The term indie game means different things to various people. Conventionally, it refers to games that are independently financed without the oversight of a publisher or corporation, whereas others think it is more about having a sense of creativity when designing games. Some say the spirit of indie expresses itself in how enthusiasts and hobbyists make games in their spare time. However, indie development has now become a professional vocation and we recognize that this creative freedom comes with the insecurity of financial and emotional self-reliance. The term indie was borrowed from film and music, used to refer to things as varied as an aesthetic to different distribution channels, and this ambiguity has seeped into games as well. Some companies explicitly reject the corporate context to make games free from creative constraints, whereas others accept corporate patronage to realize their dreams. Portal is a game that was published by Valve, but was designed by a student team that was hired for their independent spirit. We say indie games represent the periphery, but we often construe success through the lens of fame and money, not artistry and authenticity. Despite all this, if we look back at the history of independent game development, we see that the spirit of indie can exist in anyone and is built into the foundation of our medium. The term indie game came out of the so-called indie revolution of the mid to late 2000s. The term indie has gotten more and more confusing as time has passed though. What initially designated games that were not published by large corporations is now used to refer to games that are creative, emotional, or just developed by small teams. The mid 2000s had a series of converging things that enabled this. The growth of the internet allowed online distribution, and online digital stores allowed developers to sell directly to consumers, avoiding the need for a publisher. Also, middleware and game engines became more popular, the next generation of consoles were now online enabled, and new methods of crowdfunding were empowering small teams to stake a claim of their own. What's interesting about this story though is that it is a lie. Indie games far predate the renaissance of the 2000s, and this reveals the absurdity at the heart of the definition. In his keynote speech at Indicate, entitled State of the Union, Bennett Fadi claims that our understanding of what constitutes indie is mired in revisionism. Indie games didn't start with games like Braid, Super Meat Boy, and Cave Story, but can be traced right back to the origin of our medium. Games like Space War and Asteroids were all developed by individuals or small teams, and so fall within the purview of our present definition of indie. Everything was indie at this early stage, as there were no real publishers in the space. The story we tell ourselves is that Indies died in 1983 with the video game Crash. However, Bennett argues that this indie spirit simply transitioned to computers. Also, on any dimension we measure indie by today, our industry has a lineage that extends well before the mid-2000s. In terms of tools to make games, we have had level editors since Lord Runner in 1983, Gary Kitchen's Game Maker, various construction kit games, and then Game Maker itself in 1999. 1999 also saw the release of Counter-Strike and the internet modding community, as well as Flash games. Also, digital distribution did not start with Steam or XBLA. We had codes in magazines, public domain games, BBS systems, and Freeware too. There were also many success stories in Indies as well, with games like Wizardry and Elite being developed by two men teams that sold their properties later. Studios like Epic, Rockstar, Dice, and Id all used to be indie as well, before the size they grew to made them shift their ethos. We have had the spirit of alternative tools, creative vigor, digital distribution, and small teams from the very start. It's just that the mid-2000s made indie come into the spotlight with mainstream popularity. We appropriated indie from music and film and have revised history with a modern lens in mind, but the reality, at least according to Bennett, is that indie never really left us to begin with. It is the foundation of our medium. A designer who came to symbolize the indie moment of the mid-2000s is Jonathan Blow, the designer behind the puzzle games Braid and The Witness. In Braid, Blow built a game that resisted many of the trends of conventional game design at the time, and had to find alternative means of funding the game, including his own money. It became a critical darling, showing what was possible when someone took creative risks, and this was expressed in the gameplay. Featuring time-bending puzzles at the core of its design, Braid was cryptic, hard, and impenetrable, but also artistic, beautiful, and meaningful. It took the themes it was trying to communicate seriously, and married this to the gameplay. Regret, longing, fate, and reminiscence are all concepts that were layered into the narrative, by using the power of interactivity itself. Here we get another sense of what indie means. It is about exploring ideas that are more subtle, deep, and meaningful. In the mid-2000s, games like Rod Humble's The Marriage and Experimental Ventures like Passage started popping up in academia and art circles, movements driven by the idea of pursuing truth and beauty in game design. However, interactive art exhibits and movements far predate this. Play as an artform has a storied history that precedes the origin of video games, yet we seem surprised when so-called indie games rise up to use interactivity to communicate ideas. That game company's journey revived the game's art discussion, reading as an interactive version of the hero's journey that was crafted with the specific intent of resonating emotionally with players. Everything about the design of the game screams indie. It was developed by a small studio of former students, it is grounded in an unconventional approach to design, designing by emotions, and it didn't seem like a commercially viable product. However, that game company can't actually be construed as independent in the conventional sense, they had a deal with Sony who would publish three of their games. Like Portal, a group of former students was given corporate patronage and this afforded them the time and resources to fully realize their vision. I don't want to make it seem as if corporate sponsorship is unequivocally a good thing, and many indie studios have benefited precisely from rejecting that context. The two-man team behind Thumper, Mark Flurry and Brian Gibson, were former employees of a company that had them make mundane music games. They decided to reject the manufactured authenticity of this constraining context and make a game that genuinely explored the meaning of music, leaving a corporate setting fuel their creative instincts, generating one of the most original music games in recent memory. Interestingly, the music in the game rejects many of the assumptions of both modern music games and music itself, pushing us past the familiarity of 4-4 music and asking us to feel the physicality of musical creation. Another studio that features a two-man team that rejected a corporate context is Subset Games, which went on to make FTL and Into the Breach. They too rejected the corporate context to make innovative games with rogue-like elements, drawing continuity between older indie games like Rogue and Elite, which use procedural tools and their current work. Procedural tools are an extension of decentralized design, as it allows small teams to make massive amounts of content. This is what motivated another indie dev, Derek Yu, when he created Spelunky, and we now see a resurgence of the use of procedural tools in games. In any case, what all this shows is how the spirit of indie can exist irrespective of whether a company has corporate sponsorship or not. It's striking how many games of the past were built by small teams, or entirely conceived of by a single individual. The best-selling miss series sprung out of the mind of a two-brother team, Robin and Rand Miller, and SimCity came straight out of the mind of the designer Will Wright. However, a particular indie game that was designed by one individual has gone on to become one of the greatest-selling games of all time. Inspired by the procedural storytelling worlds of Dwarf Fortress and the mining gameplay of Infiniminer, Marcus Person created Minecraft, a game about survival, creativity, and dynamic storytelling in a procedurally generated block world. It is a Lego world writ large that enables the creative fantasies of players by giving them a suite of easy-to-use creative tools. When Marcus released the first version in 2009, he was still working a day job, but the success of its release afforded him the luxury of quitting. Person set up Mojang at this point and worked to continuously update the game over time. However, nothing could have prepared him for what his game would become. Minecraft has gone on to sell more copies than almost any other game in history, and has become an iconic global franchise. In 2014, he sold Minecraft to Microsoft for $2.5 billion, making him an overnight billionaire. What's interesting about this is how he classified this as a success story, but the idea of selling your craft for an extrinsic monetary reward seems antithetical to the indie spirit. As Fadi argues, indie development only became cool once there were rags-to-riches stories of people like Person, ascending from the doldrums of underground development into the limelight. Again, this is a bias we are imposing on the reading of our own history. There have been many success stories over the years, and it might only damage us to view success this way. One way this obfuscates is the sometimes horrible financial pressures and burdens that indie developers face. In the movie, indie game The Movie, Ed McMillan and Tommy Refens, the creators of Super Meat Boy, talk about how they signed a deal that required them to finish the game in a month, which imposed severe crunch on them. This strained McMillan's marriage and imposed an absurd workload on Tommy. The movie also documents how Fez remained in development hell for many years, and how this can take a toll on developers as they struggle to meet the weight of expectation placed upon them. However, perhaps the most enduring way the increasing scale, celebrity, and money in the indie sector may be affecting their production is in the loss of intimacy. In the movie, Jonathan Blow speaks about how he wanted Braid to reflect his deepest vulnerabilities, to capture his authentic voice