Biden's visit to Saudi Arabia exposes the Ukraine narrative for the sham that it is. In a major walk back from his campaign pledge to make Saudi Arabia a pariah for human rights abuses like the assassination of Jamal Khashoggi, President Biden will reportedly visit Riyadh with the goal of persuading Crown Prince Mohammed bin Salman to help the U.S. alliance win its economic war against Russia. The Guardian tells us the trip, quote, suggests Biden has prioritized his need to bring oil prices down and thereby punish Russia for its invasion of Ukraine over his stand on human rights. So in order to punish Vladimir Putin for his war crimes and his assault on freedom and democracy, Biden will be courting a tyrannical war criminal whose country has no freedom or democracy. Washington will be ending its brief diplomatic dry spell with a government that has been waging a horrific war against Yemen while suppressing any semblance of human rights at home in order to more effectively punish Putin for waging a horrific war against Ukraine which we are told threatens freedom and democracy throughout the Western world. I am not the first to note the irisable irony of this development. The Biden administration is openly planning to pay homage to one of its closest allies, one of the most despotic and murderous tyrants on the planet, the Crown Prince. At the same time, it convinces Americans its motives for fighting wars is to defend freedom and democracy, tweeted Glenn Greenwald. The EU literally just banned oil from Russia mimicking the United States' actions because they don't want to give money to a dictator, so Biden is traveling to Saudi Arabia to try and bring energy prices down, which is a vibrant democracy as you all know, tweeted Richard Midhurst. As part of mobilizing support for the Great War of Freedom in Ukraine, Biden will be visiting the Great Beacon of Democracy, Saudi Arabia this month. What's a little murder and dismemberment between friends? tweeted Joseph Kishore. Indeed, one wonders if perhaps Putin could settle this whole conflict by staging a few mass beheadings and dismembering a Washington Post reporter with a bone saw to get on America's good side. A lot of people talk about the hypocrisy of the US Empire, as though being hypocritical is the issue. But the complete lack of moral consistency in US imperial behavior is noteworthy not merely because of hypocrisy, it's noteworthy because it shows the US has no morality. Despite the astonishing deluge of propaganda and brazen government disinformation we're being blasted in the face with, painting the war in Ukraine as a fight between good versus evil, freedom versus tyranny, democracy versus autocracy, the truth is much less flattering to the imperial ego. In reality, the US is waging a proxy war in Ukraine for the exact same reason it is friendly with Saudi Arabia, because it advances its interests to do so. That's it. That's the whole entire story. The US doesn't care about Ukrainian freedom or Ukrainian lives, it cares about strengthening its Eurasian geostrategic hegemony, and it would cheerfully incinerate every Ukrainian alive in order to accomplish that goal. A lot of commentators like to say the US government's intimacy with Saudi Arabia undermines American values, but that's not true at all. The US isn't undermining its values by cozying up with Saudi Arabia, it is perfectly honoring and representing its values. One only believes the US is undermining its values by partnering with Saudi Arabia if one assumes that US values include freedom, democracy, justice and peace. This is not an acceptable thing for a grown adult to believe in 2022. US values in the real world are domination and global power. That's it. Really if you think about it, Saudi Arabia is just a more honest version of the United States. Its tyranny is right out in the open instead of being sneakily disguised under inverted totalitarianism. Its oligarchs and its official government are the same people. It never tries to pretend its wars are humanitarian in nature. And when it wants to murder an inconvenient journalist, it simply does so, instead of dishonestly framing it as an espionage case. In truth, when you look at its overall behavior on the world stage, the US is far more murderous and tyrannical than either Russia or Saudi Arabia. Pretending that Biden is lowering the United States beneath its values by visiting Saudi Arabia is highly flattering to the US. If anything, it's the other way around.


We all have those times when a patient says something to you and you go, what the f***? Welcome everybody back to the channel. For those of you who are new around here, my name is Michael, aka Dr. Chalini and I am a board certified diagnostic and interventional radiologist. On today's video, we are going to be talking about yet another BuzzFeed article. Yes, that's two incredible BuzzFeed articles in the past, like two weeks now. They keep cranking out some good articles that pertain to what we talked about on my channel. So might as well go over this one because it's just as fun. So basically this article talks about when a doctor is interviewing a patient and the patient says, Oh, I forgot to mention something. And that something completely changes the management of that patient. And I know it's a little confusing to you, but hopefully after I read a few of these, you'll get what I'm talking about. And let's go ahead and get into it. Let's go. So just briefly hear the article talks about how one of the things that doctor or dentist or medical professional is supposed to do while meeting a patient is discuss symptoms and the medical history. That's the first thing we do when we talk to a patient. Now, I obviously don't do this as much anymore because I feel that we don't really interview patients like someone in primary care would. But nonetheless, I can relate to a lot of these and you'll see why. But the main part of this article is that sometimes you interview a patient and they tell you certain things and then they leave out certain specific things that they don't feel matter at all. But those little things that they feel that don't matter at all oftentimes completely change management entirely. But it may just be common to them and they overlook these things but they are really important to us. Here are some examples of just that. Number one actually pertains to me. A lady presented for acute abdominal pain and the MRI indicated that she was pregnant. She knew she was pregnant but she didn't tell the physician. Now, this actually happens quite a bit. I don't know. Sometimes people either don't know they're pregnant or just forget to mention or feel like you should just know these things. I can't tell you how many CTs I've read in my time say a patient who is a trauma comes in and they are pregnant. We had no idea beforehand. And of course, a lot of times we do take beta-HCG levels before we do a CT to ensure that the patient is not pregnant but sometimes if they were doing an MRI it also should be taken note that the patient is pregnant because many different reasons but there have been some times where it slips through the cracks and there you go. Now, this obviously doesn't happen that much in the US but it could happen somewhere else. I don't know where these doctors are from. Our number two, this also pertains to my field. See, I told you these just happen in my field too even though I'm not a primary care doctor this stuff happens to me too. So number two, my dad had a patient who forgot to mention that they had cytosine versus meaning that the arrangement of the organs were a mirror image of normal anatomy. Now I see this not too uncommon but it always kind of trips me out a little bit when I see it on an X-ray or a CT scan because my first thought is someone put the image in backwards and then I started looking at things and I'm like, oh, everything's completely mirror image of what it should be in normal anatomy. And like this patient, they only mentioned it after a few minutes of my dad having a hard time hearing the heartbeat. So for that instance, you'd be hearing the heartbeat in the left side of the chest or left of central but in this patient maybe you hear it right of central so it's a little off. Mainly when we're doing like a CT scan, the liver which is usually in the right upper quadrant will be in the left upper quadrant and the spleen will be in the right upper quadrant when it's supposed to be in the left upper quadrant. So it kind of like throws us off a little bit. All right, number three here working as a dental hygienist I always review and update medical history and ask if there are any changes. Many patients will say, well, nothing related to my teeth. Like what, your teeth aren't part of your body? While I was cleaning someone's teeth we were chatting and the patient mentioned how he had a heart attack in a bypass a couple of weeks ago. And then the dental hygienist said, sir, I don't think it's the best time for your dental cleaning, go home and recover. So now I always asked, are there any changes in your health, recent surgeries or hospitalizations? And this is pretty big because if you have like to say a mechanical valve or whatnot, you shouldn't be getting your teeth cleaned without either being on antibiotics or off your blood thinners, et cetera, et cetera. So for this particular patient, it may have just been like routine. Well, I didn't have any surgery to my mouth so I should be fine, right? But everything matters and that's why we asked these questions. So yeah, number four here, doctor here, I had a baby come in for surgery. The parents reported no prior history. I asked why the baby has a gastrosomy tube and the parents were like, oh, he has laryngeal Malaysia, AKA floppy airway. And for some reason, they thought that wasn't important during surgery that they mentioned that the baby who would be intubated for anesthesia has laryngeal Malaysia or laryngeal Malaysia. I don't know how you say it correctly, but nonetheless, probably important to mention that when your baby has surgery. Some of these are really long so I'm going to go to some of the shorter ones maybe. We had a patient who came into our OBGYN department with complaints of vaginal bleeding, they invade abdominal pain for the second time in a month. She assumed his irregular menses probably due to some hormonal imbalance or stress and wanted some medication for it. While she was talking to us, she suddenly felt weak and fainted. Once she gained consciousness, she assured us that she was fine and probably because she skipped breakfast that morning or maybe because she is anemic. We asked her to get a pregnancy test done just in case along with a routine