I do fear grieving the Holy Spirit. And many believers, if they were to simply change their fear from punishment to grieving him, they would break the power of legalism because love not law is the great motivator of holiness. This is for someone listening, I know that right now. Love not law is the great motivator of holiness. The law produces pride if you think you're doing a perfect job or it produces despair if you think it cannot be done. But love of God, love of the Holy Spirit, love of Jesus to live from that love and to say, I don't wanna hurt them. I don't wanna grieve them. I don't want to remove from myself the sense of their presence, not their presence, the sense of their presence. I don't wanna grieve the Holy Spirit. That's how believers live. And grieve not the Holy Spirit of God, whereby ye are sealed unto the day of redemption. So the Holy Spirit with his power, might and strength seals you unto the day of redemption. So he has you secure. Now, many Christians imagine that when they make a mistake, the Holy Spirit abandons them. But the scripture doesn't say the Holy Spirit leaves, it says he grieves. When you make a mistake, the seal of your salvation, the Holy Spirit, doesn't leave he grieves, but he grieves within you. And this, by the way, is why those who are compromising Christians are probably the most miserable group of people on earth.  Why? Because they cannot live in the torment of the grieving spirit within them. The Holy Spirit is broken over our disobedience. He's broken over our sin. I don't mean that in the literal sense, I mean that in that he grieves, he's hurt. His heart breaks for us. And so we can feel that. You know, when you make a mistake as a believer, you know, when you were in the world, you made a mistake or you sinned. It was nothing to you. You do that now as a believer. Oh, you can sense this heaviness. You can sense the hand of the Lord weighing heavily upon you, his hand of correction, and that is the grieving of the Holy Spirit within you. So when you make a mistake, he doesn't leave, he grieves. Some might say, well, David, are you telling us that we can just go on sinning? And some would even say, be careful, David, now they're gonna think they can go on sinning. Well, no, because a true Christian wouldn't do that. A true Christian wouldn't desire that. A true Christian has a desire to live holy. And in fact, they sense that godly sorrow whenever they do make that mistake. So we see that he's a person. He speaks, he has a will, he has feelings. We can fellowship with him, 2 Corinthians 13, 14. May the grace of the Lord Jesus Christ, the love of God and the fellowship of the Holy Spirit be with you all. You can also see Philippians chapter two, verses one and two. Now that verse right there, 2 Corinthians 13, 14. That verse is where really I began to get this revelation. Something in me was stirred unto that truth. And I knew that there was something very deep there. There was something waiting for me. And many believers, once they learn that he's a person that transforms everything. He has feelings, therefore it's possible that he can be hurt. He has a will, therefore it's possible that he can be resisted. He has a voice and therefore it's possible that he can be ignored. He desires fellowship and therefore it's possible he can be rejected. He is a person and therefore it's possible that he can be disrespected. Let that not be said of our lives. Let our lives say, welcome Holy Spirit. Write that in the comments now. Welcome Holy Spirit.  Write that in the comments section. Welcome Holy Spirit. So a little bit of a tangent here. Why then do we refer to him as the Holy Spirit? Now for the sake of communication and even in social media contexts, I'll refer to the Holy Spirit as Holy Spirit. But Holy Spirit is not his name. The Holy Spirit is a title for his personhood. But in fact you look at Matthew chapter 28 verse 19 and you see the scripture where it says, therefore go and make disciples of all the nations, baptizing them in the name of the Father, the Son and the Holy Spirit. So for example, the teacher, the police officer, the doctor, the pilot, the word the doesn't take away the personhood. So that's just kind of straining at gnats there to make a fuss about that. But you can call him the Holy Spirit that's proper. Some people refer to him as Holy Spirit or like in the direct address, Holy Spirit. We receive you, that would make more sense. But either way, as long as you're referring to him with reverence, well the Holy Spirit is the correct term when talking about him again. Just have reverence for him and recognize it's not a name, it's a title. So recognize here, not only is the Holy Spirit a person who speaks, who has a will, who has feelings, who can fellowship with us and that's a day by day thing. But the Holy Spirit is distinct from the Father and the Son. Second Corinthians 13, 14, we read it, the grace of the Lord Jesus, the love of God, fellowship of the Holy Spirit. We also just read Matthew 28, 19 when I was talking about the word the, the Father, the Son, the Holy Spirit, Matthew 3, 16, after his baptism, as Jesus came up out of the water, the heavens were opened and he saw the Spirit of God descending like a dove and settling on him. So here we see that the Holy Spirit is distinct. He is a distinct person, not a role, not a job title. So for example, like when you refer to David, Hernandez, me, there's the husband, there's the Father, there's the evangelist. That is not the same thing as when we talk about the Father, the Son and the Holy Spirit. These aren't just different titles or different job descriptions. These are different persons who are being described here in scripture. The Father, the Son, the Holy Spirit are three distinct persons. So think about this, no one, no true believer denies that the Father is divine. No true believer denies that the Son is divine. Yet when I say that the Holy Spirit is God, many believers cringe in discomfort. And this again, again, comes from sort of those religious frameworks that begin to build around our minds, even the frameworks that keep us from addressing the Holy Spirit. Can I talk to the Holy Spirit? Of course you can. The scripture says fellowship of the Holy Spirit. How are you supposed to fellowship with someone you can't even address? We're kind of taught like the Father, the Son, but don't talk too much about the Holy Spirit as if that's somehow blasphemous. How when he's God? How? If the Holy Spirit is God, yes, maybe each person, distinct persons, has different things that they do or different expressions of work, but still they are equally divine. So look how the Holy Spirit is referred to as the Lord here in 2 Corinthians 3.17. Now the Lord is that Spirit and where the Spirit of the Lord is, there is liberty. Let me stop here just a moment to kind of touch on something that might be in your mind. I'll touch on it just a little bit here. The Father, the Son, the Holy Spirit, three persons, one God. They are three distinct persons, one God. That is the mystery of the Trinity. There are many different explanations for that in terms of attempted explanations, I should say, for that, but that's just the mystery. I like, I won't go into it, but there might be a good explanation for how exactly that can be, maybe in understanding the different dimensions, like jumping from second to third dimension might help us to understand how the Trinity can make logical sense, but that's neither here nor there. I'm going way off on a tangent there. But I will say this, the Father, the Son, the Holy Spirit, each distinct from one another. Yet when I start talking about the Holy Spirit and I start talking about the Son and the Father as three distinct persons, people get offended and say, but he's one God and they're right. And when I talk about the fact that the Holy Spirit is in the book of Acts called, I think it's Acts chapter 16, he's called the Spirit of Jesus. People get offended and say, no, there's three different persons. So when you talk about the distinctions between the three persons, some people get upset and say, you're not talking about their oneness. When you talk about their oneness, some people get upset and say, you're not talking about the fact that the three distinct persons, well, it's both and. There are three persons and one God. And that, by the way, is why there's a lot of debate around the subject. It's both and not either or. And talking about either one of those aspects doesn't mean that you're completely ignoring the other. Let's continue here. Look at here in Isaiah, this is fascinating here. Isaiah chapter six, verses eight and nine. And this is, of course, Isaiah the prophet's encounter with the Lord. He's been given a message for the nation of Israel. And this is what happens. Also, I heard the voice of the Lord saying, whom shall I send and who will go for us? And of course the iconic response, here am I, send me. And he said, go and tell this people, hear ye indeed, but understand not and see indeed, but perceive not. So look at the phrasing there. Here, the scripture is saying, or Isaiah's recording, that it was the Lord who was saying, who, the Lord God Almighty. Now watch this in Acts chapter 28. I'm gonna read verses 25 and 26. This is powerful. And after they had argued back and forth among themselves, they left with this final word from Paul. The Holy Spirit was right when he said to your ancestors through Isaiah the prophet, go and say to this people, when you hear what I say, you will not understand. When you see what I do, you will not comprehend. So here in Isaiah chapter six, it's recorded as the Lord saying. And then in Acts chapter 28, we see of course that what's being described is the Holy Spirit speaking. So there again, we see distinct from one another, yet one in the same. So it was the Holy Spirit speaking to Isaiah the prophet. The Holy Spirit is called the Spirit of God. Genesis chapter one versus one and two. In 1 Corinthians chapter two versus 10 through 11, excuse me, first Corinthians chapter two versus 10 through 12, we see that the Holy Spirit is omniscient, but it was to us that God revealed these things by his spirit for his spirit. Guys, these are the deeper things of God right here. I love this. For his spirit searches out everything and shows us God's deep secrets. That's what the Holy Spirit does. No one can know a person's thoughts except that person's own spirit. And no one can know God's thoughts except God's own spirit. And we have received God's spirit, not the world spirit. So we can know the wonderful things God has freely given us. So the Holy Spirit knows what the Father knows. Therefore, he's omniscient.  