and communicate it to others. He was also upset that many didn't seem to get the point of Braid, a narrative as cryptic as the game was difficult. Blow thinks what makes indies indies is how they revel in their flaws and reveal the authentic voice of a fallible creator within them. In a GDC talk on his game Getting Over It, called Putting Your Name On Your Game, Bennett Fadi echoes these claims by suggesting that his game was about letting the player get to know him through the design decisions he made in the game. There is an earnestness to getting over it, one that revels in its frailties and celebrates it in perfections, just like Bennett himself. Indie, as is conceptualized here, is about the transmission of a message from designer to player, an intimacy born of authentic communication. In some sense, the idea of vacuous celebrity breaks this connection between designer and author, and as studios get larger in scale, the creative vision of a singular voice gets diluted over time. This is perhaps why the ending of Getting Over It tries to explicitly tie the player to the designer in ways I won't spoil here. At the beginning of his talk, Fadi gives voice to a concern many in the Indies have about their craft. Is it in fact dying? He quotes McMillan who claims Indies are losing their way, getting mired in politics, bureaucracy, and corporate interference. His general sentiment is that there used to be unity, whereas now there is segregation. In a GDC rant session Greg Kostakian delivered, he laments how Indies are now subject to corporate takeover, are finding it more and more difficult to find sustainable avenues of revenue production, and are increasingly becoming lost in a space of infinite games. This is coupled with the fact that to work as an Indie is to accept a lifestyle that is far from glamorous, it is much more difficult than its allure of independent creativity seems to present. In any case, this squeezing out of Indie developers is something referred to as the Indie Pocalypse. Fadi has a much more optimistic tone to his sentiments though, claiming once again that we need to reconstitute our conception of what Indie is to begin with. If Indie refers to the spirit of creativity that transcends any particular configuration, the way Indie has and does present itself now isn't how it is destined to always be. It can be salvaged because it exists so long as gaming exists. However, what if the Indie space itself is no longer generating creativity? In a talk given at GDC in 2007, four independent developers gave their ideas for how Indies could be creative going forward. Kyle Gabler started by asking us to envision a future where there were no technical limitations to design, where the only thing constraining us is our imagination, and if our present sensibilities are in alignment with realizing that future should it come. Next, Jenova Chen, the lead designer of that game company, focused on telling us to switch the lens of design to that of emotions, rather than the mechanical fixation we have had as a medium. His games all start with a core emotion and reinforce it with mechanics afterwards. Next, Jonathan Mack argues that creativity should come from the authentic voice of a designer, their autobiographical voice, and so much like Fadi, he stresses the importance of games needing to reflect their author in some sense. His game, Everyday Shooter, was an exemplification of this ideal, reflecting many of his preferences for games, music and art. Finally, Jonathan blow cautions us to be wary of just being creative for the sake of being creative, and instead, to focus our energies on deepening our understanding of the games we presently have, and how they can communicate ideas. So Indies are imaginative, emotional, expressive, and deep. This is the manner in which creativity was conceptualized all those years ago, right at the cusp of the Indie Revolution. In some sense, both Blow and Jenova's games have inspired a new generation of designers who have taken their words to heart, creating experiences we could hardly have envisioned at the start of our medium. On the other hand, as Keith Bergen argues in his book on game design, Indies nowadays are stuck replicating the genres and ideas of the past, because we have no true understanding about the foundations of game design, a common vocabulary with which to be creative. There seems to be a finite suite of genres that are proliferating in the indie space, where there would be horror games, 2D platformers, or extremely difficult games, instead of genuinely creative divergences from prior forms. There might be a Cambrian explosion in the number of games being made, but are they really that different from one another? If we broaden our understanding for what it means to be indie, it seems self-evident that the creative desires of many more people are just waiting for an outlet to be expressed. Even if we take the cynical view that most games are very similar, it still stands that there are millions out there who are interested in making games, no matter how bad they may be. Also, if we broaden our understanding of design, we see a proliferation of new kinds of games. Interactive fiction is becoming more popular thanks to accessible tools like twine, and we even see versions of this in the mainstream with games like Detroit, as well as more experimental games like facade. Board games and board game conventions continue to go strong, with many arguing that board game design is what theater is to movies. It is a more robust and honest space for crafting mechanical creativity, and game designers have much to learn from this space. There are also visual novels that are rising in popularity, art games and art installations, and new genres like walking simulators, which are actually games that are built around their themes, whether it be loneliness and nostalgia in Gone Home, free will and determinism in the Stanley Parable, or hope in the face of despair in what remains of Edith Finch. We can even go broader and see how the Minecraft maps community, the modern communities of different games, and even social game designers, are all being creative, all expressing something of the indie spirit in their design. It has never been easier to find an outlet for your creative voice, and in some sense, that can be viewed as a triumph of the indie spirit. In her book Rise of the Video Game Xenesters, Anna Anthropy argues that the central problem with games is that new experiences, aesthetics, and design sensibilities are being ignored. She says, What I want from games is a plurality of voices, in which digital games are not made by publishers for the same audiences, but are made by you and me for our peers. What Anna envisions is a future where anyone can make games, and are expressive of a wider range of ideas, emotions, and people. This kind of design ethos is at the heart of indie game design, and as Anna further argues, giving people alternative avenues of creation might pressure the mainstream industry to treat their developers better, given the indie space now provides a viable alternative. Other games that have done this are Papers Pleased by Lucas Pope, which puts you in the role of a border agent trying to feed his family, Cartlife, a game that thrusts you into the mundanity of day-to-day living, and That Dragon Cancer, a game that was crafted as an autobiographical account to a child dying of cancer. This is what she means by authentic communication, the idea that we can explore ideas that are seldom voiced in games. The game Never Alone is a game that was conceived of to communicate the experiences of the Inupiat tribe, and it used mechanics to communicate their views. To ensure its authenticity though, the game was made in collaboration with the members of the tribe, and aimed to preserve their stories and traditions for a new generation. In a similar vein, Hellblade was a game that was conceived of to represent the experiences of someone struggling with psychosis, and it too used mechanics to reinforce this. However, what was interesting about the game was that it was funded by the company themselves. It was a side project by a core group of the main studio at Ninja Theory that worked on the game as an independent project. It was a strange model that lived somewhere between AAA and indie, but the themes that it expressed and the creativity enabled by this was decidedly indie. Having lived with a misappropriation of the title indie from music and film, it is incumbent on us to define what we mean by it going forward. We've seen how games have been indie from their inception, using alternative distribution models, creative tools, and small teams to realize their visions, but we also see how it expresses itself in emotional games. Some indie studios violently reject the stifling context of corporate bureaucracy, whereas others accept corporate patronage to realize their dreams. In some sense, the word indie even refers to an aesthetic, something Jasper Yule argues for in his essay, High-Tech, Low-Tech Authenticity, where studios large and small employ a handmade pixel art or 2D aesthetic to seem more artistic. Regardless, what's clear to me at the very least is how the spirit of indie design is game design. It is built into the medium we all love. The best-selling game of all time is Tetris, a game made by Aleksei Pajitnov, a Soviet software engineer who lived behind the Iron Curtain, but somehow, he created a game that managed to transcend cultures, ages, and creeds. He did this the same way Jonathan Blow made Braid, that game company made Journey, and Ninja Theory made Hellblade, by allowing his creative voice to shine without the imposition of outside forces. We still have a long way to go in providing more accessible tools, lower barriers to entry, and a more inclusive community for different voices to shine. But ultimately, indie games are just games made by people who are expressing their authentic voice. At the end of his talk, Bennett Fadi summarizes what it means to be indie, by paying homage to those voices that are all a part of the same spirit. So here's to the full range of people who are here, and the endless numbers of people who aren't making indie games. Here's to the ones whose faces that we all recognize, and to the ones that we don't. The freeware writers. The casual game designers. Sorry Naomi. The click-and-players. The art game or tours. The mobile developers. The esporters. The not-gamers. The visual novelists. The modders. The hackers. The five-year death marches. The old timers. The twiners. The gold miners. Indie games are dead. Long live indie games. And I use that capital I with intent. Thanks.