ultrasound, but she insisted that she was actually fine and just needed some medication. At our insistence, we got the pregnancy test done and it was positive, of course. Turns out the patient had a ruptured ectopic and she was going into hemorrhagic shock because of the bleeding, hence the fainting. That's what I thought of anemia, especially in these 10 patients. So thankfully they were able to manage her immediately, but upon further probing, we realized that she had a previous history of ectopic pregnancy, but she didn't think it was significant to mention. This is why it's so important to mention all things, especially serious cases like this. The problem is a lot of patients don't know if it's important or what's important or what's not important. So they just kind of pick and choose what they think pertains to what they're doing on that specific visit. But we need to know everything because medicine isn't black or white. It's very much a gray area and we have to kind of deduce things based on all the history and all that kind of stuff. So every bit of history is important. There's one thing we realized by this video. Tell your physician everything, because everything is important. Okay, moving on. I went to see someone who had been shot in the arm. He was in complete pain, swearing at us, uncooperative, and wouldn't let us ask questions. We got him to the hospital ASAP and the police met us and asked us if this guy was the one who had been run over. We said no, but then the guy piped up that it was. He had actually been run over by a car wheel and we had no idea. So the patient was shot and they were focusing on that, but I guess the patient failed to mention that he was also run over by a car and they should probably attend to other things as well. All right, number nine here. I was a student when this happened. A man in his 20s or 30s came to the ER with a headache. He said it was terrible and it seemed so. Everybody thought it was a bad migraine because he started vomiting. After that, I started asking him if this had ever happened to him and he told him that he was seeing a neurologist for a year, but lost the appointment and never came back. This is very common, by the way. I saw the guys from neurology and told them about the guy even when my superior had told me to send him home. Something in my gut was telling me to make sure there was not something more.  I feel like this happens a lot, maybe because I'm a radiologist and I see the worst. So I just have a high likelihood of seeing this kind of stuff. I've had a lot of folks come into the ER throughout my time as a physician, just with a headache that is intractable. They've had this headache for years, six months, et cetera, et cetera. And we end up finding a brain tumor, which is why the ER will scan patients' heads quite a bit because you never know what's causing that headache. This one, number 11, is actually very common. I wasn't a medical practitioner, but a case worker. One dude had a noticeable drinking problem like physically damaging. I don't know if that is the medical term for that, but I asked him if he had been drinking recently, and he said, no, not really, just a case last night. So a lot of these patients, especially the after-hologians who end up in the ER with cirrhosis and liver failure, they drink a lot, but to them, a case of beer may not be that much. Sometimes people drink a case of beer in the morning and a case of beer at night, or one bottle of vodka in the morning, one bottle of vodka at night. So to them, it'd be like me saying, oh, I had a glass of wine last night, because to them, that's not really that much. A friend of mine mentioned in passing to her doctor that she had some pain in her right eye when she looked to the side. Her doctor immediately made an appointment with an ophthalmologist and she was diagnosed with multiple sclerosis. Because they caught it early, very little damage had been done and she's doing really well. Again, hear this quite a bit. And even recently, one of my friends who is an optometrist was telling me how she sees a lot of papillodema in the eye and has diagnosed many brain tumors just by a routine eye exam. So you can see a lot through the eyes. What is this saying? Like the gateway to the soul is through the eyes or something? Or the eyes tell all? Or something like that? What's that saying? I can't remember. Next, number 16, we had a kid who came into the ER who was bouncing on the trampoline the day before and hurt himself. The following day, it hurt too much, so his parents took him to the ER. He wasn't crying, it could move fine. He had a helical fracture up his entire leg.  Yeah, you'd be surprised, especially in young kids. Their bones and their cartilage, they're like rubber. They can bend and break and sometimes they'll have extreme pain and sometimes they'll just be able to walk normally like this particular kid. Pediatric population is very weird when it comes to injuries. They're either really injured and you can tell or it's very subtle and you have no idea they're injured and then you get an x-ray and they have a huge spiral fracture in their fremer. Really random. All right, last one here. We'll just end on number 18 since that's the last one. And yes, there are 18. I will leave a link to this article below so you can go look at it and read them all at your leisure. Number 18 here, we're working as a hygienist. There have been so many times when I go over a patient's medical history and the list of medications, they say no changes. And then the doctor comes in and they go, oh, I had a heart attack last month or oh, I just had my hip replaced and the doctor looked at me like I did something wrong. So this, I think probably every med student or anybody who presents to a higher up person like an attending physician to a resident she can't tell you how many times in med school and residency I went in to talk to a patient. They gave me a whole story and then you bring the attending physician in and then the patient just decides to open up and tell them everything that they didn't tell you and it makes you look so dumb, but this happens so often. I have no idea why. Maybe they just think med students are like, whatever, I'll tell the real doctor everything. This always happens and it makes you feel like you're like this big. Anyways, hope you all enjoyed these. That pretty much sums it up. Again, I'll leave this link in the description below to this article. You can go check it out. And as always, make sure you smash like, subscribe button, follow me on Instagram and TikTok if you don't already. Follow me on Chalini Rounds podcast. New podcast every Sunday on Apple iTunes and Spotify and wherever you listen to podcasts. So check us out there. And as always, I'll see you in the next one. Bye.


Welcome to module 16 of point set topology course. Today, we will discuss once again about interiors, derived sets and so on, just like whatever we have done for closures, etcetera last time. Start with the topological space X, A and B be any subsets, then the following three statements are true about the derived set. A contained inside B implies L A is contained inside L B, the derived set of A is contained inside derived set of A. The derived set of the union is union of the derived sets. The derived set of the interaction is context contained in the intersection of the derived sets. L of A intersection B is contained in The proofs are all straight forward, more or less similar to the corresponding statements for the closures. So I will leave the proofs to you to write down as an easy exercise. There is one more remark, just like in the case of closures, if you take infinite union, then only containment will be there, equality in this number 2 will be replaced by containment. The derived set of an infinite union of AIs is contained in the union of the derived sets of AIs, okay, so that can also be done. So now let us go through another important auxiliary result about, of course this again in terms of closures and so on, but this time it is about the so-called nowhere dense sets. Later on this we will use in proving some major theorem about metric spaces, right now this is in a general topological space. This theorem gives you five equivalent definitions of when is the meaning of that set is nowhere dense. The first statement I have included as 0 here, so 0, 1, 2, 3, 4, so there are five statements here. Start it is of set A, X minus A bar is dense in X, of course A bar being closed always, X minus A bar is open that part is easy. So the first statement here is X minus A bar is dense in X. The second statement is interior of A bar is empty, this was the statement for A being no where dense, the closure of A should have interior empty. Third statement is A bar does not contain any non-empty open set in X. The fourth one which is third here in A, each non-empty open set X as a non-empty open subset disjoint from A bar, A bar A is given, so this all statement about A bar or A, each non-empty open set in X contains a non-empty open set disjoint from A. So all these things are equivalent but we shall prove it in a systematic way, in an economic way by proving 0 implies 1 implies 2 implies 3 implies 4 and then 4 implies 0, okay, so that is the plan. So 0 implies 1, the 0 statement is what? X minus A bar is open and dense in X, okay that is the first 0 statement, look at interior of A bar, okay, interior of any set is an open set, so interior of A bar is an open set and it is containing A bar, therefore it is disjoint from X minus A bar itself but then X minus A bar will not intersect that open subset, okay, that means it will not be dense unless that open subset itself is empty. So X minus A bar is given to be dense, follows that interior of A bar which is disjoint from X minus A bar must be empty, so interior of A bar itself is empty, okay, now assume the statement 1 let us prove 2, okay, so every open subset of A bar is a subset of interior of A bar, right, so interior of A bar is definitely non-empty, interior of A bar, so first statement we have proved that statement 1 is interior of A bar is empty, A bar does not contain any non-empty open subset in X, each water out show, if it is a non-empty open subset it will be inside interior of A bar but it is empty, so that is proof 2, okay, 2 implies 3, similar if it is a non-empty open set in X, look at G1, it is equal to G intersection X minus A bar, this is an open set, it is an open set, this will be another open set, it is an open subset of G, since G is not contained inside A bar, nothing is contained inside A bar, open subset are empty, right, so G1 must be non-empty because if it is contained inside A bar then this would