The Holy Spirit knows, or the Father knows all things. The Holy Spirit knows what the Father knows. Therefore, the Holy Spirit is omniscient. Otherwise he couldn't know all the Father knows. The Holy Spirit is omnipotent. That is, he's all powerful. Luke chapter one, verse 35. The angel replied, the Holy Spirit will come upon you and the power of the Most High will overshadow you. So the baby to be born will be holy and he will be called the Son of God. Notice here that the Holy Spirit's presence coincides with the power of the Most High. In other words, the Holy Spirit's power is the power of the Most High. That's God's power. So he's omnipotent. And then he's omnipresent. This is, he's everywhere at all times. Psalm 139.7 says, I can never escape from your spirit. I can never get away from your presence. So this is interesting. We see that the Holy Spirit is called the Spirit of God. He's called the Lord. He's omniscient. He's omnipotent. He's omnipresent. The Holy Spirit is God. So the truth that each are distinct from one another yet equally divine and one God is the basis of the Trinity. Now Galatians chapter five, verses 22 through 23, they tell us of the Holy Spirit's nature. This is the fruit of the Holy Spirit. Now many believers wonder, how do I get the fruit? How do I get the fruit in my life? And if you think that way, you're gonna be very frustrated. Lift your hands and just say Holy Spirit, help me understand this. Ask him, say, help me receive this revelation because this right here will simplify your walk with God. You know, many of us, we come to the Lord, right? And we have our list. We get a pen maybe and we check things off way.  I need to be better at resisting temptation. You put that on the list. And there's so many things to track, aren't they? I need to pray more often. Let me put that down. I need to read the word more, put that down. I should attend church more often. I should be more patient. I need to work on the anger issue. I need to be more diligent. I need to be less confused, more purposeful. And we start writing these things down, especially as we read the word, especially as we hear the word, especially as we fallish up with other believers who can help point out these things in our lives that need to be corrected and reformed, we can become overwhelmed. So many things about us that are not like Jesus. So many things that need to be pulled into alignment. So many disciplines that maybe we're not doing the best at. And it becomes frustrating. It becomes overwhelming. And it might even push you to this place where you throw up your hands and you say, why do I even try? My friend, this is where the Holy Spirit comes in. Now, please hear what I'm saying clearly. I am not saying that you don't need to be disciplined. I am not saying that you don't need accountability. I am not saying that you don't need to exercise your free will to try to change in certain areas. Absolutely do what you can. What I am saying is that the majority of the work is done, the sanctifying work is done by the Holy Spirit as you behold Jesus, as you spend time in prayer, as you fellowship. In other words, there's no moment spent with the Holy Spirit that's wasted. There's no moment spent acknowledging the presence of the Holy Spirit that won't transform you at least in some very subtle way. Spending hours with the Holy Spirit, worshiping, praying, pouring over the scripture. I may not be able to feel all the ways he's changing me and transforming me, but he is doing a work, Galatians 5, 22 and 23. Watch the phrasing here. But the Holy Spirit produces this kind of fruit in our lives. Who produces it? But the Holy Spirit produces this kind of fruit in our lives. Who produces it? It's the Holy Spirit. The Holy Spirit produces this kind of fruit in our lives. Love, joy, peace, patience, kindness, goodness, faithfulness, gentleness and self-control. Love, that selflessness. Joy, that happiness that comes with gratitude and thanksgiving for the presence of God in your life. Peace, peace with God, peace with others, peace internally. Patience, the ability to endure, not just weight, but weight with a good attitude. Kindness, that's how you treat others. Goodness, that's moral excellence and uprightness. Faithfulness, gentleness, we could spend all day breaking these down and self-control, self-control's another big one. But there's no law against these things. And so the Holy Spirit works these in our lives. And he begins to produce that character, that nature. How can he produce this if he's not like this? So the Holy Spirit is loving. The Holy Spirit is joyful. You might see the Holy Spirit as some very serious, stoic force. No, the Holy Spirit is joyful. The Holy Spirit is perfectly at peace. The Holy Spirit is patient. God tells you to be patient with others. You don't think the Holy Spirit's gonna be patient with you? The Holy Spirit is kind. The Holy Spirit is good. The Holy Spirit is faithful. He's reliable. He's consistent. The Holy Spirit is gentle. That really is more meekness, humility. The Holy Spirit is perfectly in control. And then he allows you to have these fruits manifested in your life. But there's nothing you can do necessarily. Again, willpower, exercise it, discipline, implement it, accountability, have that. But ultimately, when it comes down to it, the Holy Spirit is producing the fruit in your life. So you abide in his presence. You spend time with him. You pray. You worship Jesus. You read the word. You fellowship with the Holy Spirit. Acknowledge his presence every day and you watch the transformation that begins to transpire in you. He helps you to pray. Zachariah 12-10. He teaches you John 14-26. He's your power unto holiness. Galatians 5-16. You follow after his ways. You will not fulfill the desires of the flesh. He helps us to worship John 4-24. He convinces us that we belong to God. Romans 8-15. He performs the miraculous through us. Galatians 3-5. He gives us faith. Second Corinthians 4-13. And he gives us boldness. Just ask Peter again, as I mentioned, Acts 2. And now I pray you have an encounter in the presence and power of the Holy Spirit. I pray that you would have an encounter in his presence and power right now. If you're ready, lift your hands, receive. Don't be distracted by the other things that are available online right now. I understand. And when it comes to the end of a teaching that the flesh is tempted to find now distraction or entertainment, the flesh, remember, always immediately wants what's next, what's new. But I want you to begin to allow the Holy Spirit to take the word that was just spoken, to inspire faith in your heart. I feel like, and I'm not just saying this lightly, I really sense that many of you are coming into a newness, a freshness, because there's gonna be liveliness, vitality that's added to your spiritual walk.  Father, I pray that you would cause the presence of the precious Holy Spirit to be sensed around that one receiving this prayer now. Let them begin to fill you in the room with them, Lord. Them sense you near to them. Now, precious Holy Spirit, I pray, show us Jesus like never before. Help us to love Jesus, to know Jesus, to obey Jesus, to share Jesus. We give you the honor and the praise. I want you to say this out loud now. Even if people are around you and they think you're crazy, let them think it. Say this out loud. Say, welcome Holy Spirit. Yes, he abides in you, but I'm talking about surrendering to his work. Say, welcome Holy Spirit. Thank you, Lord. Let your power begin to flow now, I pray. Touch their lives in a fresh way. Change the atmosphere around them. Let it become a heavenly atmosphere. And Holy Spirit, I pray that you would help us to be attentive to your voice. Aware of your presence. Wait just a moment. Don't rush this. Receive, receive. Thank you, Lord. Addiction's being broken right now. I give you the praise, Jesus. Deliverance is taking place. Chains are being broken. Healing virtue is flowing. We give you the glory and the honor, Jesus. Thank you. Touch each life and heart, I pray. Jesus' name. Say it because you believe it. Say, amen. If you enjoyed that and you were impacted by the message, please consider leaving a like on this video that helps to spread the teaching even further so that others can see it. And also, let's stay connected. Subscribe to my channel so that I can continue to give you teachings on the Holy Spirit prayer and spiritual warfare and also show you footage. You know, I travel a lot. We go to different states. We go sometimes different countries. And when we travel, we livestream or we edit and upload the footage from the various different events that we do around the world. You gotta see some of the stuff that's taking place. People being healed, delivered, saved, people having encounters in the presence of the Holy Spirit. In fact, many people will watching these encounters that others are having with the Holy Spirit are themselves are receiving healing and deliverance and touches of the Holy Spirit's power. So let's stay connected. Subscribe to my channel. And I wanna show you all this. I think you're gonna really be blessed by it. And my prayers, you're drawn closer to Jesus. Do click the notification bell when you subscribe so that you can get those notifications. Now, I wanna talk to you just for a moment about an opportunity that we have to impact the nations of the world. I know you want to help this kingdom of God expand.  