Hi everyone, Joe for Jaspy's casebreaks.com, my apologies. We had our our broadcasting software crashed There's like a glitch we don't know how to figure this out yet But there's a glitch where we we're stopping the recording and it won't completely stop we lose the video So I apologize about that, but that was for this f1 break right here Think I think some people in this break were seeing saw it live already. So they can vouch for this break here This is random team seven if you were the Verstappens and Leclerc's and Landos and Hamilton's and whatnot So sorry about that. We're gonna we'll try to clip that the video from the live stream and Try to dig that up and re-upload it here are parallels the Lando to 199 the Yuki to 199 Botas to 75 and Lewis Hamilton to 75 so there you go. So that was for random teams seven. Thanks everybody Jaspy's case breaks calm


We are the Ministry of Just Transition and we are going to be going up to the Canadian Association of Petroleum Producers Office to invoice them for climate damages. This app has spent decades misleading the public about the reality of climate change and over and above that lobbying governments to water down their climate and environment laws and policies. These actions have succeeded in delaying climate action and fueling the climate impacts which are affecting communities all across Canada and around the world and all of this in an effort to protect their bottom line which is considerable as you can see. It all comes down to accountability. So invoicing big oil for the damage they've created is the first step in that process. We are invoicing CAEP for a total of $6.8 billion, $65 million for a housing first strategy to reduce exposure to extreme weather, $1 million air conditioning units for low income households who are experiencing weeks long heat waves, $700 million for Atlantic Canadians to reimburse uninsured losses from Hurricane Fiona, $900 million for social services and health care for a climate related anxiety and depression, $3.1 billion for maintaining and repairing roadway damage, $1 billion to electrified school bus fleets across Canada. Alright so unfortunately nobody is going to be in our office until Monday again. Okay. So the suggestion is if you want to lead the invoice you can try with security, you can't guarantee it. Now as most of you have probably figured out by now the Ministry of Just Transition isn't real. But it should be, it should be real. What is real however is the damages and the climate impacts caused by the fossil fuel industry. And we need to hold the fossil fuel industry accountable and we need to make them pay.


So, today we are going to study interconnection of two port network. Learning outcome at the end of this session students will be able to use series connection of two port networks for matching of networks. So, before starting with interconnection of two port network in different cases you should pause this video here and you should know what are the equations related to the two port network parameter as well as different connections like series connection, parallel connection, cascaded connection of two port networks. So, now we will start how two port networks are connected in series and what are the equivalent values of particular variable that we can find out by deriving it. So, first we will draw the series connection of two networks. So, first network is to be represented by later a and then we will draw the series. Second two port network is to be represented by network B. So, this is the input part and input voltage is represented by V 1 input current represented by I 1. Similarly, this is the output voltage represented by V 2 plus minus plus minus current represented by I 2. Now, these two connections are connected in series here is the current flowing through network B and here it is current flow through network A. So, current are to be represented by I 1 A and I 2 A here it is I 1 B and here it is I 2 B voltages V 1 A V 2 A here it is V 1 B and here it is V 2 B is it. So, this is series connection of two port networks. Now, we will write the equation for this. So, equation is to be represented by I 1 once R V 1 A is equal to Z 1 1 A into I 1 A plus Z 1 2 A into I 2 A.  So, these are the two equations related to network A. Similarly, we can write equations for second network that is B network. So, V 1 B is equal to Z 1 1 B I 1 B plus Z 1 2 B into I 2 B and I 2 B is equal to Z 1 1 B plus Z 1 2 B V 2 B is equal to Z 2 1 B I 1 B plus Z 2 2 B into I 2 B is it. So, these are the two equations related to those two port network. Now, think is in this diagram I 1 is total current V 1 is input voltage I 2 is current at the output side of the two port network and V 2 is the total output voltage. So, from this we can say that current I 1 is equal to I 1 A is equal to I 1 B. Similarly, current I 2 is equal to I 2 A is equal to I 2 B is it and total voltage V 1 at the input side is addition of these two voltages. So, V 1 is equal to V 1 A plus V 1 B and V 2 is equal to V 2 A plus V 1 B and V 2 is equal to V 1 A plus V 2 B. So, these are the relations we are getting for this particular series connection of two port networks. So, from this we will simplify the equations. So, again we write the value of V 1 is equal to V 1 A plus V 1 B and we know the value of V 1 A and V 1 B from the equations for those two port networks. So, we have to put the values respectively. So, V 1 A can be replaced by Z 11 A I 1 A plus Z 12 A into I 2 A plus value of V 1 B is Z 11 B into I 1 B plus Z 12 B into I 2 B. Now, we have to simplify this and we have to put value of I 1 A and I 1 B as a current I 1 and value of current I 2 A and I 1 B as a current I 2 B as current I 2. So, this can be simplified as Z 11 A plus Z 11 B into current I 1 plus Z 12 A plus Z 12 B into I 2. So, this is the value of voltage V 1 is it. Similarly, we have to solve for V 2. So, value of V 2 is V 2 A plus V 2 B. So, we have to put the respective values of V 2 A and V 2 B. So, value of V 2 is Z 21 A I 1 A plus Z 22 A I 2 A. This is the value of V 2 A plus. Now, we have to put the value of V 2 B. So, value of V 2 B is Z 21 B I 1 B plus Z 22 B I 2 B is it. Now, again for I 1 A plus Z 12 B I 2 B is it. Now, I 1 A I 1 B we have to put it as the I 1 and for I 2 A and I 2 B we have to replace this by current I 2. So, this can be solved as or simplified as Z 21 A plus Z 21 B into I 1 plus Z 22 A plus Z 22 B into current I 2. So, this is the value of voltage V 2 is it. So, this can be written in matrix form as V 1 V 2 is equal to Z 11 B plus Z 22 A plus Z 22 B plus Z 11 A plus Z 11 B Z 12 A plus Z 12 B Z 21 A plus Z 21 B and Z 22 A plus Z 22 B and this multiplied by this I 1 I 2 is it. So, from this we have to put the value of we can say that when two port networks are connected in series then to find out resultant value of that matrix Z matrix. So, that time we have to add the Z parameter values of those two port networks as Z 11 A plus Z 11 B and Z 12 A plus Z 12 B third one is Z 2 A plus Z 21 B and fourth value is Z 22 A and Z 22 B is it. Similarly, for interconnection of two port networks we can solve for parallel connection of two port networks as well as cascade connection of two port networks and we can derive it and we will get the value of that voltages as well as currents and we can find out the resultant matrix from the derivation. So, this is all related to series connection of two port networks. While preparing this video lecture I have used circuit theory analysis and synthesis by a Chakravarti.