have been empty, non-empty there is something here, okay, so G1 is non-empty, now 3 follows because G1 intersection A is contained inside G1 intersection A bar, okay, G1 intersection A, whatever it is, is contained inside A bar, so that is, that implies the fourth statement here, 3 implies 4, 4 statement is each non-empty open subset of A contains a non-empty open subset disjoint from A, something is disjoint from A bar and disjoint from A also, okay, finally assuming this statement I won't show that X minus A bar is open and dense in X bar, open part is obvious, I will show that X minus A bar is dense in X, that means take any open subset it must intersects X minus A bar, okay, something intersects X minus A bar if it is not contained in A bar, okay, take any open subset it will, each non-empty open subset X contains a non-empty, there is another non-empty open subset that disjoint from A so that portion will not be contained inside A, so it will not be contained inside A bar either, okay, so these terminologies are just, you know, tautological one, but what is the point of doing this one? Suppose you want to deal with a non-arid ensign, then at a particular place you may be using this property, this property, this property, any one of them you can use and sometimes using just this much is easier whereas using this one will be easier at some places and so on, so this is this fifth one, fourth one which looks somewhat tedious one, okay, this is what is going to be applied when soon we are going to use it in proving Bayer's category theorem, so we come to the theorem in the metric spaces now, actually a metric space a subset A of X is nowhere then in X if and only if each non-empty open set in X contains the closure of an open disk disjoint from A, now because we are working in a metric space now we can talk about disks and disclosures and so on, okay, just now what we saw is if A is nowhere then set every non-empty open set contains another non-empty open set which is disjoint from A, every non-empty open set in a metric space contains a closed ball of some positive radius, any ball of positive radius, okay, it is the closure of the open ball, right, so that is what we get now, so start with a non-empty open set, okay, which is disjoint from A, inside that open set take a ball, okay, such that even the closure is also contained inside that, that you can do because once you start with an open set, open ball inside that you can take smaller and smaller closure balls, okay, so this comes very easily but this is what we are going to use later on, so I repeat this one by statement 4 of the previous proposition, G is a non-empty open set in X, it contains a non-empty open set G1 disjoint from A, choose an X in G1 and R positive such that Br of X is contained inside G1, then Br by 2 of X is contained in Br of X, not only that, its closure is also contained in Br of X and this Br of X does not intersect, so you just remember that interior of A bar being empty is the definition of non-empty open set because of the above theorem, any one of the five conditions can be taken to play the role of the same thing, which is what I have already remarked, okay. Now coming to the metric spaces, we have a few remarks to do about sequences, okay, start with a metric space, okay, take a subset X, okay, take any point, this X will be inside the closure of A, if filled only if you can find a sequence X in a point inside A such that the sequence converges to X, okay. The second statement is the point is in the derived set of A is a limit point, if filled only if there exists a sequence X in of distinct points in A such that X and converges to X, okay. The difference between these two is that in the first part you can take some constant sequence of X and X and X and X and converging to X, so X and X and X and X, so that is not allowed here, if X, X, X, X is a sequence that is always converges to A, that does not mean that X is inside LA, it may be just inside A, that is all, okay. So LA is cluster points have special property, so that is this one, there must be distinct sequence of distinct points such that the sequence converges to X, okay. So let us see the proof of this one, start with a point in the closure, one way up, okay. For each A in inside A, we know that if you take B1 by an X, the ball, open ball of A is 1 by N, intersection A must be on empty because X is in the closure. Therefore, you can pick up a point X and inside this sequence, inside this BN intersection A, so this will be a sequence in A, but the distance between X and X will be smaller and smaller, 1 by N, right. As n tends to infinity, this will converge to 0, so X and converges to X. The converse that if there is a sequence converging to X and the sequence is in A, then it is inside A bar, right, this we have seen several times. Now the second part, suppose X is in the, it is a cluster point, it is a limit point. We know that Br of X minus X intersection A is non-empty, for all R positive. Start with R, no R equal to R, not equal to 1. Choose X1 in Br not of X, not equal to minus X, not equal to X. Take a point X1, not equal to X, but inside A, okay. Look at the distance R1, namely distance between X1 and X divided by 2, R1 is the distance divided by 2. Inductively having chosen Xn in Br N minus 1 X minus X intersection A, as soon as choose Xn, look at this number Rn equal to dxn to X by 2, okay. Use this Rn to choose the next xn plus 1 and so on. Okay, once you choose X, now X1 is like this, X2 will be chosen inside Br1 X minus X. So, the distance between Xn plus 1 and X, okay, goes on, you know, each time the distance is less than, see R1 is something whatever, R is something R0, R1 is distance will be less than R0 by 2. Next will be R1, R2 will be R1 by 2 and so on. So, Rn will be less than R0 divided by 2 over n. So, that will come to zero, okay. Why this decision? Because look at this one, X1 is somewhere but X2, X2 will be inside, okay, inside this distance. So, distance between X and X1 is R1. Distance between X and X2 will be R1 by 2 or smaller. Therefore, they can't be equal. So, next one which we choose, its distance between X and Xn is smaller than all the earlier distances, okay. Did you say, you know, this is a distinct sequence of distinct points, that is why, okay. So, you can write down the converse of this phenomenon, it is very easy anyway. So, let us go to some functions between, you know, metric spaces, algebraic spaces, first of all and put them in the proper perspective now. Start with f from X tau to Y tau prime, set the function, okay. Then f is continuous, it is one statement. The second statement is, for every subset B of Y, which is closed in Y, inverse, f inverse of B is closed in X. Remember, what was the definition of continuity? For every open subset U of Y, f inverse of U is open. That was the statement for continuity of this one, that is A. So, B is open sets are replaced by closed sets. The third one is even much better. For every subset A of X, f of the closure of A is contained closure of f A. So, this is a forward statement. A and B were backward from starting from subsets of Y, you get something about conclusion subsets of X. Here it is everywhere wrong, okay. D is also superb in the reverse way. For every subset B of Y, f inverse of interior of B is contained interior of f inverse of B, okay. These are all equivalent, just means that you can use any one of them, by any three of them or something, to defy continuity of a function from any tuploid space to another tuploid space, okay. That is the statement. So, let us look at the proof of this one, which is not all that difficult. First, let us prove A and B are equivalent. This is just by demarcation law.  X minus U inverse of A is nothing but, okay, sorry, this is inside Y number I am talking about. Y minus B, f inverse of Y minus B is same thing as X minus f inverse of A. So, closed subset is a closed subset. So, you just use one way A implies B implies A, because you know complement of A closed set is open subset and f inverse space very nicely under complement. Now, let us prove B implies C, okay. Take random for B and now let us prove C. C is what? Start with any subset A, okay. So, what you have to prove? f of the closure is contained in the closure of f A, okay. A is always contained in f inverse of f A, okay. F A is contained in closure of f A, therefore f inverse of that is contained in f inverse of the closure of f A, okay. Now, closure of any set is closed. The condition B says f inverse of that is closed. Therefore, A is contained in this closure, contained in this closed set. Therefore, A bar is contained inside this set, okay, because closure of A is the smallest closed subset containing the set given A. So, this is a larger closed subset. Closure of A is the smallest closed subset of A. So, this one is contained here. But this is same thing as if you put f here, f of closure of A is contained in the closure of f. C implies B is what I want to tell you, okay. So, start with any closed subset of Y. By C, we have f of closure of f inverse of B, you do not know what it is, okay. Closure of f inverse of B, f of that is by definition contained inside by condition C, closure of f of f inverse of B, which is nothing but contained in B. So, this contains closure of B. This one is contained closure of B, okay. Now, B is closed. Therefore, this is B, closure of B is B. So, f of the closure of f inverse is contained inside B, okay. This means that this closure of f B is contained in f inverse of B, okay. But then equality holds, okay, because f inverse of B is smaller than the closure. So, they are equal. But then equality holds, okay. And hence, f inverse of B itself is closed because this is a closure of that, okay. The proof of the last statement is almost similar against something like De Morgan law you have to prove. So, I will leave that as an assignment to you. Namely, f inverse of interior of B is contained in interior of F B, okay. It should not take more than two lines. You should write down, okay. So, here are some exercises A equal to 1 by n and 10 equal to 0. Take this subset 1, 1 by 2, 1 by 3, 1 by 4, etc. They include 0 also under the usual topology of compute A bar interior of A, boundary of A and L of A, okay. So, this is an easy exercise. Similarly, there are some more exercises here which you can take. Now, there is also this keratosis closure axioms, form of four axioms for interior operator, obtained topology associated trade. And through that, the operator coincides with the usual operation of taking interior, similar to keratosis closure axioms, okay. So, let us stop here today. Next time, we will study more examples. Thank you.