And so I wanna challenge you to hear this challenge. First of all, I know again, it's tempting when the streams or the videos are coming to a close to kind of start clicking around at various other things. But just give me a couple of minutes to hear the challenge that I'm putting out there. You've been blessed by the ministry. You've received teachings or you've perhaps attended one of our events from around the world. Maybe you've read one of our books. In whatever way your life has been impacted by this ministry, I believe the Lord's done a work in you. And I receive messages all the time from people saying, you know, since we started receiving these teachings, it's revolutionized our lives. And people tell me they feel closer to the Holy Spirit or they're walking in their callings now. And that's so encouraging because that's why this is done. We wanna see lives impacted. So I need your help. The ministry is growing. The media arm of this ministry is growing. In fact, the events are growing. You've seen thousands of people, thousands. That's not an exaggeration of numbers. Thousands of people are attending these events that we're hosting around the world. And we need your support because we don't charge for these services, but the venues that we're getting are getting larger and larger. We're gonna be in California at the time that this is being live streamed. We're gonna be in California upcoming. We have an arena that we've rented. That arena is very expensive, but it's the only thing that we have that can hold all the people. So we need support. We need people to come alongside us now and say, okay, this is that time. We've been praying for the growth. We've been impacted by the ministry. We wanna see the world transformed. It's a win, win, win all across the board. We just need you to jump on board with it. So will you do your part today? Will you join with the thousands of people around the world who support this ministry so that we can continue to see this ministry expand the favor of God's on this ministry? I'm just a steward. It's his ministry. The favor of God's on this ministry. I'm just a servant. I'm just a steward. It's his ministry, but get involved with it. Let's see this expand. Let's see the kingdom expand. We are considered today right now going to davidhernandezministries.com slash partner, sign up for a $25 a month partnership. If you can't do that, do what you can. If you can do more, great, but consider doing that right now. If you have to cancel some streaming services, cancel something else, then maybe you don't necessarily need anymore. Let's make sacrifices to get this happening so that we can see souls saved and lives impacted. You can also give a single gift by going to davidhernandezministries.com slash donate. That single gift, large or small, is gonna be very, very helpful, but we need everybody to do their part. Don't say somebody else. Don't say, oh, another person watching this will do it. Or I just clicked on this to see what was going on. I believe the Lord brought you here. Don't say somebody else. Don't say some other time. It's you and it's for right now. So again, davidhernandezministries.com slash partner to become a monthly supporter and davidhernandezministries.com slash donate to give a single gift. Thank you so much for your support. God bless you for your giving. I appreciate it. Thanks for standing with me and taking the gospel all around the world. I love you. I appreciate you until next time. Remember, nothing is impossible with God.


Hi guys, this is Jason Zach from Nathaniel School of Music. In this tutorial, we are going to develop five exercises on different genres with both our hands where the right hand is needed to do the thing and where the left hand is needed to do the exercise and we are going to take triads, which you all know which have three notes right tri triad and we will extend it by adding one more note which ends up being a copycat or a carbon copy of one of the existing notes. We are not going to change or we are going to add we are not going to add a new note for example a seventh or dominant seventh or a ninth and so on and so forth. We are not adding a new note. We are adding the same note, but the fact or the point of adding the same note will allow you to develop your genre skills and train your ability to play a lot of different things on the piano keyboard and to make the learning of this lesson a lot more efficient we have staff notation which is waiting for you on our patreon page. Do consider heading over there and downloading a pdf of the same. There's also midi if you wish and it'll be awesome if you can get your keyboards along and learn along with me and stay tuned till the very end. There are going to be five exercises which will give you use cases to use triads with that extra note and we could look at this lesson as a follow up from another lesson where I looked at some theoretical reasons to use an extra note for a triad. So we link that up in the description. So there are a lot of advantages of just stacking up a chord with an extra note. Let's move on to exercise number one and before we do it'll be awesome if you could consider hitting that subscribe button turning on the bell icon for regular notifications and giving the video a like and leaving us a comment if you like the lesson or if you'd like to learn something in the future. Let's get cracking. So a very important use case for a triad with an extra note would be to play a six by eight time signature one two three four five six one two three four five six. So I've developed a rather simple run of the mill chord progression G major E minor A minor and D major. Let's practice that together. So G major these are the notes G B D E minor E G B then A minor A C E D major D F sharp A you could argue that all of this is come from the key of G major one sharp F sharp right. Okay so now to make this a six by eight exercise you take the same G major chord add that octave there play it with your pinky you could play the other notes with your first three fingers in your left hand you can do pinky middle index in your right hand you can do thumb index middle and you generally use your pinky for the root and your thumb for the octave when you're stacking or the thumb for the root and the pinky for the octave in the case of the right hand. So the exercise goes in a nice six by eight rather circular flow and you could count this out as L M H higher which is a octave of the low of the L L M H L I like to write that as L dash L apostrophe L M H L H M L M H there we go you have so many songs which go like this right that one or that Ed Ed Sheeran song and so on maybe some Christmas songs and so on okay I can go on and on with a six by eight it's a really popular time signature so we take the four chords which I gave for you G major E minor A minor D major and let's first start playing them in a six eight together right hand first A minor D major and the trick here for this exercise is to always try and anticipate the next chord or the upcoming chord in the progression G see that even before I went to E minor my thumb and my left hand root is fingers are getting ready for the journey or the shifting point to go to the next chord so G E A D again G and it's in a six eight E minor A minor D major and in the left hand you could maintain your roots with an octave that would be nice I've done some exhaustive six by eight lessons we leave them in the description for you just to practice just these sort of chord movements over the six eight time signature okay there we go now once you've done that you may want to get it with your left hand as well you kind of find it easier with the left hand you get the idea you may argue should I go G lower E I guess going to the lower E will be better because it's closer to G higher A lower D that's how I'm doing it just to keep the voices kind of close to each other A minor D major okay so that's the exercise in the left hand in the right hand I just want to kind of add a few layers to the exercise when you practice it you could start with the root position of the first chord so the root position of the G major chord will be this so from here maybe you want to find an efficient path to reach to the next chord so E minor instead of going all the way down here it's not really all the way down but it's kind of annoying you need your eyes to do it so you might as well play E minor like that G B E G in its first inversion right G major E minor then A climb and D just staying there and D major in its second inversion is very close to G so let me do that again little slowly G major E minor A minor D major G major E minor A minor D major and G and the same exercise you could now start from the first inversion of G major so first inversion would be B D G and now I stack up on top to give myself that upper B and let's do the drill again G major E okay now I don't want to jump all the way to E minor rather G major E minor I'll do it as B E G B because it's very close to B D G B B E G B so G major E minor just move the lower finger ups A minor played as C E A C D major in root position whole thing again G major E minor now G major in the left hand I would prefer to execute with my ring finger I was doing the middle but in hindsight I would prefer the ring because that allows you to use your middle finger for the E minor the upcoming chord it's always good to have all your five fingers ready and waiting for the job especially when you start playing inversions if you just do root position the first three fingers and the pinky will generally be fine but with inversions you'll have to start initiating the ring finger as well