Southern Kaduna has an experience in a fresh wave of killings in recent times. Senator Ahmed Muhammad McCarthy, a former governor of Kaduna State, has spoken on the events, saying that the news of a resurgent wave of attacks and violence are leading to loss of lives of innocent people around the Jema Akhara Zangon Kataf local government axis of Kaduna State was horrible and as horrible and obnoxious and unacceptable. Also the state government has stated that the death toll in Sunday's attack in Kauraloko government area has risen to 34 including two military personnel. Now joining us to discuss these unfortunate events is Joseph Hyab, he's a priest, a clergyman rather, and the Kaduna State chairman of the Christian Association of Nigeria. Revan Hyab, good evening to you. Thanks for your time. Revan Joseph Hyab, can you hear me please? Yeah, I can hear you. Thank you very much for having me. It's given me. Interesting. We've had a wave of attacks and killings in Kaduna State. The last one we hear in places like Kauraloko government area, you know, also before that we had about Zangon Kataf. And the latest figure we hear between 34 and 37 bodies being recovered including two military personnel. It was 34 before we were told the mob attacked three persons and killed them in a headers camp. What exactly is this wave of attacks this time in southern Kaduna all about? The recent one? Yeah, well, before I actually respond to your question, let me correct that there was no mob attack and killing of any other because the government spoke person or the commissioner of security who issued that statement realized that it was a mere propaganda from his office because there was nothing like that. And he has also issued another statement to retract that because there was nothing like that. The killing was in Kaguru, in Kafanchan, and in Kauraloko. We are innocent citizens who had no business with anybody than just trying to live their lives. We are attacked, killed. Over or almost 200 houses were burned. Over 37 people were killed, including women, young children, older people. What an unfortunate situation. All right. Reverend, this latest wave of attacks, what would you say is behind this? I mean, you're chairman of the Christian Association of Nigeria and a body that has been active in terms of talking and speaking out against the violence in Kaduna state. What is behind this latest attack? Well, there's really nothing latest. It's just a continuation of what has been going on for a long time. I think the bandits have found Kaduna a suitable ground, a suitable fertile soil for them to carry out their barbaric act. And so they move from one community to the other and southern Kaduna seems to be receiving the largest share of the attack. They move from Zengon, Qatar. The next day, they will go to Kaural. Another week, they will go to Jema. Another week, they will go to other Kachia and so on. The fact is that within the last six days, there were so much attack around, but this one became very famous because lives were lost. But in Kachia, local government alone, around over 49 people were kidnapped and about six to five people were killed. And nobody talked about it. Then on Sunday, this unfortunate incident happened. The southern Kaduna one has become a victim of a conspiracy that we cannot define and we cannot explain why. Why will this bandit every day come and attack innocent citizens? Why will this bandit every day come and attack people in their homes? And you know, we always come forward and make some argument that this is the hardest farmers clashes. I cannot even understand what it means when you say it is the hardest farmers clashes, because someone is sleeping in his house, someone has no business with farm, even with harding, and criminals walked into his community, killed him, burnt his house, and you call them, you call that farmers hardest, but that's the kind of time that they find it suitable to use and confuse people instead of dealing headlong with criminals who are attacking people in their homes, who are destroying livelihood, who are even making citizens of Nigeria not sleeping in their homes. Because there was a time our governor came out to tell the world that these criminals and these bandits are foreigners. He even told the world that he went out there and paid them money. What are we seeing now? Probably the money he paid them had finished and they need new money. You can see the implication of paying money to criminals. That's why when he came back again and started changing his tune and telling the world that he's not going to negotiate with bandits, we find that to be pure politics because you were the ones who said there was no other option than to give them money. You've given them money, they've enjoyed the money, they've become rich, they've bought more whippers, they now want to operate with their opals and you're telling them that there will be no deal, no way. And I believe that's why the criminals and the bandits are refusing to leave Katuna because they have fine our state, a vital ground for them to continue to do their evil, and they know that 98% of what our governor said is purely rhetoric and there will be no action. We've talked about Katuna over the past few years a lot. The governor of Katuna State, Nasser Arafah, who you've just talked about recently said the killing has become more than the Boko Haramian terrorism in the northeast. So he has called the government to also look at the northwest as well. And it's become more prominent than even Boko Haram attacks. You've talked about criminals, you've talked about bandits. Who exactly are these people, where do they come from and what is their motive? Yeah, well you see these bandits are out to actually destroy a source of livelihood in the whole of Katuna State because even yesterday night they were in Gihua local government. The fact that in Gihua they kidnapped a priest, they killed three of our brothers, they destroyed their homes over 10 houses, they killed many other people in Gihua just yesterday, just yesterday. But you see one of the reasons why Southern Katuna becomes more on the news is because once such killings happen in other parts, the language the government will use in defining the killing becomes different with the language you will use in defining the killing when it comes to Southern Katuna. So people find out to be very hypocritical because a responsible government supposed to be fair, supposed to be honest, supposed to protect every citizen, irrespective of its identity. A responsible government should not begin to protect or speak favorably for criminals. But what we find in Katuna today is our government, killings are going on everywhere because it will be wrong for anybody to assume that all the killings are in Southern Katuna. But once it happens in Southern Katuna, the language the government use is not a language of good. Either Reverend Joseph Hyab, can you please hear us? All right. Yeah, I can hear you. Okay, yes, so continue. We can hear you, continue please.  Yes, yes. So, of course, the killings in Katuna are well documented. In fact, the governor of Katuna said, Nazi-erafi, they talk about, you know, like I said earlier, the statistics of killings in the South and Northwestern part of the country. But we've been hearing two particular local government areas as being prominent, you know, in all of this, hundreds of lives lost since 2020, 2021. And now we're talking about 2022. I'm referring to Kaurau and Zango Kataf local government areas. Why is it that with this particular local government areas, it's not impossible to have a solution, even if it's a military solution, to secure them knowing that these are red areas? Yeah, that's what we expect government to do. If a governor realize that a particular area is prone to danger, is prone to crisis, is being attacked, then steps must be taken to secure that area, to protect that area. The governor knows very well that the bandits are terrorizing the people of Zango Kataf. They are terrorizing the people of Kaurau. They are terrorizing the people of Jamaloka government. They are terrorizing the larger part of Southern Katuna. But you see, there is no concrete effort. We've heard that they put a military, a mobile police station. It interests you to know that that particular community in Kaguru that was attacked last Sunday, it's not up to 10 minutes or five minutes drive from where the mobile police are. So you ask yourself, what was, what did they put the mobile police there for? There was a time, the chief of Army staff, or the chief of Air Staff told us that they are going to start an Air Force barracks there. All these are rhetoric. They come to the media every day and sing songs of things they are never going to do. So Nigerians will just assume that all is well in Southern Katuna, only to hear the next day that there is an attack. And when, in a sense, Southern Katuna people hear this good news and think that oh, they are bringing security forces around us and they go to sleep and the enemy will come again and attack them. That's why we are so disturbed that why should government specializes in telling lies, specializes in propaganda, specializing in misleading our people and she's not protecting them. This is unfair. These are citizens. These citizens voted for you, even if they do not vote for you for the mere fact that you took out of office to defend the lives and protect lives and properties of the citizens. It is upon the citizens of the state why should you allow some part of the state to suffer and every day they are busy burying loved ones. The other day I attended the burial in Southern Katuna where we buried 38 people in one burial service. What kind of life is that? How can such people be productive? Yeah, Reverend Hayab, I'm also hearing that today it's been in the news in the last few minutes, I must say, that about 50 people have been, have lost their lives and we're going to try and get some clarity on this story. In Giewa local government area of Kaduna State, we're hearing bandits attacked nine communities. Have you heard anything like that? I think you did mention something. If you had listened to me earlier, I did share with our viewers to know that we are aware of the story of the killing in Giewa because the Christian community there have reported to us how their homes were burnt. Yeah, Giewa has also been in the news in the past few months, virtually every week, an attack could happen in Giewa. So completely what I would say is that there's a failure of governance. That is why Kaduna State is always on the news for bad reason, always on the news because lives are being lost. But President Muhammad Buhari, of course, the governor of Kaduna State is a governor. He's not a president and he has a limit to what he can do. You might want to argue with that but he has previously appealed to the president to do something about the situation in Kaduna State. The human rights writer's group is saying, who Giewa is also saying that President Buhari is doing nothing basically about the situation. They've called it a reluctance to stop the killings in Kaduna State and petitioned the UK and the EU over what they call Buhari's reluctance. Would you say President Buhari is reluctant to stop the killings in Kaduna State and can he possibly do more than is being done right now? I believe those who are advising President Buhari have given him a narrative that is quite one-sided, a narrative that is selfish, a narrative that does no show of concern to the lives that have been lost. Did you even read the press statement released from presidency about the killing in southern Kaduna? It's quite sad. How can citizens of your country being killed and you make such release as if it is a reprisal attack?  That's to tell you that the president is being fed with wrong information. The president is not properly advised and if he is fully aware and is passing instruction then his instructions are not being carried out because killings continue every day in southern Kaduna. Sometimes we are so tired and weak to keep coming over and over to be crying that there is killing, there is killing. When we talk about killing, we are talking about killings of human beings. We are not talking about just about a tribal group or a faith group. We are talking about killings of human beings. These people are Nigerians. They are citizens of this country. All right. All right. Reverend, we have to go. We have to go. But indeed President Buhari in that press statement condemned the killings and he said that, quote, mindless act of violence has no place in the civilized society. So he did, he called it a cowardly attack on innocent civilians. So we also need to point that out. But I want to thank you. Yeah, he did. But some of the words he added to, you see, when you are talking about people who are crying, you have to be careful with your words. We have to go. We have to go. Yeah, thank you. We have to go. I want to thank you very much. I think the point has been passed. Reverend Joseph Hybe is the chairman of the Christian Association of Nigeria in Kuduna State and he's been a guest on Plus Politics. Thank you for staying with us. We round up today's show with the weekly highlights of the show and Kofi Patel's Plus Politics Returns on Monday. The feeling of the house and the feeling of most people who have read the judgment is that it's a judgment that marks of what people have been complaining about in the Nigerian political system, mainly that politicians are trying to bring the judiciary into dispute. There is no reason whatsoever for the court, for instance, to enter into, to accept that case, the way it was accepted, to give an order against a party that was not a party to the suit and to order further that the, that the executive should perform the duties of the legislature by going to delete a section of the electoral act. What the honorable court should have done or should have stopped that would have been simply to say in his opinion that the said section of the constitution was null and void to the extent of its inconsistency to a specific section of the constitution. The later judgment by the state high court is actually very sad and unfortunate and clearly shows that we still have a lot to work to do with that judiciary because the both the state high court and the federal high court also coordinate jurisdiction. They are in the same level. They are on the same pedestal. So it is sad that on same issues, same parties, these cases were going on simultaneously. I don't know what really happened. A station where immediately the federal high court, Abuja gave judgment, the state high court, which obviously, given the circumstance and from my experience seemed to be a judgment in flint. I think NJC and the Najam power station has a lot of work to do to ensure that corrupt judges do not. In fact, these days are the federal high court. When you're filing any suit, you will have to depose on affidavit that there's no other suit and you're not going to be case suits. So obviously what happened in a Boeing state high court is a misnomer and NJC should met all the appropriate sanctions on the offending judge. I would say that AFCC does not have the capacity to to deal with this type of crime because over time we have seen not too long, not three, not 10, not 15. It has become like a normal thing for AFCC. Once a public officer exhausts or the tenor expires, the nursing AFCC suits on him and is possibly arrested, get for few days, take to court, grant a bail. The politician comes back to the society and never allows the society to rest with the enormous money that they have paid for off-list from the government treasury. And for contesting for this position for the past 1992 up to this time that we are talking about 29 years ago. So by next there is going to be 30 years that are to come back as a brand for this position. The question now is, has it always been bearing is a political manifesto. I did the same thing that he has been talking about. I didn't be able to upgrade himself. And another question that we have been looking at is age. By this time next year, by the time we will be contesting the election next year, I think it will be about 76 years of age. If I'm not wrong, yeah, which about 76 years of age. So at 76, we're looking at the participants of the president who came in at 75 or 76 too. Looking at the age and what is happening under him, we remember how this must paint more than one year outside Nigeria for medical attention. Because at that age, there are a lot of things that happens to people who are over 70 years medical attention. So we demand be able to deliver at 76.


