God's beauty is all around us and my goal as an artist is to capture and interpret that beauty on canvas and to take you the viewer along with me on this painting journey. Hello and welcome to Painting Journeys. My name is Kitty Lynn Klisch and we're going to take a trip along the Mississippi River today. Have you ever been to the Mississippi? Well it's a beautiful place and I have some some nice photos I want to show you of my journey down the Mississippi. But first of all I want to tell you about what we're going to be painting and once again you're watching Painting Journeys. I'm really glad you joined us. Thank you for that. Okay this is a house that this is the what we're going to use as our reference today to paint and you'll notice that the house is on stilts. Well that's because the Mississippi overflows quite often and so it's very important. But this this home is these people actually live there year-round and I think that's so adventurous because can you imagine I mean one day you get up and the water's up to here and the next day you get up and the water's down to there and I don't know. I think I'd have my boat right out my back door. But anyway I I wanted to show you this and then I wanted to show you a painting that I completed a few years back when I was in Ireland and this painting today is going to propose the same challenges that the one that I painted when I was in Ireland. I painted this on site in Ireland and there again it's a building but it has a lot of greenery and trees and things in front of it and it requires you to make the decision as to what are you going to make the most predominant. Are you going to have what is in front of the building the most predominant or are you going to have what you know the building itself most predominant. And so I made those decisions there. There was a few years ago as we as we paint we get better at it and I can look back at this now and see some things that I wish I would have done differently. And so I'm going to try as I face the same challenges on this painting today I'm going to try to do it just a little bit differently. So I have it just lightly sketched on what doesn't show in the photograph is the fact that there is going to be a little bit of the riverbank here because otherwise it wouldn't look like home on the Mississippi if we didn't show a little bit of the river. Okay so let's get busy mixing up some paint. The palette is the usual that I always use same colors just different mixtures to get different results but it's always the same palette. Alright excuse my voice today I think I might be coming down with a little bit of something but from where you're at it won't be contagious so here we go. I am let's see here I'm going to take and I'm gonna make some dark I want to push some darks back in here and get some lights back there. That's the first thing I'm going to do. I'm going to try to work fast today. I want to get as far along on this as I possibly can so that we have by the time our short hour and that's all we have together is just one short hour and it isn't even that I think it amounts to about 56 minutes or something. Anyway I want to try to try to get as much done as possible so you can see where I'm going with this and then of course on the next show you'll be able to see the finished product whatever I didn't get done today. So here we go. Now I see some real dark back in here and I'm just gonna put it in. I mean it's really dark and then there's going to be there's going to be lighter greens that are going to be going over this but I want to set this back. I want to set it way back especially under the house here right in here. I love this little yellow house. I think that yellow is so charming on a house. Maybe a little dark down in here. Could use a little more green in there. There we go. A little dark on the shade of this of this tree right here. Okay I've got some dark back here. Now I'm going to take another brush and I'm going to go in and mix up a light sky. Now this sky looked pretty in this painting I mean in this photograph. It looks pretty washed out white. I like a blue sky. That's the wonderful part about being a painter. You know if you don't like the way something looks change it and make it your vision not the eye of the camera's vision. Make a nice little summery sky looking here. I'm just mixing up some cerulean blue with a tad of orange to gray it a little bit slightly. Little white to lighten it and now we have a nice pretty maybe I'll put a little bit of the ultramarine in there too just to give it a little cooler look because we have so much warmth in this area here in these leaves so we'll go with a little cooler looking sky. You want that you want different color temperatures on your painting too. I just took this trip this past fall and went with a group of people from our church and it was really something we went over to the Mississippi to La Crosse Wisconsin journeyed over there took a bus it was a lot of fun a lot of laughs and we got on this we had our own private boat the charter boat to take us down the Mississippi and what fun that was seeing I mean we they took us on the little back channels and we got to see all kinds of different animals and in in the water and everything I thought maybe there would be alligators but there weren't thank goodness that would have scared me after death because it was a real low kind of flat bottom boat you know I guess the Mississippi really