so just be aware that you need to keep all these five fingers ready for the job so let's do that again with first inversion now E minor in its second inversion then A minor in its first inversion D major in the root and I repeat there we go A minor and D and we have one more job to do which is starting with the second inversion of D of G major I think I'll start from a lower octave otherwise it starts getting very squeaky so that's your G major second inversion E minor will be root A minor will be in second and D major you kind of have to it's a bit awkward in the left hand so what I would do is pinky ring index thumb and the left hand kind of goes through a sort of a semicircular motion almost like a pendulum swing so let's do that again second inversion the last chord is tricky so G major E minor A minor and the last chord D major and then back to G and the exercise and the exercise is kind of designed to keep flowing forward so if I start with root G major E minor A minor D major I can now do first inversion and keep the climb going now I do second inversion of G major E minor A minor last and you see where I ended I ended exactly an octave above from where I started so this is a nice exercise to practice six by eight and one of the exercises in our lecture to practice triads with more than three notes which is the going a bit against the norm the triad has three we've added that one extra note in this case the octave of the left most or the low low note so let's now move forward to a very famous genre which can be very benefited from playing or adding or stacking the octave to your existing music and that's salsa so to teach you salsa I'm going to teach you a very famous piano salsa pattern which is called as the Montuno let's see how that goes so I have four chords which is basically chords of the Andalusian cadence if you like the Andalusian cadence we have an entire series on the Andalusian cadence waiting for you in the description check it out but for now it's just A minor G major F major E major kept it very Spanish and Andalusian A minor G major F major E major okay again very common progression in the road Jack don't you come back no more so a lot of songs use that right so I have two salsa Montuno patterns for you so that octave really adds the bite and I think in this case the octave is important not for the time signature but for the groove to get that octaves are very common in salsa music so let me break down that pattern once more for you so octave and then the inside two notes so I like to call it as oh I oh I oh I oh oh I oh meaning outside I meaning inside so oh I and the oh or the outside note will be played with your two octaves play whacked together oh I oh I and the I would be the internal two notes which will end up being in this case the third and the fifth of the chord oh I oh I oh I oh I and if you can keep a pulse in your other hand or on the keyboard eventually oh I oh I oh I oh I oh I oh I oh I oh I oh I oh I oh I oh I oh I oh I oh if I break down one and two and three and four and one and two and three and four and one so we've added one extra beat there one and two and three and four and one and two and one and three and four and one and two and three and four and one and two and three and three and three and four and four and one and two and try and get the pulse if you can get the pulse otherwise you can can just hold the chord or the root, maybe. If you can't get the pulse in the left hand, maybe you can just hold the root and just keep it as steady as possible. Pulse would be ideal. If not, just hold it, okay. The other Montono pattern I have for you would be the same hit points, but with alternate notes. If I just show you with A minor, which is here, remember we've stacked the A up on top, you go A with a C, E with an A. So this adds some nice harmony, which is why I like playing this style. There we go. Slowly. Try the pulse in the left hand. So the two salsa exercises we have, first was the out-in-out-in drill. With the out-in-out-in exercise, I recommend using your wrist a lot to kind of push in and out.  And then we have the toggling thirds, as I call it. So salsa is a very exciting genre. It's a very groovy, dancy genre. And by learning it, you can definitely improve your finger control, your hand independence. And this is a very common salsa chord progression or a Spanish chord progression, you could say. A minor, G major, F major, E major. And you could also develop a nice workout for yourself by transposing the Andalusian cadence into other scales, like maybe D minor or maybe C minor or maybe G minor and so on. For now, in this lecture, we are looking at A minor. Moving on to the next style of using triads with that extra note on the top. This is more for melodic flavoring or for melodic purposes, you could say. So if I have a melody for you, the melody I have composed is on F major, just using crotchets or quarter notes. That was A, G, B flat, A, G, F, A, G, F, E, G, F, climbing E, F, G. We'll play it again, maybe higher. A, G, B flat, A, G, F, A, G, F, E, G, F, D, E, F, G. And the chords which I think will work with this melody could be F major, C major, D minor for bar 3, B flat major for bar 4. So the intention here is to create an arpeggio pattern, not losing sight of the chord which we have F major, C major, D minor, B flat major, but also bringing the melody. So in a sense, the melody and the chords are going to happen in just this one hand. So for the purposes of this exercise, I'm just going to show you in one hand and then we'll bring in the right hand. So what was the melody? So let's just look at that. And the general rule which you need to follow would be when you're stacking the melody with chords, just try and play it with only these two fingers, the pinky and the ring finger. That is the only budget you're going to get. You'll have to use the other three fingers for the remaining notes of the triad. So we go A, G, B flat A. So let me try and walk you through this. A is the highest note of the F major triad in this particular bar of music which I composed. So you need to ask yourself a question. Does F major have A in the first place? The answer is yes. And A is its third note. So you need to create an inversion where A is on the top and you can start with A on the top and then the remaining notes follow the F major triad, which is A, then F, then C, then A. So you could stack up this A in the bottom so you never lose the F major sound whilst changing the melody in the right hand. So let me play you what I'm trying to convey and then I will teach. So one more time. Using my ring, you could even hold the pedal down so that it sounds smooth. The original melody didn't change. First bar with an F bass maybe. And I'm just kind of cascading the remaining notes of the chord descending. I'm trying to not leave my pinky because that's the melody line. And if you're finding it difficult to stretch up and play that B flat, you could even maybe simplify the chord by not going all the way to this lower A that will make it a lot of notes. So then you can go just three notes, A, F, C and now you're floating the top note. That's another way of doing it if you feel this way is a bit tricky. This is a stretch, I would agree. Yeah, easier way. Now you have enough and more fingers to play that melody. Okay, let's journey forward in this particular exercise. So we go A, B flat, A, now C major. What did I do there? I'm stacking or I'm kind of creating my foundation shape for C major like this. And then I'm going to float the upper note. So this entire exercise revolves around you floating the upper note in order to play the melody which you are intended to play, which is this exercise. So quite easy because all of those notes are white. So the stretching becomes easier, right? But again, if you feel your fingers are a bit stretching out, you can do it with just a simple three note shape. But you're still floating the top note. So let's do both together. Let's continue with the third chord D minor. Pretty much the same pattern. F and my default shape is here. And then I drop, I cascade the notes down in an arpeggio fashion. Okay, now we are climbing B flat up so that we loop it well. That'll go D. Again, D. Here I just need three and then E. And the remainder of the notes continues to be a B flat stack like this. D, G, repeat. A rather simple melody, no doubt. But you can do this with other songs as well.  I'm sure you can use this with other songs because the concept here is float the top note. And in the same hand, try to arpeggiate with the remaining notes of the triad given to you, right? So let's move forward with the fourth reason to play triads with four notes instead of three. And now it's time for the left hand. So for this exercise, we are going to take an E major chord with that extra note. And first of all, you can do a nice arpeggio of this specific chord, which I really like. I like the arpeggio pattern to begin with, which is E, B, G sharp, B. And instead of repeating it, LMHM as I call it. No middle, high, middle. Now this creates a very small cycle. It's nice, but it's a tiny cycle. So to kind of elongate your cycle duration, you're adding the octave. Almost like a banjo player would do with the three fingers.  