Hello, my name is Bob Scheibel. I am the Chair of Main Voices for Palestinian Rights and our organization is a member of CTN 5. The purpose of our organization is to generally educate the public about the struggle that the Palestinians are undertaking to receive their rights under international law. We are very fortunate that we have with us in the studio today Dr. Mark Braverman who came down to give a talk at First Parish UU Church and also to have an afternoon session with local church leaders and members to talk about how the Christian community can be more effectively and constructively involved in the search and the struggle for peace with justice in the Middle East. Mark, I want to welcome you. Thanks, Bob. It's great to be in Portland. Good. You've written two books and I've read both of them. The first one, The Fatal Embrace, I read a couple of years ago and after reading that book said to myself, wow, I've got to get that man to come to Portland and now you're here.  So I'm interested in knowing what your earlier life was about, your work now quite vigorously on behalf of Justice for Palestinians and I assume you probably weren't born doing that. So what was your earlier life and what brought you to this point? No, for sure I was not born doing that. I was born to a fairly traditional Jewish family in Philadelphia, which is a very strong Jewish community. In 1948, the big year, if you were Jewish, because that was the year that the State of Israel was declared, it was also three years after the end of World War II. So if you're a Jewish kid born into a fairly traditional Jewish environment in those years, you were raised in a very potent combination of traditional Judaism and political Zionism. The State of Israel had just been declared. I was taught that this was the culmination of Jewish history that my people had been redeemed from 2,000 years of suffering and slaughter. The ashes were not cold yet from the ovens of Auschwitz. The genocide that we had experienced was still very, very fresh. It still is. And those two things really meshed together. We were supposed to have this land to protect us. And so at that point really Judaism and Zionism, which is the political ideology that underlies the State of Israel, that Jews need to have a homeland of their own in historic Palestine, that really meshed with Judaism. I think it's important for people to understand that that was not always true before the 40s, before the war, before the establishment of the state. Most of organized Judaism, the denominations like Christian, like being a Presbyterian or Episcopalian or Roman Catholic, the Jewish denominations were faith communities, religious denominations, just like Protestants and Catholics. As opposed to political communities. Yes, not a national people. We talked about the people of Israel, but that was really just like talking about being part of the body of Christ and being a Presbyterian with a history. And most organized Judaism was officially non-Zionist or anti-Zionist. They said, why would we want to be connected with a nationalist, ethnic nationalist movement? We want to be a faith community just like you Protestants. It's not a good idea to mesh religion with nationalism. Jews were politically progressive, liberal, even way left. Lots of Jews were communists. Nationalism was not supposed to be part of our religion. All that changed in the late 40s. To be a Jew meant to believe in the state of Israel as an inextricable part of your identity, your belief system. And if you were not on that train, you were outside of the pale. And all of this because of Hitler and the Holocaust. Is that right?  It was because of all kinds of geopolitical things that were going on at the time having to do with England and Russia and France and what the West and the United States and what the West wanted to be doing in what they called the Middle East, Western Asia, that quote Arab world. And the idea of Israel as a kind of a Jewish, well white European enclave fit to some extent with some of those plans. But it's not all political. A lot of it has to do with religious belief. The idea that the Jews are separate people different than others who belong in a separate place seems to me like a kind of anti-Semitic idea. But maybe we can talk more about that. That's fairly deeply rooted in Western Christian culture, especially in British culture. And Britain, of course, had the mandate for Palestine. So I think that to favor the Jews and sort of giving away to the Jews what maybe belonged to the Arabs, the indigenous population of the Palestinians who lived there, it didn't seem like such a bad idea to a Western-oriented political reality. So you had brought up firmly in that belief set what brought about a change? Short story. I met this so-called enemy. You know, part of being raised as a Jew and I need to make it clear. And I do so much talking about Christianity and Jesus and his political context and all that. People sort of wonder when was it that I converted to my solo Jew? I am certainly a Jew as part of my identity. And I love being a Jew and I value my culture and my tradition very, very highly. It's an extraordinarily important, rich, invaluable tradition. But like growing up in any tradition and that would include being an American or being a Christian or being a Muslim, being a Buddhist, it has its dark side. Usually having to do with exclusivism and God's with us and not with the others. And Judaism definitely has its dark side. Especially since we feel we have the right to claim so much victimhood and so much suffering. So part of what I was brought up with was a sense of having to know that the rest of the world out there was dangerous, unfriendly and just an inside secret, not really as good as us either. There was that sense of exceptionalism and entitlement. So I grew up with that as well and I learned that I had two enemies. Key, primary enemies. One was German people because of what they had just done to us. And the other was the Arabs as we called them because of what they would do to us if we didn't have Israel. I was brought up to fear those people and to see them as the bad guys. Growing up as an American in those years along with the Commies. I was brought up as a Southern Baptist believing that the Catholics were that way. And if John F. Kennedy were elected president, in fact I gave a speech in my high school civics class about why they should vote for Nixon. This was in North Charleston, South Carolina because if Kennedy was elected the Pope was going to rule America. That was my little nutshell of exclusiveness and the other as enemy. So we all have to, many of us are brought up with that kind of thing and we have to overcome it. It was something in me that always said, you know what, I do not want to base my identity on who the bad guys are and who it is I'm supposed to hate and fear. So when I met the so called enemy, when I met the Palestinians, that's what turned me around. I was ready for it, something in me that always rebelled against the idea that these Arabs were terrible. How did you happen to meet them? You meet some over here? I'm going to interfaith pilgrimage. There are many such that will take people to Israel and Palestine, Israel, Palestine, whatever you want to call it. We can get to the politics of it. There's one state there now, it's called Israel. It owns it all and it's in apartheid state. That's the reality that we've got now.  It's hard to find what to call it because there are so many illusions and lies out there about what it really is. It's basically a colonial enterprise and Israel's got it all and there are these enclaves of Palestinians sort of like South Africa under apartheid. Anyway, I went there with an interfaith delegation actually with the Fellowship of Reconciliation. It's not that long ago, back in 2006. We went everywhere and met everybody, Israelis, Arab and Jewish, Palestinians, Muslim and Christian in the West Bank and Gaza. I met these Palestinians and not only were they not my sworn enemy, they were happy to see me. Thank you for coming. And if you've ever tried to refuse Arab hospitality, you know how to start international episodes. Yes, my wife and I have been there three times now in the last four years. So it's ahalan was ahalan, please come into my house, drink my coffee and you do not say no. And now, angry, bitter, sad, puzzled, all of that. Hate, no. Fear, no. Thank you for coming. And I learned the other narrative. I mean, the 1948 narrative that I learned, we called it the War of Independence or the War of Liberation. And it was a war of self-defense. Hordes of Arabs from five countries were swept into the young state to drive the Jews into the sea and they heroically defended themselves. Now, there were hostile Arab armies that did come in, but they were unmatched. They were no match for the well-armed, fairly well-organized Jewish forces. And according to, I'm sure you must have read Ilan Pape's book, The Ethnic Cleansing, and according to that book the Arab regulars actually didn't come in until, what was it, May 14th or 15th or 48th after about a quarter of a million Palestinians had already been driven out of their homes. It was an ethnic cleansing operation and it was something that they had been planning, been green, been planning since the 30s. So there's a whole other narrative. I mean, but the key narrative that we didn't learn, no matter who started what or how many people, I mean, the key piece of the narrative was that this was not a country for a people without a country, which was this old Zionist motto. They were an indigenous population. And for this colonial enterprise called Zionism, that was a problem. What do you do with the fact that there are people there? You lie about the fact that they're even there. You lie about the fact that they actually have a vibrant culture, an economy, agriculture. I was taught that this was a barren desert with a couple of primitive people with camels running around. And you still hear that today. I hear people still making that claim. So I learned that there was is a people, a culture, and that they were driven out to make room for Israel. Now, this presented me with a significant conflict because I was raised on it. And I had lots and lots of family there.  My grandfather was born in Jerusalem around the turn of the 20th century, around 1900. And he emigrated to the United States. I'm a second generation American, but I have huge family there and friends. And an emotional connection to the place. And for me to have that turned upside down and to have that romantic dream in Israel is a beautiful place. And it's a beautiful culture that people started to build there. It's now turned to, I don't want to say the word on the radio, on TV. The dream has turned into a nightmare. It's a very, very troubled Sikh society because compared to South Africa under apartheid, compared to Jim Crow South, where deeply embedded in the culture is racism and fear and hatred and inequality. That's Israel today. I say this with enormous sadness. So my appeal to American society and to the churches in particular, and that's a political strategy. The churches can be quite powerful as they show. They can be with the civil rights movement and with the anti-apartheid movement. My appeal is, you know what you need to do about this kind of a scenario. As soon as you learn facts, which are sort of the reverse of what we've been taught of the Israelis and the Jews as the victims and the Palestinians as these bloodthirsty terrorists. Which also fits into the dominant American narrative. It's a perfect storm.  