OK, I will go quickly to the oil palm sent in the landscape based a bit on the guidelines that Anja provided us. Well, the whole idea with this sent in the landscape, which is another of the thematic sent in the landscapes, which is a bit not quite, it doesn't necessarily adjust to the concept of sent in the landscape. So in our perspective, this is more of a network of oil palm sent in the landscapes, or landscape where oil palm is the main dominant economic activity that is shaping the land use trajectories of this landscape. So I think that's a bit the way in which we have been trying to understand and also the way in which these different landscapes that relate to global value change and how is that these global value change are putting pressures or opportunities to land use dynamics in the landscapes. So we were exploring to what extent this was possible, but I think it's important to say that at the beginning very much of this idea was to try to embed our process of data collection and analysis within the other sent in the landscapes. However, we have faced different difficulties in the sense that the different sent in the landscapes, they have defined the boundaries of the landscapes with different ways. The timing of starting the work in the different landscapes has been different. So we decided that we were going to initiate our activities of setting up our work, defining our boundaries, and then try to relate with the activities of the other sent in the landscapes. I think we have been able to do that in some of the sent in the landscapes, mainly in Borneo, Peru, a bit in Cameroon. But also what happens is that we have to expand our network of landscapes that we were looking at, because not all the sent in the landscapes that are looking at oil palm. So the main justifications to start this work and how is that this idea was a bit accepted by the whole group in starting this activity was that oil palm is one of the major drivers of land use change and in the tropics. So it was good to have a more closer understanding of these dynamics and their impact across different socioeconomic and institutional context. And our main focus is on assessing the expansion of these dynamics. So we have been focusing in six landscapes where there's an important expansion of oil palm and one important perspective that we want to contribute to the whole discussion of oil palm because I think every week there's a new report coming up on oil palm with opinions about what are the impacts, implications and what should be done in order to regulate expansion. So we wanted to give more empirical data or provide more empirical data to this discussion and to bring a much more nuanced perspective about what expansion of oil palm may mean in different contexts where we have different political economies, different histories of land occupation, different market opportunities and different biophysical conditions. So it's much more nuanced perspective about the trajectories of oil palm when oil palm moves from Southeast Asia to another context. And as you see, well, but mainly main oil palm expansion is concentrated while in Malaysia they moved to Indonesia, big expansion in Indonesia, but also investments were flying to Africa, Central Africa, West Africa and a bit of expansion in Latin America. So I think that brings more opportunities to start thinking about what the expansion of global value change of oil palm may mean in the different context. And but still the consumption is concentrated in very few countries, no India, China. Domestic markets are quite important, not only for Indonesia, but also in the other countries in Africa, in Latin America, very much in Latin America, the expansion is dominated by domestic markets. And what also you can see is that the dynamics of prices, international prices of oil palm that they really have pushed the expansion of this crop, but also there is this decline in the last year. So we don't know exactly what this decline is going to mean in terms of how companies are going to manage their investment strategies, the stocks, et cetera. So I think it's still an interesting timing to keep understanding about what are the implications of oil palm. So we selected seven landscapes. This has been a bit an opportunistic selection of landscapes, a bit based on what the other groups were doing, and as I said, trying to build on that work. So we choose the Sumatra, Borneo. So we are working in Iscalimantan. We are looking, linking with West Calimantan, the center in the landscape that Ips is coordinating. And also Cameroon in Central Africa. And we did some work in Nigeria as well, because Nigeria is an important country for expansion on oil palm. And we started to explore dynamics of oil palm expansion in some countries in Latin America. So very much we focus on Peru, in the Peruvian Amazon. Then Colombia. Colombia is an important country in Latin America because there's much more development of plantations of oil palm in that country. And also we started to look at Brazil because there were big plans for expanding oil palm in the Northeast part of Brazil. So the government was talking about expanding to million hectares of Brazil. So we started to look at that. But however, we have been doing, and I will talk a little bit this afternoon about these more data collection in Indonesia, Malaysia. Well, I forgot to mention Malaysia, Cameroon, Peru, and Colombia. So we have not been quite active in Nigeria. And in Brazil, we are still struggling in the sense of building a formal process of institutional linkages with Embrapa in order to conduct this work. But that's moving forward. The questions that we are trying to address with this work are very much for, what's the role of oil palm in shaping local and national models of economic development and the impacts of that time, and also what is the role of policies and corporate strategies in shaping these developments. Another question that is very much phrasing also our work of data collection is what are the implications of different business models. We have seen from Malaysia, Indonesia, and then expanding to Africa and Latin America that there are like four or five main different business models that are shaping this development. So understanding these business models and the impact is quite important from a policy perspective. And then we are also exploring what are the different policy responses that countries, corporate actors are putting in place in order to influence or to reduce the negative impacts of these expansions and how to move more towards more inclusive business models. So the outcomes, or how do I see what the outcomes are of this work? I think there's a lot of opportunities to feeding into national strategies for development, sustainable oil palm in the different countries in which we are working. Of course, there are more opportunities in some countries than in others. But I think there's a very intense debate in all these countries and governments are putting in place or promoting multistakeholder platforms for starting this discussion on sustainable and inclusive business model for oil palm. Also where I see the opportunities are in this providing information and knowledge to the learning networks. So there are learning networks that are expanding in the countries. And I think we are trying to feed into those. Very much from this perspective of understanding implications in different contexts from different business models. And another perspective that we are exploring is how to interact with very specific, private, and public initiatives in order to regulate oil palm expansion in a specific context. And that's the case of East Calimant, for example, where we are developing much more efforts to link with specific activities or initiatives at this subnational level. In the way in which I understand the oil palm scent in the landscape, and as we're saying, it's more a network of oil palm scent in the landscape, it's more a platform for collaboration. So we have started to build links with C-Cafs, mainly with Flagship 3, which focuses on mitigation. And in order to understand what sort of institutional arrangement should be in place to govern the expansion of oil palm or to improve the impacts of oil palm. And we are focusing this work at the subnational level in East Calimant in Indonesia. Also, we are linking to some other initiatives like the CSL Sustainable Oil Palm Platform, which is more focused on disseminated information that is available on oil palm. And then we have developing also efforts to link to the global level through RSPO and to feed into the discussions of RSPO about inclusive business models. And then also looking at linking to national processes. So in some of the key countries in which we are doing our work, we are linking either with governments or associations of oil palm growers to inform these processes of debate about options for sustainable oil palm. Our team has been quite active in Cameroon in developing this national strategy for sustainable oil palm development with the Ministry of Agriculture. So that strategy is there's already a document that's on debate. Also, we are linking with this working group on the Indonesian Sustainable Palm Oil Platform that has just started two months ago in Indonesia. And also, we are linking with the Feder Palma, which is the Federation of Oil Palm Growers in Colombia, with Sandy Palma, which is the Institute for Research on Oil Palm, in order to look at what are improved options for alliances between companies and small holders. So we are trying to do work across these different levels and also to promote some sharing of lessons. And finally, the efforts or how do we see that this work could expand to the future and in order to bring complementary resources? We have got a proposal accepted by the Swiss National Science Foundation that we developed with ETH, WWF International, and offices in Colombia, Indonesia, and Cameroon, and some national partners to start looking at scenarios for future of oil palm development in the countries in which we think that there are more possibilities to engage with national institutions with our Indonesia, Cameroon, and Colombia. So we are going to start this project next year for the next six years. And then we started to link more actively with the team working on markets in aircraft and biodiversity. And we come up with one of these ideas for future funding under the Sentinel Landscape Initiative, which is looking at the impacts from global market forces and interventions that support sustainable business landscapes and livelihoods. And in addition, we have several other small projects supporting this agenda on looking at oil palm development and replications. I think this has been a way, as I was saying, to bring together the teams working on oil palm to come up with the network and platforms. But this work does not necessarily include all the work that the centers, members of FTA, have been doing on oil palm. I think there's much more that has been done, and there's also much more need to integrate that work that has been done outside of this small initiative, I would say. Thank you.