It's the higher G. So it provides for this higher octave mixed with lower octave, even though you're just playing three chords. So I could say that this is very banjo inspired. So you go, there we go. Call this a banjo roll if you want. So this is the pattern. Let me slow it down. So what we do with the left hand, first practice this default pattern with an octave on the top. And then the fun can really begin by you looking at the top note and saying, I need to move this top note kind of like what we did with floating the melody. So why not move it to a major seventh? So the major seventh of the key of E would be D sharp, right? You can do a major sixth. So what used to be the octave is now changing. The thumb has just changed or floating as we saw with the melody. Then maybe a flat seven in that case of a dominant. If you like stretching, what I like to do sometimes is maybe play the ninth and then play the ninth with the eighth. Come back to the octave. Eight is octave. If you would like to stretch a bit more or if you can stretch a bit more, if you're a younger person watching this and if your hands haven't stretched out more, well, I apologize. So that would be the 10th interval for you. Quite tricky. So it's optional. You don't have to bother playing it if it's too much of a stretch. Then the ninth interval, eighth interval or the octave, major seventh, dominant seventh, major sixth, and that's pretty much it. You can do a sharp five as well, but I'd leave that to you.  It's also notated. You can check it out. One more time, slowly. Just the melody. Climbing. So let's do that with the left hand pattern, shall we? Right now, no floating. Just the simple one with octave. So now you can play the same melody with all the floating available for us, right? That is major seventh, major sixth, maybe ninth, maybe a tenth, if you wish. You can stick with the major seventh, major sixth, into a dominant seventh, but it's quite spicy because it's not part of the existing infrastructure or the scale, right? So that was floating. That was an exercise with an octave added to a triad in the left hand playing a banjo roll and then we float the top octave to create some very exciting harmonic movement. Otherwise, and this can be very helpful when the chord is static. When you play an E major for so long, you can always move around with that one of those notes. So it's still E major. It won't annoy your bandmates, but you can kind of fool around or move around and create almost a counter melody with respect to the already existing melody which we have, right? So I have one more exciting use case for triads with an extra note and I come back to everyone's favorite genre blues. So let's move forward. So I'm on the key of C, C major. I'm just going to demonstrate all the exercises with just the C major chord or you could argue the C dominant seventh chord. So this is C major, C V E G, C dominant seventh, C, G, B flat. So I'll tell you the patterns. Pattern number one could be... So that's one, two, three, four. So it creates some nice rhythmic interest. Otherwise, becomes a bit monotonous. So with blues, it's always nice to have that extra octave, especially in the left hand because a bass player, the main note apart from the root of the chord which a bass grooves with the next most important note you could say is the octave. So might as well get that octave in there. So that could be your pattern one. Then we can add a flat three to make it a lot more bluesy. That's a flat three. So slightly tricky. So I would use my ring, slight wrist movement. Okay, then we can use a six to the chord which is the my girl rhythm, I guess. I got sunshine on a cloudy day. Okay. That makes it a very nice 12 bar form. You could also maybe add a seven flat in there. If you don't like... That sounds too much like my girl. You can change it around to be slightly easier to play also. So seven flat. So another very important reason to have the ability to play a chord with four notes because it pushes out, if not anything, it motivates all your five fingers of the left hand to think of what they should do. And in blues, that's very important. You would need all your five fingers to play along. Right, guys? So in conclusion, we've done five exercises to incorporate our triads with an extra note. We've done three in the right hand. The first one we've done is our usual six by eight which you cannot play if you don't stack it. So that's something you need to practice. Then we've done the salsa or the Montuno, most specifically where the octave is supremely important in the flavor of the genre. Then we've done a very important functional exercise to bring out your melody and chords with arpeggios not in two hands with just one hand. So I think that's a very important thing to practice over your journey. Then we looked at two left hand approaches. One is to practice that standard banjo roll like arpeggio pattern. And then of course we cannot do a lesson spanning multiple genres when we don't include blues. So blues was done at the last. And so on and so forth. Right, guys? Thanks a ton for watching the video. And if you liked the lesson, do consider hitting the like button. Leave us a comment with what you thought about it. And if you'd like something in the future for us to teach you, do leave your suggestions there. All the notation and MIDI files are on our Patreon page. Do consider heading over to patreon.com forward slash Jason Zach. And if you'd like to learn music in a structured way in our music school, you could consider heading over to our website where you will find structured video courses in each subject of music you might need to learn. Piano, beginner, intermediate, theory, ear training, notation, and so on. You could also do in-person classes with our faculty at the school for pretty much any instrument, piano, guitar, vocals are all available. Cheers and I will catch you in the next one.


So hi everybody, here's InterGio 2022 in Essen and I'm sure when you're familiar with InterGio you already met these little characters and of course her. This is Elaine Ball from Kids Into Survey. Hi Elaine. Good to see you, how are you doing? Brilliant, I'm absolutely over fantastic being here. It's just wonderful. Okay, so you're with InterGio for several years. We saw the development of Get Kids Into Survey with the comics and the posters and the homeworks and so on. But let's start with the beginning. Yeah, why do you do Get Kids Into Survey? What's your goal? What do we want to achieve with it? And yeah, just take your audience with you. Yeah, absolutely. So it all began in 2017. So I set up a marketing agency, a consultancy to for the geospatial sector and land survey and the profession generally. And it was a survey association actually in the UK and said, why don't you put some of your material into the packs for the surveyors? I said, I tell you what, I am working with an amazing cartoonist with Topodot Point Cloud Processing Company. I will make them a poster. So we came up with this first poster and we took it to the AGM and all these surveyors were like coming up to the desk and taking these posters away like, what are they doing? It's great. And then it went crazy. So they said, can I produce another poster? And I was like, yeah, sure. So this was just giving back something as a marketeer. And it was something fun. I knew that kids need to know more about it. I was privileged because my dad's a surveyor, is a hydrographer and a mind surveyor. So that was easy for me. Anyways, we produced another one for Antarctica with my help from the guys at Topcon. And from there, it went crazy. And we put it online and it was free. So I thought, great, I can put it online. Everybody can just take it. And it off it will go. It went crazy. And my bill in the May 2018 was £1,500. I was like, I'm going to go bankrupt. I need to like do something with this. So it literally grew legs from there. And I spoke to my great friends within the industry and we sort of evolved it. And we started producing more and more of these posters because they're extremely visual and visible. And people like them. It's like, where's Wally? So people want to get involved and stuff. And from a sponsor's perspective, it's great brand awareness. Regal, for example, they're always on every single one of them. And it's like, bam, bam, bam, straight in there. So it's great. And they're putting something back. But that means it helps us fund more content. And the more content that we can get out there, the more kids are aware of that. So this is aimed at 12 years and under. And the whole point is that teachers, parents, kids, they become familiar with the terminology and the words. And then when they get older, they're like, oh yeah, I might do surveying or hydrography or cartography or something like that. And it's also kind of the education of the kids because there are also the aspects and facts inside there, how the work of a surveyor works. Yeah, absolutely. Yeah, absolutely. And the whole big pitch of it is just because it's grown organically and it's been extremely fun to do, it's just it's grown legs and we're like, okay, so what is the real purpose of this? So I want to get this into every child's language in their jargon, their lingo in every single country. So we have some really exciting things that are actually going to be bubbling up in the next few months. And I think it's not difficult to find sponsors because everybody is hungry for young talents, for young surveyors. All companies also represented at interview say we need professionalists, we need to get the survey topic into the head of the children. Yes, absolutely. Their minds. Yeah, absolutely. And this is a perfect product because it's kind of gamification, it's a sympathetic characters. They are so cute. Yeah, I mean, the other thing as well is for those that might know my dad, Steve, we've actually made him into the last surveyor. That's my dad, yeah. Hi dad. So I'm not quite sure if he's really happy about it or when I say to him, he's like, he looks cool. He looks like a hero. So this, this, this comics actually based on the world without surveyors and it's about these kids who are going to save the world. So we actually have the poster which we've, we've actually, they've all gone at the show. Everybody's got, I've got a last two or three in my bag, but the poster itself is all about the world without surveyors and how disastrous it would be not having surveyors in the world. Elaine, you are familiar with interview for several years. You started with get kids into survey into 2017, then after two years there came the pandemic, then we were digital, then we met only in Hanover at a small interview and right now we are back. What do you think? How did interview develop or what is your feeling about that platform here? Well with the, with the online platform and stuff. No, also with the, here with a meeting. Oh, it's great. It's great. It's meeting. Oh, it's brilliant.  