And we have this bastion of good white Judeo-Christian democratic folks, and that's called Israel and that's our friend, and they're going to protect us from these terrorists. That's A, and B, you know, that the Bible says so. I mean, there are lots of Christians that believe that, yeah, the Jews need to have Jerusalem because that means Jesus is coming tomorrow. As soon as we get rid of those last non-Jews. So we need to educate Americans about that. We need to understand that it's not in our national interest to be seen as in lockstep with Israel because it makes the rest of the world hate us. Which, I mean, what else is new about American foreign policy? I mean, that's what we always do, but this is probably the worst case. Because we are funding Israel. I mean, Israel is the, Israel is, depending on how you count, Israel is less than 10 million people. It is the largest single recipient of U.S. foreign aid in the world, a place of size in New Jersey, with less people than in New Jersey. So, I mean, it's not good. It's not good for me. You know, you mentioned the civil rights in the South.   In other words, the N-word was just not spoken in my household. We didn't use that word. But we definitely believed in separate but equal. And I never bothered to notice whether or not there really was equal. It was just separate. And we were pretty convinced that those people were less than us. And it wasn't until I went off to college that I discovered I was a racist. And during that period, I began to speak to those around me, and once I started teaching as a graduate assistant, I would talk in my classes. But I never really did anything. I was, I kind of kept my nose in the books. I had to get my PhD, my master's in PhD. And I wasn't about to go down South on Freedom Summer, because I knew how nasty those people were down there. And I was, I wasn't about to do it. When I became aware of this issue, I discovered, my God, there's racism here. And it was part of what has made me become so committed to it. I thought, okay, this racial issue, I'm not going to sit out. I'm going to be active in it. And so it was my history as a racist in the racist South that really has motivated me in large part to work so much on this. Now, you didn't have to move into working with Christian churches, and I know you do a lot with what is called Kairos. Would you explain what Kairos is and then Kairos USA? So Kairos is a Greek word, it's from the New Testament. It's what John the Baptist said when he said, the time is fulfilled. That was the word that was used, Kairos is the time. It's a time when history opens, something new is going to happen. History opens because something revolutionary has to happen because things are so bad, and that was the coming of Jesus. So it's a word that's deeply rooted in Christian lore, in Christian theology. The South Africans picked it up in the mid-80s when the South African churches wrote a prophetic document coming out against the apartheid saying that it was a heresy, and they said that Kairos is the moment of grace and opportunity when God issues a challenge for decisive action. So they use that very word. They use the word Kairos, this is the Kairos, and their document was called The Challenge to the Church, a commentary on the current political situation in South Africa, Kairos, South Africa. That was in 1985. It was a game changer because when the churches turned against the regime, and of course the churches had been collaborating with the regime saying, we can have a kindler, gentler apartheid, we can separate black and white in churches. They said no to that, and that was within seven years the apartheid was over. The Palestinians in 2009, a broad ecumenical group of Palestinian church leaders and activists, Christian Palestinians. They got with the South Africans and said it's time for us to write our own Kairos document, and they came out with it in 2009. You can Google it, find it on the internet. I'm actually not speaking to you, I'm speaking to the audience. That's K-A-I-R-O-S. So if you go to KairosUSA.org, we've got a page in there that shows that whole history of the Kairos documents. Chiefly, the South African, the Palestinian, and then there have been Kairos documents that have come out of other cultures in Asia, the rest of Africa, South America. Again, especially to your point earlier, people who connect with it in terms of their own indigenous contextual struggles.  It's amazing, wonderful stuff, because they know. They know what it means to be colonized. They know what it means to have an indigenous population that is struggling against the colonial power that has taken over their country, their own people. And they're aware of the Palestinians' plight? They are like you. They are attracted to it. They want to connect to it because it helps put them more on their own feet in terms of their own struggle. This was true for the South Africans as well. It's true now for the Brits, and it's true for the Americans. So we started KairosUSA as a response to the Palestinian call. So who in Palestine started it? It wasn't the Palestinian Authority, I'm pretty sure. The Palestinian Authority does not work for the Palestinian people, as you know. The Palestinian Authority is kind of like Vichy France. They were not working for the French. You know who they were working for. They were working for the occupier. The Palestinian Authority was set up by Israel, the United States, and the Western Powers in 1993 as part of what was supposed to be an agreement that would lead to the establishment of the Palestinian State. That was Oslo because it was written in Oslo, Norway. No, PA is not working for the Palestinian people.  We must resist it non-violently, reaching out in love, as in Christian love, to our enemy, to our occupier, saying we will live together with you. You must stop doing this to us. You know, it's interesting because you're talking about the Christians there, and some people would think, how do Christians get over there? I know. And just, I will confess that a few years ago, a Palestinian woman was visiting in our home. She was a roommate of our daughter who was getting a degree at Brandeis. And I was asking her about her religious background and she said, well, I'm Christian and I was so ignorant as to say, well, did your family meet missionaries? Right, yeah.  And she said, Bob, we've always been Christians. Don't forget, that's where it started. That's where it started. They've been there all along. All along. Look, you know, I'm an American Jew genealogically. I don't have any connection historically to the Jews who lived back in Bible times. European Jews, and most of the Jews in this country are from European stock like me, were probably converted Caucasian tribe from the 8th century. But look, Americans, again, it's back to our own sort of American, western, centric perspective about things. Palestinians are Arabs. Arabs are all Muslim. So Palestinians are Muslim. We know nothing. But Palestinians, the joke is, and it's not a joke. When you ask a Palestinian Christian, well, when did you convert? You know the stock answer? That would have been Pentecost. 2,000 years ago. That's when we converted to Christianity. We were the first Christians. Jesus was a Palestinian Jew living under Roman occupation. His whole ministry was about nonviolent resistance to the evil of occupation. That's what my books are about. It just blows the whole thing open. That's very much in this book, The Wall in Jerusalem. But let me, before we run out of time, let me ask you this. I know you came back from that trip and you wanted to speak in Jewish synagogues and you wanted to begin to work with people. And you found yourself not as welcome as you had wanted to be, but you found, I think, more welcome in various progressive Christian churches. How do you work with Christian churches, with Christian leaders, with Christian pastors, who have been engaged for some time now quite honorably in the interfaith dialogue ever since the Holocaust saying, oh my God, we've been looking at the Jews as the Christ-hate killers. So they've been forging links with Jews and now they're afraid to criticize Israel, right? Because they might lose their interfaith dialogue. How do you speak to people like that? Yeah, and Bob, that really is the core issue for Christians. Because they will come up to me and they'll say, listen, Mark, I understand what you're saying. We agree with you. We understand we need to do something about Palestine. Tell me how I can do that without being called an anti-Semite. Tell me how I can do that without blowing up my relationship with the Rabbi with whom I have this connection in our community, you know, I'm the pastor. Tell me how I can do that without creating huge family issues with my Jewish son-in-law. And my answer is, I don't have a good answer for you. I don't know that you can and you have to decide that for yourself. This is a tough, tough issue for that very reason. Jewish-Christian reconciliation is a precious relationship for Christians because Christians bear so much of a sense of responsibility, well-deserved, for Jewish suffering for 2,000 years. It was, after all, the Christians who did that, not the Palestinians. Yeah, I mean... Not the Palestinian Arabs, they were... The Palestinians are paying the price... Right. ...for church and Semitism. ...for Western Christian civilization, Western Christianity.  That's all true. Yeah. And the problem is that powerful interests in Israel and in this country are playing that card very powerfully to try to intimidate and stop this movement for justice. And so what I tell my Christian friends is, I can't tell you what to do, but I tell you that, but I think it's a cross to pick up. And if you don't want to pick up that cross, find another cause because that price will be there for you to pay and you have to decide what's right. Yeah. Well, this is maybe getting to a good point to kind of wrap up. If somebody's interested in knowing more, give us that website again. Yeah, it's kairosusa, K-A-I-R-O-S-U-S-A dot org. Okay. It's a good platform and jumping off point to discover all kinds of things that are on the Internet about this movement. And if people want to know any more about our work here in Maine, they should go, or if you haven't been there, go to www.mvprights.org. That's the main voices for Palestinian rights and that's our website. And we also have a Facebook page. So, Mark, thank you very much for coming to Portland, Maine. You're from the other Portland and we claim priority. You were here first. We're glad you came to the original and the true Portland. Glad to have you here and thanks for coming. Thank you, Bob.