okay so all of them now is I've got two of these transformers you see so I connected up each transformer for two seconders into parallel rather than being series so I've got 24 volts one of the reasons why I was using that was in order to so I didn't go over the 48 volt that you could end up with like 70 some of volts DC which was too much for this but at 24 volts coming out you see I've got like sort of 36 volts open 32 volts 33 volts with some load on it so that's well within the range of this this booster and 260 volts into that but of course then they're still lacking a little bit on current because those chips there even a single chip I've had it running just under five amps before and there's two chips there now two transistors and we're not even drawing five five amps yet so I wound up I connected the second ones to two seconders into parallel as well and then I connected the two transformers together in parallel so we've still got the 24 volt AC but we've got all the current each winding's got 3 3.3 amps on it so just a little over 13 amps available now which is much better so and it's all just connected the same way again this still just goes into the bridge rate to fire that's good for 25 amps into these a little capacitor bank I got a discharge resistor there and then from there of course just out of here into the booster booster too and got the same we've got this on here so you get to see what's coming off this and on here we've got the output of the booster so I get to know what's going into this as well as it says on here but it's nice to see over there just in case there's anything go into dodging and of course the two power inputs because they're in parallel too because you can have it you can parallel these up and have it for 110 volts oh I said that right yeah yeah yeah because I put them in series it's in series I've got two inputs the primaries are 110 volts and I've got them in series so it does 240 volts you know in the same for there and they're just connected again in parallel and so paired into the um connector block there which has got the fuse and everything that I've not grown in in rush let me throw on it at the minute because I've got one I just couldn't be involved to put it back on yeah sure are we all right so I'm gonna turn off this lamp and move it out of the way just have a little quick demonstration let's get that lamp out of the way okay so we've got 35 volts uh volts sorry 58 uh quite good isn't it oh it does as well I think you can see that okay uh we've got 58.1 on the input it says there so okay that's just there it's just going to be a trial run now it's not going to be trying to push it to its limit or keep it personal twice should get a breakout round about oh no you've got the scope on a minute this is all been working okay so we've got the leds on they break out from 14 volts now 15 volts 16 there you go 17 volts a bit of a breakout and up here it's about 30 volts or something okay probably just die a little bit if we're up away just don't need to turn the wire just to stay out of the way a little bug me now that will excuse me looks more powerful it does so okay well you got nearly three and a half ounce and then 20 uh two watts 38 volts we've still got some voltage so we can go up so around 40 volts now that's 150 watts 42 42 volts 45 volts so we're still just growing that 200 watts but no worries about anything messing up backing up just looking through the check on temperatures and again the little dp 50 15 they need to fluctuate the fan doesn't even come on because there's not enough going on it's actually cold it's not got any warmth yeah they're still cold a little time a bit of warmth no no no i'm not gonna say that because they're cold to the touch like touch the cold bit of metal and that's just room temperature really okay still the same sort of setup but i stuck this on this is a a vitamin tub i just wrapped it up in tinfoil so uh let's do the output let's do the oscillation over there a bit of break out 0.7 amps okay imagine it's probably getting quite warm here here's start to turn it down cast in 230 watts i'll just show you that seems to work all right and this seems to be uh certainly working okay as well i got a little bit of a puzzle i wonder if anyone can help me out here fan from out of a computer power supply that's connected up to this power supply here this power supply runs off my batteries yeah so it just goes through to the charge controller down below the desk to the batteries nothing to do with this ac circuit any of this nothing to do with it completely different thing this is wide to the mains through the boost through this and this is to the batteries now watch this look let me just uh let it go in so we've got oscillation right um run 12.6 volts over there i hope you can see that's a bit rubbish isn't it that's really bright yeah um okay so 12.6 volts there right now i'm gonna turn this up so we got this little oscillation listen to the fan say that down as i go up and it goes down in voltage and it still goes down in voltage i'm not drawing any more power or doing anything strange over there 236 watts is just curious that's the way that does that how strange just uh a quick a quick one just to show it can get um 300 watts here's my fans winding down got a breakout low 300 watts just over six amps at 50 50 volts you can have a look see what it's like when i try to pull some plasma from it i'll take it up full blast


Layer, layered photoshop style, I f*** off! Oh yeah, what's up guys?  I'm back with you guys today! I got free stuff! Yeah, it's becoming a theme, isn't it? Guys, a lot of people in my previous videos have asked for templates that you can download and edit and make your own, kind of like American Idol. Well, whatever guys, I'm delivering them for you. More importantly, the freedom partners in the freedom community are delivering them. I've done a lot of intros, those are free to download, links in the description below. But a lot of graphic guys and video guys have come to me in my videos and sent me templates. So, here we go guys, these are for you. I've got permission to use them, you've got permission download them, link in the description below. They're yours, take them! Now, the first set of templates are YouTube banners, they're Minecraft themed, that's why they are strictly Minecraft themed, and they're by Gizmo. Let's talk about Gizmo! That's right guys, Gizmo's given me two more banners! That's right, he gave me two yesterday, probably the day before, and I made a video about them and they're awesome! They're like extremely high quality, there was a lot of great comments about them. They're also downloadable, but these two are Minecraft themed. The link to the theme, the link to the banners is in the description below. All you gotta do is click on it, go to the folder and download them. They're yours! Now, here's the thing, there's two types of files. There's photoshop documents or .psds, if you have photoshop or GIMP or another photo editor or graphical editor that allows you to work with layered compositions, download that, input it in there, change your name, change your twitter handle or your twitch handle, whatever it is, and just make it your own. Alternatively, there's also png files which you can download that has the transparency, so you're just going to see the parts that are there, and more importantly guys, you can actually edit those in an online editor, an online graphic editor like pickmonkey.com. One of the guys in my last video suggested pickmonkey and I've used it a lot and he gave me a great idea that I'm going to show you how to do that for those of you that want to use these types of backgrounds, but don't know how to do that. So keep in mind guys, the photoshop documents there, the png files are there, if you don't have that software but you still want to use it. A tutorial is coming up, maybe tonight or tomorrow morning, guaranteed. Alright, let's talk about guy number two. Alright guys, the second set is by Treet Studios. He's provided me with a different theme. His is the Call of Duty FPS style in particular Black Ops 3, but he's got some awesome stuff going on. He's given me a twitter header that you can download and change and edit just as you see fit, which of course I'll give you the psd and the png depending on your skill set. And he's also given me thumbnails, two different types of thumbnails, multiple colors, extremely high quality and they are awesome. You will see them behind me. Those are also downloadable.  As I said in the past, these are free. They are free for all freedom partners. You have to pay nothing. All you gotta do is click the link and take them guys. We're trying to bring your resources. Now, like I said in my last video, always keep in mind that the best stuff is always your own stuff. If you know what you want and you know how to make it, do it guys. Nothing, you know what you want on your channel. Your imagination runs. But for those of you that are just starting out or maybe don't have the graphical editor skills yet, these are pretty good here to go. In fact, they're extremely high quality. So feel free to use them if you want them. If you don't pay, no big deal. I'm coming back later with a lot more templates. A lot of you guys actually sent me a whole bunch of things that I'm just going through my emails now. So this is going to be an ongoing thing. So I'm going to be providing all sorts of files for you to download, for you to use. Lastly guys, keep in mind I said I've got a tutorial coming up. If you don't know how to use Photoshop or Gimp or any of these layered editors, I'm going to show you a workaround or a trick to download these types of things and still get your name and all that stuff in there without having the software. That's coming up. Next guys, keep sending your stuff and be awesome. This is your boy, Bigsy. Check it out. Bring in the free stuff. I'll see you on Monday with a featured on freedom and that upcoming tutorial.