So actually I enjoy, yes. So I really enjoyed the pandemic actually weirdly enough because it was actually quite nice to not have jet lag and like, because I fly all over the place with the marketing stuff and it was just nice to be at home. But then he start missing connections and I like to see people and that's how you make new connections and you miss all those little things. So actually the buzz here has been brilliant. I mean, we've been really busy and actually speaking to quite a lot of the stands, you know, they've been, oh, it's brilliant. It's brilliant. And then of course yesterday's parties are always good. In which countries are languages is get kids kids into survey available. So we've got it all in English and then we have it in German. So we have one of the posters in German. We've got board games in German. Okay. So the next step now is to actually franchise this model out. So because I want to get it into every kid's language, it's a big mission. So how do I do that? I franchise the model. So we're looking for franchises in every country. Okay. And they have a revenue stream. It's a business franchise. And then they can then build it locally with the brand ambassadors in the correct languages and the terminologies. And then it's going to get, it's going to be better. Okay.  You gave a vacation with the kids. Absolutely. So I have got, um, I'm quite like, because I'm from Yorkshire in England, I'm a bit of a Yorkshire Terrier. So I have, I've got my sites to get it into some kind of game like Minecraft or something. So, um, but how do I get there? So I went to Minecraft direct and they're like, no, they haven't even replied to me. I thought, right, that's not going to stop me. So I've contacted quite a few people who have got senior positions who can get me into Microsoft. So that's my first start. Okay.  So, but that's my aim is if I can get it into that. And even if it's just the lingo and the terms that can get in there because they're already doing, they're already doing bits and bobs anyways in, in Minecraft. Um, but that's the next step. That's what we've got to do. And if I'm going to get every child to do that, I've got to keep pushing to the big goals. That's so cool. So here's a woman with power and a very, very important mission for surveyors, for geodesists all over the world. This is Elaine Ball from GetKids into Surrey. And I'm sure you will find her on the internet and LinkedIn and all channels. Yep. Absolutely. So enjoy interview. Thank you very much. It's the last day. I know. But next year we'll see us in Berlin. Oh yes, I'll be in Berlin. And then we all play the games. Yes, hopefully. Thank you very much Elaine Ball. Thank you very much.


What is up, you guys? I'm going to do a prerecorded one today because we're at a parade right now. So, happy St. Patrick's Day. Make sure you wear green or you're gonna get pinched. Mm-hmm. Things are falling. I don't know why. The spaceships are building upstairs. I'm pretty sure it's the spaceships. So, stay tuned to see my rendition of the St. Patrick's Day poor. Anyway, go lay down. So, this is going to be rather quick pour. I don't want to overthink it because I don't want to. I think that's when you get into sticky situations when you just put too much thought into what you're doing.  So, just learn to like it. I'm going to pour on a something, 10 by 20, somewhere in there, size canvas that I had painted down before, but I didn't like it. So, I spray gessoed over it and we're gonna pour over it. It is kind of chilly here today. So, my resin is on the thicker side. If you're new to resin, make sure that you mix part A and part B completely together. I think most bottles of resin say to make sure to mix it at least three minutes.  I'm doing what I imagine, I assume, is eight ounces by volume. It's the most boring part, Tressa. No, because I only have, it's literally just doing this. So, I have both of my ginger ladies here. They are chilling like villains. Tressa's waiting on me to get done doing this and Amanda's hoping that it take longer because she is actually taking a nap right now. Amanda has me need. Amanda bangs, everybody needs Amanda bangs. If you don't know what I'm talking about, tune into our snapchats for behind the scenes, completely Shinobi recording things, videos. Like today, I had no business with a camera. That is also probably true. But probably, I mean, like, nailed it. But I did good today because I knew I had to film still. So, I am not any rated.  Also, when you're mixing your resin, don't forget to scrape your stir stick. Make sure you get all that resin off. Baby Miss, who you talking to? There's apparently an invisible intruder in the gallery or in the paint store. Tressa's going to inspect for me. She's on mommy duty. Oh, I know it, Moopup. He's very angry about whatever it is. Is he just wanna get in his window? All of that just mad fluff. Cause window. Moos get very mad when they don't get their way. I will learn that. That too. In case you are new to the channel, I have a dog, his name is Kujo. He's the most ferocious one. Weighing it at nine years, five pounds, zero ounces. Three of those pounds probably are here, for sure. I don't know, he's cut pretty short right now. So he's probably under five pounds. So, before I put any of my color resin down, I always put some clear. This just helps my resin that I actually put time and color into, move across the canvas more easily. You can do a thick layer, just remember, if you have like a curved edge canvas like this one, your resin's gonna flow off if it breaks this edge. Surface tension, is that a word that, I feel like that's an appropriate term for what's going on right now. Edge tension, surf edge tension. I'm just adding a little heat to pop the bubbles that were mixed in to the resin. And adding heat to it makes it easier to manipulate. Not as important right now, since we still have to add all this. So I haven't used this emerald color in a long time, since it's St. Patrick's Day. I thought, what better day to add a beautiful deep green. So this is emerald by color obsession. It is a paste, it doesn't have any sparkle to it, which is perfectly fine for me. It almost looks like it has a turquoisey look to it. So the amount of resin to paint ratio should be about 10%. If you mix too much paint in there, you'll end up with like a resin that'll set too fast or something that'll turn into like this marshmallow fluff type consistency, and that's not a good time at all. That is a lovely color. You'll see it better in just a second. So next color I'm doing is color obsessions, tint and meadow, green meadow. Oh my goodness, probably too much tint, but tis what it is. They're thick. Beautiful, looks like a melted jelly ranger. I'm also making just a little bit of color obsessions, 008 pale gold powder. Not that much because it doesn't take that much to create something beautiful. I have gold powder everywhere, that's okay. It is a powder, so slowly incorporate it into your resin or else it'll just puff up in your face. That's not a good time.  It doesn't take a lot of this white.  They won't stay. I'm so sure that they're building some kind of space vehicle upstairs. So you wanna just mix it into opaque. Okay, now I'm gonna make sure I don't have any dry spots and add some resin. You can add resin however you want in any kind of design you want. It's completely up to you. I don't know where this design came from, but I'm feeling it, so. I always also try to leave just a little room for whatever metallic color I'm working with, like this one's gold, because it will take over. So use that sparingly. Is that a word that could be used there? Sounds like it'll work sparingly. Okay, now for the fun part. The heat. I like to move my resin in two ways in particular. I like to use a heat gun to like push it like that. Also like to use my swiping paper and manipulate it that way. So let's try to do just one swipe. Is she done, done? Just tilt those back down this way, just a little bit, just search that color out. I like having this like really deep cave-like area and then having everything else kind of just fade out. St. Patrick's Day. I usually don't like working with green, but I am not mad at all at this painting. Not. So, I'm gonna fill up this Dorothy mold with some of this leftovers. Put a ring of gold in there, cause yes. Hopefully it does something instead of just like sit there. Just quite possibly what will happen. Not really sure what I'm gonna do with these Dorothy molds, but whatever it is will be amazing. I'll probably just throw them into the mystery boxes. To be honest, do some white, a little bit of gold in the rest. Let's start green. All right, got some molds done. Got my piece done. Now it's time to relax. So, thank you guys so so much for watching and checking out what we're getting into today. Sorry it is not live, but I hope that it taught you something or at least had a good time. I'm digging this piece and I'm not a green person. Come investigate, Ms. Fox. If you want to see what we're into today, check out our Snapchat and other social media things over here and we will be back in our regularly scheduled time slot. I actually like that deep green. Right, that emerald color. Not tomorrow, we have to do a memorial service for a friend of ours tomorrow. So we're gonna go early tomorrow. I will post it in our Facebook group. ATDs for people when we're gonna go live tomorrow. So, thank you guys so so much for tuning in. You're also special to me. Be kind to one another and we will see y'all. Mianna, bye. She said bye.