Due to personal reasons, I'm going to be ignoring anything that feels forced, fake, unnecessary, unaligned with my personal growth and healing and progress this year. Who's with me?


Hi, it's time for a quick video for a quick yet awesome feature that was added a few days ago it's a great way to put all your tools all the Commands and operators that use more often at hand. So for example say you are a Big fan of monkeys and you had monkeys all the time But you don't want it to go to the month to the mesh menu and then add a monkey You can just right-click add to favorite menu. So let's leave that one there. Let's say for example you Often go and make the object always smooth. So go to object add another one and let's say you render often So instead of pressing F12 because your dog ate the key you can just right-click on this Render and then just add to favorites menu. So basically I'm building a menu. Where is it? Well, I said it's a quick feature. So it's in the queue for quick favorites so from here you can access all of the The operations that you just added so for example monkey and you can just repeat it as many times and And apply of course to multiple objects the operations that you have there And you can also render from here just like because we added the render there But the cool thing is that it depends on the mode that you're in and the Editor that you're in so for example if I press the Q now where I'm here in the properties I have the render image because it's a global things like a global and operation so if I'm in the timeline, I also have access to this or in the Outliner but in the 3d view I have access to the ones that are actually Like the ones that actually make sense the same if you're in edit mode. So for example say I'm in edit mode and I use the tools for for example look at and and shrink fat then Very often so now I have them both here and it's exactly what I what I choose here is setting the active tool Shares from a shortcut and of course is this a menu. So it works with like q1 q2 so that way you can quickly switch between them and It's really really a nice way to build your own Set of tools that you use more often this gets saves on your user preferences So it's really you can you can set it once and then you just forget about it To remove things you just right-click and then remove from favorites. That's also very straightforward and With this in mind you can actually build your own like from any place basically all the operations that have an entry here in the menus they are accessible and There will be a change it's not right now, but for example if you have like a toggle that you press all the time and Like here for example, you will be able to do right-click and then add that one to the to the quick menu It's not possible at the moment, but it is planned and the great thing is that this feature is actually Implemented in a way that it could be reused and it could be it could be possible to have more than just one quick menu It could be for Yeah, for anything you could have like panels for that like the the implementation is very flexible. So that is pretty great So go and start making your own Yeah, because it works in every mode if you are in a sculpt mode, you can add specific brushes That's actually pretty cool. We just change it from here. So it's like making your own and if you make it a pie Oh, that would be awesome. Yeah, anyway Just a just a quick Awesome feature. This is part of lender 2.8. So you can download it already from download now wait builder that blender or dark and Just go there. It's experimental still working progress. There's like any other Lender 2.8 build and yes, it's part of the code quest Even though we're in the last few days, it's part of the code quest Remember you can continue supporting Blender development by joining the development fund Go to blender or dark slash donate and there is more information there So the code quest comes to an end but the development continues and that is all for now I will see you again in the next video. Ciao


Okay now, I'm very excited to be talking to Winifred Norlander from the Nuon Solar team. They are going to describe, she's going to give you some indication of all the wonderful things they've achieved. But I'm going to move the conversation towards how these seemingly frivolous things are generating wonderful technologies that are going to be enjoyed by everyone. And first of all we need to really understand what machine we have here. Could you go through it Yes, so hi I'm Winifred and this is my solar car. So she's called Nuon and it's actually the seven solar car that we've built so far. As you can see it has a solar panel of about 6.3 meters and it's a silicon solar panel so it's basically the same solar cells as that you will find on your roof. The car has a top speed of 160 kilometers an hour which makes sure that it can drive during normal traffic and even be able to drive in a traffic dam or to be in the middle of a city and handle traffic lights. The car is built of carbon fiber which means that it's really light so it's only 150 kilograms which means that we can basically lift it with four people and move it off the road if it needs to be moved. This is where the driver sits. This is what we call the canopy and as you will see it's really thin like the rest of the car and it's made of carbon fiber. So this is the steering wheel as you can see and it has the braking and the gas panels on the steering wheel and not on the floor so it's all electrical and the only mechanical part is the brake which is on the right hand side which is our emergency brake actually. It gets really really hot in here during the race about 55 degrees Celsius and that's why our driver needs to take a lot of water with him so three liters for three hours and then all the sweat of course because the driver will be sweating a lot is actually drained down the car because there's a small hole in the bottom of it. Good now is it really true that you seek very thin people to drive the car? Well a lot of people think that but no because to eliminate the human element we're actually giving every driver sand with him or water to top off their driver to 80 kilograms so in that way it really is a technical race and not a human race. That's a good thing that's a good thing okay let's talk technology. The windows at the moment what are they made of? Acrylic perspex is it? Yes. There's some interest in something else? Yeah well I'm not entirely sure if I can tell this yet. No okay well the point is that there's materials advances are possible not just in the solar panels themselves will evolve and all that. Can we talk about you did some work with concentrators you've had an interesting aspect there? Yeah so as I told you before our solar car only has 6.0 square meters of solar array. Well this car doesn't actually have 6.0 square meters it only has 5.79 square meters which means that we still have a tiny piece of area left that we could use. So we actually built these concentrators with the last parts of the solar array and then during the race when we had a static charging stop we take them out of the trunk because this car actually does have a trunk and we take them out to do the static charging. So in that way we'd have the tiny pieces of solar cell and then the concentrator which is actually just bent glass will focus on that and we could still make use of it. And you've got the wheels the suspension you've made advances in that and it's further to go is there? Yes so as you can see you can't actually see the wheels because they're covered by well wheel covers and that's because of aerodynamics. The suspension is in there and it's of aluminium and at the moment we're looking if we can do some more optimization about that as well. And did you know that the aerodynamics of this car is actually only the same as a side mirror of your normal car? It's just incredible. The whole car has the drag of a side mirror that's unbelievable. So that's why it's so fast I guess. That's amazing. And in the Netherlands I don't know where you're famous for much more than tulips, windmills and people two meters tall.  There's another team I gather in the Netherlands who have a car that actually donates to the grid. Incredible is that right? Yeah it's a solar car for multiple people so this is really a Formula 1 racing car and we're trying to push technology so that we used in the consumer business while the other car is more focusing on getting the car itself in the consumer business therefore energy to the grid. It's wonderful. And at the Netherlands this is a good place to be isn't it? I'm amazed when I go to the Netherlands in Amsterdam last week. There are a lot of electric vehicles now aren't there? Yes. There's an attitude, a good attitude and the politicians are talking of banning internal combustion engines are they? Yes a lot of the big cities already have banned some older vehicles and they're now stimulating the use of electric vehicles which is going really well actually. And there's also been some more really great changes in the Netherlands when we're talking about sustainable energy. For instance a while ago the first solar road was opened so this is a cycle track which is completely covered in solar cells, 70 meters long and it's already providing three houses per year of power. We have a talk on that and of course that could be dynamically charging vehicles as they go along which would be wonderful. So I suppose it's not your solar racing world but presumably there's scope for other things. We heard yesterday Professor Pietro Perlow who used to run Theat research and he's developed an electric castor vehicle which was everyone's having a laugh but the point is when it stops it's not just got big solar cells that come out as a sort of moving restaurant it has a telescopic