Now, hello and welcome to the round table on the topic of personal stories and your subjectivity in theatre. We are today with a group of mostly younger artists who has provided us with the core selection of this festival this year, which is almost all of them are one-on-one performances, which somehow question the relationship between one audience member and one narrative they co-create in a kind of mutual space. The performances, although sometimes short, are on the edge of experience more than the spectators' gaze, which provides a new, I would say, a sort of active gaze or more participatory audience member who becomes a subject of the performance as well. With us today are Joe Benham from the UK, Maria Musia Cruz Correa from Portugal, a Belgian based artist, Harry Jadals from the UK, Javier Popes from Spain, Janek Torkowski from Poland, and Gergely Wudas and Adelina Nica from the group Silver Based in Austria. So because of the very fragile dramaturgy of all of the pieces and my, I have a very big fear that I will spoil anyone's experience in the performance. I think it would be the most appropriate to start around by introducing the artists and the projects in the sense how much they're willing to share of the performance itself. So maybe we'll start with Maria.  The idea is that you somehow disconnect with your material capitalistic form of living and we dream about a new future after a post-apocalyptic scenario, which means that the city got totally flooded and you have to reimagine how a society will be built on the water. So you give time to think about how maybe a political system will be installed if it will be installed, if there will be leaders removing this new society, if you would be able to find water or food to survive.  So this is what is about performance. So I'm Harry. Hello. My performance is called What We Old and it's about debt, obligation, owing. And it takes the form of a, it's a conversation, it's a conversational performance and it takes the form of a mock debt counselling service. So we talk through the debts, the obligations in the participant's life and then try and make a plan for dealing with them or trying to forgive them if we can. It's about 15, 15 minutes to 30 minutes depending on how much you want to talk. And yeah, that's it. Hello. So we are performing for SIP Fugitive Dance Company. The piece is called Island Dance with you at the end of. It's been created in 2014. It's been performed in more than one festival. And this piece is kind of a self reflection where one has a chance to experience oneself in a way one would not expect. And I'm trying to not do too much spoilers here but it does involve a bit of dancing, a bit of communication. And it depends very much on what our viewer brings us of how each performance turns out to be. Around 15 minutes. I'm Jo and exposure. I'm probably going to give you some spoilers, so sorry. The performance takes place in total darkness with a few moments of exposure or illumination, moments of light. And in the work I'm interested in how we look. So physically the mechanics of how the eye and the brain work but also how we look at each other, how we are looked at and what the difference is between looking and being seen. And so the darkness feels very important in that respect in that there's a provocation from me in the work about how we might see each other in a non visual sense so if we remove light, if we remove visual information then maybe that's the way that we see each other more clearly. And it's very, very short. 9 minutes. I'm the quickest. My name is Ciali Mborez. I'm coming from Spain. And the show is called Things Is Only Forgotten. It's a show for five people, 75 minutes long. And it's a show that I don't talk about it that much but it's about little things that surround us in their everyday life and will take that much attention in their history, in Spain but the thing that they are universally from anywhere and also linked with lots of pictures from a period in Spain that was really important for us and that it's still going on somewhere. I'm Cianek and I just bought some films on the flea market some years ago and I started to dig into this material and the show is around one hour for 15 persons and it's telling about this curiosity, about another slight difference what we could find there and why we dig for it what is if we meet the person in person after this experience. So I think that's all about it. Maybe I would start it also until we start the discussion somehow to see because this solo show now I see that it's one performance and then there's some more exploration pieces for the small number of audience but what was interesting for me was to see was that aesthetic need to do this sort of a situation or a production need because it does something interesting to the production value in a sense it's easy to travel but then there is no additional value to it and how does this combination especially in a festival kind of situation allows you to co-create this series of the audience and how did you actually, well the most bottom line maybe is how did you develop the piece and how did you and why did you exist in this specific situation between you and the audience member. I started making one to one performances because it was cheap and I had no money and I couldn't find any money it's actually, it's cheap in materials and very expensive in time so if you're willing to exploit yourself or you're in a situation where you cannot find good pay then it works very well and I also keep pursuing it because there is something inherently absurd and impossible and one to one performance refuses market dynamics because you cannot sell it, it does not function on ticket sales if you want to be paid it has to be funded because you cannot do enough performances to afford it so I enjoy this aspect of it that it is economically ridiculous so that says something about what art can be but then for this particular performance I wanted to make something about debt and how the idea of debt structures our lives and our thinking especially in my experience especially in historically Christian societies Christianity is a debt based religion very much there is a significant philosophy of debt in the Bible in Scotland the Lord's Prayer the big prayer in the Bible it translates differently in different places in England the English Bible translates forgive us our trespasses as we forgive those who trespass against us in Scotland it's forgive us our debts as we forgive our debtors so debt is a structuring idea this idea that you are always obligated to other people and that you want to own something or you own people and I think that structures how you think about things but also in the Bible I'm not a Christian by the way I grew up on a very small and very Christian island so I was kind of immersed in this the Bible is full of this idea of jubilee it's this philosophy in the Bible that regular periods people's debts would be forgiven and now we live in a debt based economy but we have no jubilee and jubilee was originally part of the functioning of debt in society but now we have no jubilee so everyone is just in perpetual debt anyway I wanted to make a performance about debt and about how debt influences our lives and I could not find a way of doing that in a performative big audience way it had to be a small conversation or I could not get the material I wanted to get to so that's how it became that in my case I do not only do one performance but most of my work is based on environmental injustice so in some way I'm trying always to find a new medium in order to bring change into the spectator when you work with a bigger audience it's difficult to have like a dialogue in depth with a participator so the format of one-to-one for me in this case was important because the construction of a new future it should be like a very intimate moment where a person can actually feel humble and exposure his most secrets about himself and also how he's confronted with society and what would be somehow the thing that he would miss if he would not be there anymore so I think the format of one-to-one in this case it's particularly important because of the conversation that gets into a more deeper level and also because I'm working a lot on individual change because I believe that it will do all change to matter and I feel that in this way if we work with one-to-one it brings even more opportunity to raise these changes in between people so first of all I'm not sure I can give a perfect answer for this because we didn't create this base so it was created by our director, Silke Gavigan and I can share what I remember of what she told of the creation and the first thing I do remember is that she wanted to create something short and personal for one audience so it was a goal to create a one-to-one performance and the idea with the things that happened without spoiling too much was coming from the fact that she had a twin that she ate in her mother's belly and she never got to know but she had this feeling of there is another version of her which was part of it and the other part is the thing with the mask how these things in the... as you look at yourself as you look at yourself in a mirror image because it's not a perfect photo or something it's immersed and in this way looking at the person is kind of like me but at the same time it's not me but reminds me very much of me like a twin and to bring this in a very personal level would be the nice way to do it would be the one-on-one thing Well I would say that I did not want to make a one-to-one performance I mean for some of the reasons that Harry said it's very... so that's just a practical thing but I guess I also felt a resistance to the kind of presumed intimacy that that format often sets up and even though I am interested in and I think the performance is intimate sometimes I worry that it's too easy if you just have one audience member at a time but I'm always trying to circle the content until the appropriate form of the work until the work tells me what form it needs to be and in this work I was really just continually fascinated with the experiments of having an eye test in the opticians that you go into this dark room with a stranger and they really look at you or they really look into you but in this very narrow lens of medical examination but having been in those scenarios as a child how sort of thrillingly intimate they felt that you would have this stranger kind of brush against your face with this light so I suppose this was always this kind of vision that kept repeating so it had to be that, unfortunately Well, there were different things one is that I created the show when I was brought completely without... I had necks because of my last show so I couldn't work with anybody I did theater on my own and I rehearsed with the audience in three months I was rehearsing two weeks on my own one week with the audience and that was the way it ended then I worked with theater of options manipulated options and I never put work that much on the way I wanted because I like a lot working with little things but always you need like projections of the way of working with them so people can see it for once I thought, well I can do it in the way I want to do it and also the kinds of materials I really want to talk about it's about memories it's about what we have in our pockets so at the end I thought the simple way to do that it's like I thought it was at home with my friends and that's why I thought five is a nice number because they can sit around they can see me and it's like family for a race so at the end it was a coincidence let's make that very easy to rehearse, to create it and also to go around and for the show actually it's the way it has to be that so in my case it happened that I never before did such form like speaking to a small number of people I even didn't sign myself on the posters like Janik Torkowski because I always thought that it's not if you have different names and different names of the projects and so on but since this personal experience started to be quite intimate and strong on the line between the person who was an owner of all those films I started to feel that I need to give as well something from myself on stage before I didn't know that it will end in such format like talking to the people I thought it might be a documentary movie when I was recording all the meetings and so on and later on I figured out that it has to be some kind of a balance in this situation to pick up somebody's life on the film market and then you talk about this you make money out of that because