Hello again. OK. So, a duty to encourage, a duty to advance, institution collections and a society of anti-paras in the 19th century, to begin with I do have to start with a caveat. I'm afraid if you read the abstract in the printout, this probably resembles nothing to do with that. So, I apologise in advance. So, despite our presence around it, the society of anti-paras library began in a very modest vein. As we can see from the minutes taken from the first official council meeting at the Mitre Tavern, they merely required a humble box to lay up the books in. It was only after they had found permanent lodgings that chance to relay that they acquired a large room for the immediate reception of books and objects. And it was then that they received their first substantial request. Now, this request came from Bishop Charles Litterton, the figure you can see up here, who, upon his death, left the society 90 printed books and a substantial collection of manuscripts. James Mann, who became the society's president in 1949, argued that Litterton's request formed the foundation of the collection today. Over the course of the 18th and 19th centuries, Sal continued to attract a number of significant gifts, thus forcing them to amass the collection that we see today. In this paper, I discussed various aspects of the collection in order to think more broadly about its role in 19th century intellectual culture, and in particular how the collection itself may have helped to establish a society as an intellectual environment. I'm sure the majority of you here are familiar with the work of Bernard Ners, and this has proved to be a valuable resource to me in my research and one that I hope to build upon. Now again, as with most speakers here, this paper forms part of a much larger piece of work for my PhD thesis, where I examine a variety of 19th century institutions and their respective collections, and my second chapter will actually be on the Society of Antiquaries Library. So now, over the course of my research, I have found really new Gladstone's ideas about intellectual culture useful, as they've shown us about how the Victorian think about influence of environment. So, Gladstone believed that intellect, like other human agents, depends much on its environment, and through this environment, intellect may be a light for certain velocities and a darkness for others. He clearly believed he could pull off sideburns, as well, but I'm not so sure. So this comment was made in response to the Irish physicist John Tyndall on the issue of home rule in Ireland. And although Gladstone was never a fellow of this society, the idea that one's physical environment and peer group could indeed influence how one thought is pertinent to my discussion today of the society's collection. Therefore, this paper will begin with a brief discussion of the various ways in which Sal's collection was created, stored and subsequently used in order to think more carefully about the impact this may have had on the society's intellectual culture. How, I ask, did gifts and requests have the potential to shape the thinking of Sal's fellows? And was this reflected more widely in the 19th century intellectual circles? So let's begin by thinking a little bit about how these works were stored. So meeting initially at local taverns, and I always imagined some sort of scene like this when I'm thinking about taverns in the 18th century, the society struggled to find a space in which to store their possessions. And in 1753, two years after they were granted the Royal Charter, they did eventually move to various coffee houses. And it was here that the society were first provided with somewhere to store their books. Now this modest allocation of space comprised of a large room of the house up two pairs of stairs, and was fitted out with shelves and drawers so that the society could house their emberonic collection. Now this coffee house was the first property in which they had the sole and exclusive use of, and so thus this enabled them and their collection to grow more quickly. Nevertheless, the space is still far from ideal. The library itself was located in the antechamber of the resident secretary's apartments, and could only be accessed by walking through these apartments. Indeed, in 1773, Richard Gow, the Society's director at the time, suggested to the then-president, Jeremiah Mills, that the collection would be better off housed elsewhere. Mills evidently agreed to the marking, I suppose Mr Norris no longer uses the library as a dressing room, and suggested perhaps it wanted cleaning, painting and embellishment. However, these alterations to the library never actually occurred, as discussions regarding another move began as early as 1776. With the coffee shop as a meeting house, fellows were concerned this might be unsuitable for a society that had been granted a royal charter. The prospect of society moving began to take shape, and especially after it was announced by Mr Blike that the present Somerset House was to be demolished and rebuilt for public offices. Finally, four years later, the building work was complete, and the keys were handed over to the society's vice-president. This move to Somerset House meant that society was awarded with a library that was more fitting of its royal charter, and it was the first time they'd been given their own purpose-built library. Not to be updone by the Royal Society, of course, Sal endeavoured to furnish their new apartments in a way that would be suitable to their royal munificence. And again, according to Richard Gow, these new apartments were magnificent indeed, as he described them as being furnished with the finest silver-plated cadastics, ink-stands, and sub-dishes. There were also great chandeliers to light the rooms, however he did also add, I trembled for my pocket in regards to the cost. But despite the society's attempts at making their Somerset House library an adequate space for fellows to work, there were still a number of issues with this space. Being situated on the ground floor, the library was subject to noise from the strand. And there was also poor natural lighting, both for which fellows claimed made it difficult to work there. In addition to this, there was no room for expansion if the collections do grow any larger, and a number of fellows felt the society's lack of space prevented them from carrying out the research effectively. We can see this in the observation of the antiquarian naval scholar Sir Nicholas Harris Nicholls, for example, who complained in 1829 that the library is too confined and too incomodious for the number of valuable books which it contains, and for the members to resort to it generally as a place to study. Therefore, in 1859, the society began negotiations for the move to Burlington House, which was eventually enacted in 1874. Although their new meeting room was not as light as the apartments in Somerset House, they were provided with a library space which far surpassed their old premises. The then Vice President in his opening address at Burlington House declared that, with respect to the library, the game is infinite. We are being obliged to place our books, not less than 20,000 in number, in several localities, some dark, others hardly accessible, on staircases and in cupboards. I'm not sure too much has changed. They are now brought together in Cromhamsam and the World Proportioned Room, which allows for perfect classification and affords ample space for additions. The architects, Banks and Barry, and Sir Lyon was made the focal point of the society's new apartments, and their designs favoured deep bay windows fitted with shelves and seating. Indeed, if we refer to the floor plans, we can see that the room was 55.43 foot, four times larger than their library fin at Somerset House. This additional space provided the society with 3,500 feet of additional shelving, allowed them to store their collection far more adequately than they had before. Therefore, we can see how this last move made the society's library a far more attractive place to work, and with the additional space, it was easier for fellows to access the collection. I do recommend, if you've not been to see the library here at Ballington House upstairs, to go and have a look. It really is very beautiful. So I apologize for that somewhat brief whirlwind tour of the society's premises thus far, but I do think it's important to understand how this collection has been housed, especially when I think this has had an impact on the development of the collection itself. Although taverns were effective at facilitating discussion and debate, they were entirely unsuited to storing books, and least of all, books of any worth. However, when the society moved to Somerset House and subsequently Ballington House, their purpose-built libraries meant that they could house a much larger collection and, arguably, a much finer one. It also afforded the society with the grandeur they so desired, and with their magnificent apartments, ground and chandeliers, and silver-plated candlesticks, we can see how they made a few of these two libraries as a means to showcase their credentials as a reputable institution. Out of some peers' notes in her essay The Interpretation of Action Objects, the society was a place where fellows could meet to talk and socialize with like-minded individuals, but it was the library and the space it occupied which provided these members with the intellectual resources to support and inspire them. So let's have a little think now about how the collection was built over the course of the 19th century. So to date, the society had a priority in the library in the country, comprising of more than 130,000 books dating from the 15th century to the present day. Not only does the collection consist of printed works, but it also contains artifacts, manuscripts, prints and drawings spanning all areas of antiquarianism. From architectural history, British and European