turbine on a telescopic pole so he gets wind power as well and some people have done that with road vehicles although in the city there's no wind I suppose usually but is there any other types of harvesting that you might not be allowed in the race but do you encounter any of that world? Yeah so as you say we can't really use any other energy than the energy that we get from the sun so even though this vehicle would actually be really suitable for letting the wind push it we're not really allowed due to regulations but as you can see the vehicles build up like three wing shapes sort of that's also why it's so aerodynamic so the wind kind of still pushes it along also makes it difficult for the driver on the other hand but I guess that's one of the great challenges of being in the race. It's great I mean it is certainly in the tradition of the solar impulse plane going around the world and a tour or boat going around the world all on sunshine I can imagine and so in times to come it's difficult to dream and I can't ask you secrets anyway but presumably there will be better solar cells coming along and I know there's some research on transparent solar cells and the rules might let you but you could have solar cells all over that window and still see out of it that would be wonderful wouldn't it and I've got a car over the lights and everything like that and I don't know if it harvested some of them harvest infrared and ultraviolet I think you might be allowed that by the rules if there was something that came along I mean the research labs they do yeah it could be yeah that's great so good luck I think what you're doing is absolutely marvelous and we have the solar roads being presented at the end of our conference here so that's we're very close to that world and we look forward to seeing you in our event in California you're going to be a starter and in Silicon Valley we'll wow them the Europeans are doing very exciting things thank you very much if you'd like to learn more just go to our website www.newallsolderteam.com or follow us on Twitter at www.newallsolderteam.com and we'll keep you posted about the latest news on our solar vehicle wonderful you're very good wonderful you


We read with great interest the article by M. Jadar on Coroidal Thickness in different patterns of diabetic macular edema. This article was authored by Andrea Valerio-Marino, Martina DeLuca, Ludovica Rita, and others.


Hello everybody! This video will show you how to create an VMware Workstation virtual machine and how to recover data from a virtual disk of such machine after a failure or when the virtual machine can't start. In order to create a VMware Workstation virtual machine, install and run VMware Workstation. Select Create a new virtual machine in the home page of the program, or select File New Virtual Machine. In the new virtual machine wizard that opens, choose the type of wizard to create a virtual machine typical or custom. Typical is easier and recommended method to create a virtual machine in a few steps. Custom will be better for advanced users and suggest the opportunity to change additional settings. Select Typical to begin with. After all, advanced users choose this configuration more often than the other option, as well as it is quite good for most cases. Next. In the window Select a guest operating system, you need to choose from where you are going to install the operating system for your virtual machine, from an installation disk or an image file. The option you choose depends on what installation media you have. The installation process itself will be the same. There is also an option I will install an operating system later. I don't recommend using it, because installation of an operating system on a virtual machine requires certain experience and skills of working with the bias of such virtual machine. I select an ISO image next in the next window, specify the operating system. In our case that is Microsoft Windows, Windows 10 64-bit. Please note that you can install onto your virtual machine not only Windows, but also other operating systems, including Linux. Next. Specify the name of the new virtual machine. The folder where it should be saved. Next. Set the disk capacity. It can be anything you like, but it's better to have at least 30 gigabytes, and make sure that your hard disk still has enough space after you create the virtual machine. That is because your virtual machine may become larger in the course of work. Also decide if you want to store the disk as a single file or split it into multiple files. In the following window, you will see all virtual machine settings. If there is something you don't like, you can also use extra settings. For example, I can see that the amount of system memory is insufficient – 2 gigabytes only. In order to add more memory, click on Customize Hardware, find the line memory, and in the left side, and set its amount at 4 gigabytes. To make sure the virtual machine is not going to be too hard for your PC to handle, I recommend setting its memory size at no more than 50% of the actual memory available. Here you can also decide how many processors and processor cores your machine will have. Follow the same principle as with random access memory. No more than 50% of the available resources. Connect a physical disk to this virtual machine, set up the network adapter, USB controller, sound card, printer and display. After all the settings are changed, click Close and Finish. Now the virtual machine is set and ready to start. Click on the icon in VMware Workstation toolbar – Power On. The virtual machine starts, and Windows is installed from ISO image that you have specified in the settings before. Installing Windows to a VMware Workstation virtual machine is similar to making a clean installation on a desktop or laptop computer. That is why I won't go into details. Watch another video by our channel to see clean installation on Windows. After the operating system is installed, you will have another, that is, virtual operating system that works inside the operating system of your computer. All files of this operating system, both system files and user files, are stored on the computer's hard disk, and by default they are located in the Documents folder. See Users, Username, Documents, Virtual Machines and Virtual Machine Name. A virtual machine folder consists of a certain set of files. VMware creates such separate folder for every virtual machine and gives it the name of the virtual machine which was given to it by the user when such virtual operating system was installed. Main files of a virtual machine have the following extensions. Log. VMware Workstation Key Activity Log. And Vram. The file containing conditions and biased settings of the virtual machine. VMDK – a virtual disk file where contents of the virtual machine hard disk are stored. VMSD – the file containing current snapshot parameters. VMX – the main configuration file where all virtual machine parameters are stored. And VMXF – an additional configuration file. The files we have described above are the main files of a virtual machine. In the folder of the virtual machine, there can be other files and folders as well, including those which are only shown when the machine is running. If you have already got a virtual machine or a copy of such machine, you can connect it to VMware Workstation. To do it, just run VMware Workstation and select File – Open. Go to the folder where the virtual machine is stored and select the VMX file – Open and now start the opened virtual machine. In this video, I want to show you one trick just in case if for some reason your virtual machine is no longer working and there are important files on its disks. I will show me how to recover them. Though VMware Workstation is a virtual machine, real data can be saved there. As we have already said, all files stored in virtual machine disks are located in VMDK files of the virtual disk. Hetman Partition Recovery, the program for hard disk data recovery, has the function of mounting virtual disks and recovering data from such disks. You can download Hetman Partition Recovery here following the link. In order to get access to virtual machine files, run Hetman Partition Recovery and mount the virtual machine disk. If there are several of them, you can mount them all at once or one by one. To mount a virtual disk with the help of Hetman Partition Recovery, click on Mount Disk in the Quick Access menu of the program. As a result, the window of choosing a virtual disk will open. Go to the folder containing the virtual machine and choose the necessary VMDK file – Open. As you do that, the section mounted disks containing the list of mounted virtual disks will appear in the window, where all disks found by the application are shown. If you mount several disks, you will see the entire disk list there. Scan the list with the application by double-clicking on the disk in the disk manager. After the analysis, the application will show the directory tree of the scanned disk. Find and recover the necessary files to a convenient location in your main operating system. By the way, you can use this method to move files from a virtual machine disk to the main operating system. That is all for now. If you liked this video, click the like button below and subscribe to our channel to see more. We'll be glad to answer any questions and comments. Thank you for watching and good luck.


1993's Demolition Man is set in a utopian future that's basically modeled off of Aldous Huxley's Brave New World. And since that future is only about 10 years away, according to the film, I wanted to know whether or not its predictions are on track. So here's everything Demolition Man got right about the 21st century so far. Goal-wing doors on self-driving electric cars.  That's a pretty good track record, don't you think?