it's a show you ask about this aspect so of course it's very easy to do to make somebody's life as an object to sell in a more avant-garde way but still you are being with somebody's private things and they just end it in this situation where I had to disclose myself and they felt naked at the beginning and so on but come on and then you're a folder guy and you can handle it that's the story I really like what you said about the exploitation of self because there is a nice binary that happens in the sense that you do a lot of labor and work throughout the day but in the sense you are exploiting yourself as much as you're exploiting your audience member and it seems that at least the performance that I've seen is one in one it's exploiting the audience to create your narrative in your sense I tried you with the material, the content of the debts with you to really go there and with you you ask at certain days to be watched so it seems that this is a creation of exploitation in the sense and the other thing which I would now like to open up is this question of intimacy because on one hand there's two people in a shared space especially because it becomes a little bit personal to the audience member but what I find a little bit funny is that you have the appointment you know, and especially you know that this is just your 8, 10, 20 minutes and yeah I like the complexity of it and I don't know how you feel about it it is a sort of fake intimacy that you have to chip in just in this very short moment in an optimal or just references really kind of grow there a good doctor's appointment well I'm also really fascinated by this kind of friction because it's both true and not true it is unique but it is also repeated and so and I guess I'm curious about this line of intimacy and personal, like these words creating intimacy, exploitation, personal and I guess in the content of my work I'm interested in how much can you be seen how much can you ask of someone and actually when is the kind of stubborn line that says this and only this or this moment and then it's repeated to someone else and what's going on and part of this too when I see long-term performance I have this desire for it to be for me and is that because we're living more often in societies where everything is mass produced or what I'm interested in from the audience and I'd like to hear from the audience later maybe what that desire is to see work in this format so I don't know, for me it's still a question I don't think it's as unusual as you might be implying I think our lines are full of this kind of intimacy I don't know, I have been going to therapy for 10 years I'm very used to the idea of paying somebody to pretend to be my friend for an hour and this is also what theatre is we pay to come and watch some people pretend to have emotions, that's it but I do not think it is a false intimacy I think this is the intimacy that is available that when there is a clear exchange it enables a different kind of intimacy a very bounded and regulated kind of intimacy to take place where the people kind of understand what is happening this is why people visit sex workers because they can have a bounded sexual experience where they know what is going to happen and everything is decided in advance well, it's been more complicated than that but yeah, in my performance I've seen a lot of one-to-one performance where there is hugging or lying down I like this stuff where people are really trying to really be with that and I think this is already absurd we know that this is a fake situation we know this is a repeated situation all situations are fake love is fake, romance is fake so in my performance I begin by trying to create a kind of barrier so I do not look like this I'm wearing a suit I'm not talking like this I'm talking in a very serious British accent kind of conveys authority so I'm trying to be an authority I'm sat behind a desk I'm creating this barrier because if I put an authoritative barrier between me and the audience member then across that barrier an actual conversation can take place they can trust me and we have acknowledged that the situation is absurd we have acknowledged the situation is fake and once we have done that then we can have a conversation I'd like to speak just for our performance now because I think that our performance when you come in like I don't want to spoil it but when you come into the room I think you kind of forget that this is an appointment because it can become very very intimate and very emotional and I think for most of our audience members they're just living in the moment and they kind of forget what's happening outside or at least that's how I see it because for me the most interesting part of this one-on-one performance is that it's so interesting because every time it's totally different and every time as performer you have to react on what the audience is giving you and every audience member gives you different things to work with and this is the most challenging part for me and also that in this one-on-one performance when you come as an audience member you kind of are forced to also react and to also participate in the performance which is not always the case because when you go to the theater you just sit there and watch the play and afterwards maybe you talk with friends or you just don't talk about it because it was shit or whatever but in all performance you kind of you have to do something and this can throw people off so they maybe are scared or they just don't talk with us but some people really open up and they can have a really emotional things and really awesome things that I think are like the core of our performance Just about this whole intimate thing that it's really... it gets just as intimate as as our viewer chooses to be and we've experienced both things when we really did exploit them as you said so we really took everything they give and created the whole thing out of it and there are those people for some reason they just sit back and they want to be as far away from our performance as possible to not be part of it, to not get intimate and then this is something where I guess it's kind of turned around that I feel like I have to produce something because I'm not getting too much and as she said it's really changing with each person that comes into the room of how much it's going to be I take from you what you take from me and how intimate or how personal you want your experience to become Just because for me it's like every... when the person comes into the room sometimes I feel the energy from the other person I immediately feel some sort of connection to the other person some it's just nothing it's just like a wall and they just look at me but they don't give me anything and that's so interesting because from the moment they walk into the room there is some kind of energy there or there is not and so I think it's a very interesting aspect I'm thinking about the use of exploitation because I don't totally agree on this word when we talk about exchange because for myself when I decide to take this position and do a performance one-to-one for me it's more as an exchange because when you decide to actually commit yourself for such an intimate moment and it's really hard work as we all know to work in depth with eight people per day but I don't think that we are exploiting each other I think we are actually exchanging knowledge and I would say that it's when the person also decides to spend half an hour with that person is a liberated choice and I think when we are sharing a sort of dialogue you pose questions but the person is also able to pose questions at least in my case in my performance so it's up to the performer and to the spectator to choose how they want to interact and what they would like to do when there is not really a script I talk for my performance I do have a sort of guideline but it's much more about what happens in the dialogue so the dialogue can be very fluid and we can actually go towards different directions and every person that will come it will be a different future and a different story so I would more, in my case I would not like to use the word of exploitation in any sense because I see it more as an exchange Maybe this is a good now way to connect with because we talked about the audience experience and how the voice, the performer's experience and what you do with the material that you have and collect through this all of this appointment and sharing it and that you need to do and do you break your present progress with the performance and more experiences do you get that or do you collect it for some other project or ways to make it more complex? I think for me from performance to performance I get more creative because I see what people could be willing to give me so I kind of react to that and it's just a game experience and I just get more ideas of what I could show them or what I could trigger them to participate in the performance game I'm an obsessive I'm a documenter of my work in general I just document obsessively so for this performance and it is part of the performance which for me it's not finished in the room I often have longer email exchanges with my participants if they want them because I send them a record of our session and then we talk about it so you can find them on the website you might try and print it out for the room I have these complicated reports of everything that has happened in my session with graphs and charts and numbers and all of this so I do collect all the information and anonymise it and turn it into reports of the performance so I do this but then the other thing that's going on it's to do with rehearsal and practice and what you were saying the longer I've done this the better I have got at it and the best performer in this performance is to as quickly and as effectively and as kindly as I can to get inside somebody and break down whatever barrier they have and open them up and hurt them and then heal them again, that is what I am trying to do in 20 minutes sometimes it works and sometimes it doesn't work it depends on the person but I have to understand who this person is what they are bringing to the performance and so I have got better at that over time and I can do that more efficiently but then when you get efficient at it you start also to get complacent so sometimes you can just go through the motions and forget to really pay attention to somebody and look in their eyes and think this is where I can reach inside you pull something I am sounding very cynical at these answers but actually I don't know you'll have to talk to people who have done this session I am kind and nice to people in a very silly way but inside I am thinking in my case it's a performance about that also brings the question about the relation between human and nature I think for me I am not really interested about the documentation of the project for me it's more about what happens to this person afterwards so this change that will come afterwards when the person leaves the performance and you'll think maybe later on in few aspects if it goes back in trajectory in the way that this person is relating to nature and how he is inserting into a capitalism form I would more think about what happened after to this person as a maybe documentation, walking documentation then for the documentation of the project itself I do record the performance but I do not use the footage in any way I think what I only do is that at the end of the week I kind of write down the things that had changed for me throughout that the people said to myself that somehow touched me and I could text out of it so that's how I kind of document the performance I think like Maria I'm also not interested in a way of documenting these experiences because because for me if it's working then it's working in that live moment and I love the ephemeral experience in my work I meet you once in a moment of light and that's what we're left with so this is like a camera flash and it lasts for a few seconds and for me that's what I take away I don't remember everyone's face but I kind of feel like well I feel quite privileged to have done this performance many times and had these faces appear out of the darkness and I used to give people a piece of paper where they could write back to me because there was this people don't speak in the performance it's quite choreographed and it felt like people wanted a way of replying and I think they might but for me I just wanted to be held in that live ephemeral non-held moment I try to work and I perform a lot also and it's quite long show and I work with lots