archaeology and art history did British local history and decorative arts. And although the library committee allocated a small budget in 1859 on which to purchase books, the collection has been acquired through gifts and donations. So one of the ways in which the society received these donations was through an exchange of publications with other intellectual institutions. They received numerous volumes of publications in this way, including journals, proceedings, bulletins, catalogs and annual reports, and in return presented copies of their journal Archaeologia. If we look at the list of donations for 1849, for example, we can see how significant this practice was. In this year alone, the society received 213 donations and 51 of these were from other institutions, including that are limited to the Smithsonian Institution, the Art Union of London, Leeds Philosophical and Literary Society, the Royal Irish Academy, the Archaeological Institute of Great Britain in Ireland, the Ffanaeum, United Service Institution and last but not least, the Zoological Society of London. As we can see, these publications may not always have been entirely in keeping with the society's interests, but nevertheless, they were accepted and became part of the collection that we do know today. Donations from individuals and, more specifically, fellows were also actively encouraged and when gifts were presented, they were laid out on a table at committee meetings and the donor's name recorded in the doberbook. The most significant period of donations occurs after the society moved to Burlington House, perhaps in most ways, to the increase in the shelf space. In 1866, for example, Frederick William Fairholt, the illustrator and engraver, an example of his work here, bequeathed the society in his collection on European pageantry, including 179 foliums and a number of prints. This section was later supplemented by another fellow, the Reverend E.G. Qwick, who added to the collection in his own memory. Two years later, in 1869, the architect Arthur Ashfordall, the owner of the Wellington Testimonial Coltab at London Bridge, again you can see that over there, left the society a substantial number of volumes in his will, including 28 in Canaveral, parts of the Alzevia collection, architectural works by Caledio and Varanasi, books on the Colt and 23 chat books. In the council minutes for the 2nd of February, 1869, there exists the following entry on this request. The late Ashfordall has agreed to the society in his library or all the books we have not got and his valsas from Italy and the whole library counted 2840 foliums. Remember back in 1849 there was only 230 donations for the entire year, so this is quite a significant number. Indeed, there are still a number of finely printed books which constitute some of the rarest works in the society's possession that Caledio and the Ashfordall collection. However, by denying donations, he was subject to the wins of their donors and when Augustus Willisdon Franks became the director of the library in 1859, he was concerned about how the collection was progressing. So Franks considered the library to be one of the most important features in the society's progress and in 1860 he made the following declaration. The great value of the library from which works can be borrowed to all those who engage in anti-cran pursuits needs to be assessed upon. It should contain or standard works of reference in the special subjects of our studies, namely antiquities, history and art. The space that are disposed of being limited it should be restricted to those with cognate subjects. At present, being the accumulation of accident rather than design our library has the most glaring deficiencies and whilst it may contain many works of great value it wants others to which our fellows have daily occasion to refer. As we can see from his declaration Franks was clearly concerned the library has grown to organically and criticised the way in which the collection neglected to cover basic works of reference. Indeed, if we look at accounts of the society's catalogue or accounts of the society's library at this time we can see that there were several surprising omissions including a lack of stupid works on Stonehenge and Avery. The society only had one addition of Camden's Britannia and many series of books were also incomplete. When we compare this to the more active private collections from this time the majority of these individuals had significantly larger libraries. In 1829 for example Sir Walter Scott was reported to hold some 20,000 volumes on British history and topography whereas Sir Richard Colt's horse library catalogue listed more than 10,000 works on topography and Richard Hebert had acquired 150,000 books by his death in 1833. Therefore, in attempt to rectify some of these deficiencies the council allocated France a regular sum of money in which to purchase books. The council being anxious to remedy of some slight measure of these deficiencies a lot of £50 a year to be extended by this library committee but it was only by the assistants of fellows the library can become as complete as it ought to be as this note is in the council minutes. As we can see the council was still keen to be presented with donations but they were also conscious of the fact that the collection needed to be comprehensive in order to be useful to fellows. The Society of Occasional Purchas worked before and indeed one of their rarest earliest acquisitions was the 1619 petition by Edmund Fulton a Catholic Lawyer and Herald for the establishment of a Royal Academy indeed they'd also acquired the inventory of King Henry VIII and the 1550 Winchester Dune's Day at an auction in 1790 in the same manner. But when thinking about which books to purchase the society also relied on recommendations made by fellows and we can see these requests listed in the library recommendations book which spans from 1859 to 1940. In this book fellows can note down their requests for purchases and then signed alongside the entry their name. Now you may have noticed that this item is actually on display today and has been put up for today's conference you can note that it's just here on my reference side. I beg of you again to go and have a look at it as it not only demonstrates the various ways in which fellows interacted with the collection but it also shows us how they interacted with one another. So when a recommendation was made other fellows could sign their name alongside the recommendation in order to second or third the request and on occasion they even added comments of their own. So in 1882 for example there's a request for the January report on the old records of the Indian office by Sir George Birdwood under which it is noted useful for reference and as a guide for authentic sources of information. In 1885 WH Sir John Hope supported a request for some bells and London bell founders alongside the note a book of value from many points of view. Whereas a request for George Petrie's the Acastial Architecture of Ireland is accompanied by Ruthen's declaration that it is the chief work on round towers. However fellows were not always in agreement with one another. Oh no, shot horror. And we can see this in a request made by Charles Spencer Percival. He was a regular contractor to the Library Recommendations Book and he requests Spellman's Concilia in two volumes. But following this entry is a note by W.A. Black where he has added the society already has Gaulkins Day with Concilia, full volumes, and this is a much more complete and authentic work. There are other examples of this including C.K. Watson's request for the 1866 edition of Historicity of Porcelain in which they read the following comments and again you can just about see these on the top right-hand side there and this is the page that's open to over here. A very bad book by Ost a UST on the Schillemaking Orchestra Swilaston Fent and but this is a new edition by C.K.W. And so as you can see from this dialogue it demonstrates that the fellows were evidently keen to influence the choice of works and their interest. But their recommendations also give an insight into how the collection might have been used. Indeed these men were renowned for their contributions to the fields of antiquities and many of them wrote prolifically publishing their research and books and journals and as you can see there are multiple examples of fellows using specific items from the society's collection for their own research. In 1825 for example Henry Ellis wrote a letter to request to borrow from the society's library Alham's Life of Henry V on human publications stating that it is for the immediate purpose in writing the paper. In 1863 there is an entry in the council minutes for July which reads Mr Black having stated to the council that he also would be glad of the loan of some of the society's manuscripts to illustrate a lecture given by Henry Rochester. Therefore this collection is clearly being actively used by members and so we can see why they may have had a vested interest in its development. So before I end I did just want to refer back to that quote by Gladstone, discussed earlier. Intellect, like any other human agents depends much on its environment. And what I hope to have demonstrated today is that the society's collection of manuscripts and printed works was and arguably still is an essential part of thousands of intellectual identity. As the libraries not only functioned as an environment in which to store books but they also helped the society to legitimise their reputation. Further more than the way in which fellows interacted with the collection whether through presenting gifts, making requests or just using it for their research we can see that they were invested in its development. And these interactions I argue can be used to provide us with insight into the intersections between institutional collections and the 90th century intellectual culture more broadly. Thank you.