of things I try to work for example as I'm working with things from Spain it's very interesting to see how I have so many things in common and I try to do that with the little movements that the little things give us so that's for me a nice way to communicate to the audience and that keeps me working like in Brazil that I do not do something mechanics because I don't have that kind of interactive relationship with the audience of course we talk sometimes some bits of the show but I work mainly I don't know not all of the show most of it is on silence I'm using really I have to be very attentive of what people are having emotionally and also what are they understanding from what I'm playing because I'm really playing with lots of little things so I'm giving them lots of inputs so I want them to travel the way I've been travelling around through the audience so I try to do it in a way that people can get with their child when you discover something because you're travelling or because it's first time doing something or because it reminds you of something so this is the way that keeps me working and also makes me want to do that again because it's really not to work I have to leave sorry I'm the first one doing this storytelling format which is in the form of home movie projections you meet with your friends and you perform in film and during this film you can talk as well but for most of the time I'm the one who is speaking but later on people have time to talk and very often we stay longer and then they share and this is everybody's photos, albums and so on so it's very easy to find something to give from themselves and during these last 7 years they gave me so many stories that I have an additional story later on to tell you talk about the TES you talk about photos, black and white photos so there are real stories from the audience sometimes using them as well as examples of something which I had in there in Berlin and other cities so they can feel that it's not that they are not alone in their experiences but it gives as well the feeling that we build society people who have a very sensitive memory and we are attached to some personal things in a certain way so I think this is what they give me what they give me always and I try to give it further during this meeting I just had this thought right now about documentation we do make a picture of everyone that we perform for and of course we use it for absolutely nothing and we absolutely don't publish it because I realized it became kind of a side dish if the performance is the main course my side dish is to just flip through these pictures as we are always a team but one performs one talks with the audience to clear up what's happening and at the moment now on the computer we have around 200 pictures and I flip through them and I remember I come with a different emotion a different memory and funny enough I do remember all the performances I remember if I talk to this person or if I perform for this person but it's kind of like an extra thing that I just get out for myself from this performance maybe I would open the discussion for the audience because I just realized that it's much more suited than this type of discussion so if anyone has a question I think it's a good time I would just like to finish this round with a question that was passionately answered it is for you personally what sort of an outcome are you wishing for for this performance what sort of a trigger you want to kind of evolve or what would you like to provide for your audience in a most ideal way I think it's about the change about the way we live with capitalism system and political system with how we deal with nature and how we are growing towards collapse if we don't do something to change now so I think what I aim with this performance is to bring somehow individual change but it's very subjective so this is my hope to bring to people and I'm very sorry but I also have to live now I want each audience member participant to be more awake to how the idea of obligation is structuring their life and the idea of debt is structuring their life I think most of the people I think a lot of people kind of walk around carrying weight of obligation like all the conversations I have with people are like oh I feel like I should be doing this for my mother and I feel like I should be doing this and I don't, I'm not politically involved enough oh I have so many carbon emissions like I want people to be a bit more awake about how obligation has structured their life and that I want them to feel a little lighter about it and my personal mission is to try and get people to forgive themselves for something I want them to let go of a debt I don't always manage this and sometimes they don't want to and that is okay but if they have not forgiven themselves then I at least want them to feel a little bit lighter about it although sometimes I watch and they look heavier because I've made them remember so I'm trying to make them remember and then feel lighter but sometimes they just remember and then feel terrible I think my main goal for the audience is just that they have fun and enjoy themselves and I want to give them space to do whatever they feel like doing and to share whatever they feel like sharing to become emotional to have fun to have a conversation and what I personally take out of it is I think every time someone opens up to you and just talks to you about their feelings you gain something whether it's in the frame of a performance or do you just talk with someone and I think that every performance I do I just meet another person and I get to know this person a little bit and I automatically gain experience from that and just by interacting with this person and that's what I find very interesting In my case this ideal impact on audience will be very banal very spiritual I'm trying to say to the people that all those documents all those photos and all those memories we collect they are just we expect that they will last forever or we will have 80 years old and we will sit in front of the TV and watch them once again and then remember stories and so on but it's actually very easy just to be away to be able to participate in your past so it's famous here and now it's most important and so on it's something about that I'm not talking about this in direct way but with many examples of the person who is attached to the memories and looking through the photos and he's obsessed as well with the documentation of dealing with it because once we need to leave this place for good and probably this exercise in theatre is sometimes quite good to imagine how it would be if we are about to leave I would say I don't want a particular outcome but I definitely have a particular request or provocation which is I agree to in that moment try and be there and be seen as much as that is humanly possible and there's the opportunity for that person in return to do the same and for us to see each other but I'm not really attached to whether that happens or not I like it to happen of course I think it's good to be seen but I think for me this is what we're always battling how possible is it to meet someone across this great divide of two bodies and for me it's as interesting when I notice someone holding back not wanting to look at me because this is also the outcome this is how it is to live in a body that has a skin membrane that keeps you solid so yeah for me it's about I guess Maria was talking about exchange I would also say like invitation here's an invitation to look and then dot dot dot yeah I'd like to ask since here in Romania and I can say in the region because I've been also working in Hungary these kind of very intimate performances are not that usual and this form is not that practical so I would like to ask what is your experience of the audience till now of an audience who is actually not used to this or most probably not familiar at all so we had two days so far and two very very different days I don't know if it's the time of the day that is different because we do perform at daytime this time or the region or the people if they are so used to theater and so used to sitting back but on the first day we did get very very surprisingly passive people and it was a real change to perform because it was you know like you we would have to get the information out of them with a full warm up we really need to treat them to be part of it and on the other hand yesterday was a completely different day where we had audience that was really participating who was active, who was responsive who was unexpected even so I did question myself is this is something to do with the region if the people are different I don't know like first day maybe only passive people want to get over it fast and then the more excited people want to get to the end I don't know what is the thing that changing what people come but we have two very different days we are also looking forward for today like the people of what they are going to bring us today it's not very accurate to your question because there was around 12 persons in the room so I did figure that they start to clap and it's not very often that it's normally they happen it happens that people stay inside but this time there was the beginning of the theatrical agreement that at the end we need to bow so I stood up and I started to bow and so on but I didn't feel very much different I felt that people were engaged into the story the same as everywhere so maybe it's more to whom perform one to one I would say I mean it's also I've only done two days so I'm interested to see how the week goes but I was thinking about this and whether this style of performance is as usual here as in I mean I would also say it's not very usual in the UK but it exists I guess I'm always excited when I think that someone is in the room and they don't know how to be maybe I'm more excited by the less nuanced theatre goer and because it's well not easier but it feels more possible everything's up for grabs so that tentativeness or worry or excitement is more kind of palpable I think in one to one performance there's often the idea that the audience because you're really visible often even in the dark you want to get it right you don't want to do the performance wrong and so sometimes that can make a kind of passive engagement and here I think maybe there's more people who don't know what the wrong or right way of being the audience is so for me that's more interesting I suppose but I don't know it's only day three so I've done this performance as well as here I've done it in Slovenia and in Latvia sort of experienced it in different cultures before and the first thing I found out is that British people are the most guilty so it is sometimes it is a little harder in Central and Eastern Europe because people do not seem to be as guilty all the time as British people are just walking down the street just loaded down with guilt all the time they're always feeling guilty about something constant guilt is something to do with our society the second thing is that I don't find these audiences harder to get participation from and I'm not sure why that is it might need to do with my performance which is actually a very familiar setting to most people because it's like visiting a bank manager or a counsellor most people have had a situation where they sit opposite somebody in the desk and have a conversation so the first sort of minute is often a little bit tricky but I can settle them down there's no conversation, there's no problem at all so I don't find any trouble in participation but the one thing I do find and I think this is because it is less common here than in Britain there's not that many people doing one-to-one performances but if you go to a contemporary performance festival in Britain there is usually at least one-to-one one-to-one performance I think in Britain I often encounter the kind of participants usually men who sort of sit down and they're like I'm going to do this performance so well I know what you expect and they want to trick you or they want to beat your performance somehow they're trying to win because they think they are experienced at one-to-one performances so they're trying to win this is the most annoying kind of participant but they're also the most fun to break because I'm like oh you're going to beat me I'm going to beat you I find a way to try and twist them and make them feel more uncomfortable than they expected and that has not happened to me in Central and Eastern Europe I think because the four men is less familiar but there's always one every day in Britain they're trying to win