isn't all that deep a river so yeah we're just bouncing that sky around here and there a little bit and then we're going to be putting the the trees on top okay all right now let's see here and we've got down here there's a little fence and we can see a little bit of the sky down there but I want that to be lighter because as the sky goes down towards the ground it always lightens up so I have to remember that so this little house was one of the first things that we saw as we were traveling down the river I think we were on a little like a tributary a little side part of it there we go okay now then we've got we get that let's see here I think we'll just go ahead and and put that yellow the sun was very bright that day yeah we're just yellow roof in there real quick or the yellow side of the house rather excuse me well that's kind of bright to gray that down a little bit I always like to use a little yellow ochre to gray my yellow that works pretty nice not nearly as garish that way too tiny very tiny little windows there I wonder why those windows are so small straighten them up a little bit here there's a little now this on this on the front of the house is quite a bit lighter because the sun is hitting that so that's going to come up here and come down okay yeah that's about the same the right value I think maybe this is just needs a little couple brushstrokes in there to show that all right and right under right under the roof here it's gonna be just a little bit darker and it's gonna be a little darker right in here and then we've got this nice dark roof and it's a little darker as we come right in here that's too big a brush they always tell you paint with the largest brush you can I don't know I just can't seem to do that I feel like I have more control with a smaller brush right in here and right over here it's real dark and then it gets a little lighter towards the top where the light is hitting it we've got this little guy coming out here this little Eve right here there's a little window in there and then I'm gonna take my sky brush because I don't like the hard lines I'm gonna take my sky brush and take some this lighter sky here and I'm just gonna bring that right over the top of that just bring that sky right on into that roof line there so that we don't get the feeling that it's so hard I'll go back in here and set it back in there there we go nice and light now we'll probably be going over that at some point but at least I have it laid in all right now underneath we have some very dark area underneath this house and that is because we can see the underside of the house and put a little red in there a little alizarin crimson so it doesn't look so black there we go that looks a little better and probably gonna have to fix my corner here oh that's going up I say gotta look at your photograph kitty there we go there we go all right now that's need a little more yellow in here just show here that's where the window is going to be we'll just kind of pop that in there for right now see the windows kind of blackish so we'll just got a couple windows right in here nice and bright and that's good and square these off a little bit oops every time I go back and fix something I mess it up that's why you shouldn't fix but I can't keep myself from doing it fix this line right here take the darker too many brushes go in here there we go nice sharp line right there there is a little porch sticking out here now we got to get what's behind it that green okay we'll take this brush that's that real dark green again makes up some nice dark green put around in here and I'm not going to worry about my posts the stilts I'm not going to worry about those just yet because I'll wipe out to put those on all right now we have greenery up in here and it's breaking over the house here and it's coming over the porch here it's nice and light and bright up in there very light and airy I'm not going to worry about putting in the the trunks yet just trying to mass mass us in a little bit so anyway we're after we pass this house that I absolutely fell in love with we journeyed on further down the river and we came to a big bridge that went across the river and it kind of connected the one side of the river to another side where there was a very on our side of the boat there was a very quaint little town I want to show you a picture of that bridge it was really it was kind of arched and at first I actually thought that we were in the Mississippi here I'm gonna pick this this picture up and I'm gonna show it to you I actually thought we were in in St. Louis because the bridge is arched and of course it's not nearly like the bridge in St. Louis but kind of reminded me of it I was hoping I was hoping we were gonna just keep going forever so anyway though then a little town that was let's see here I think how's that looking okay sure all right now this side here looks seems to be a little cooler in the greens yeah all right and we've got we've got a cooler green that's coming up in here so we're gonna mass that in a little bit very interesting the the the history of the river and what they were we're telling us about all the different happenings that had gone on I'm sorry to tell you that I don't remember a lot of it but then getting to that age you know where you don't remember as much as you used to but anyway it was very interesting there the river has a very colorful and kind of a naughty history this little town it that was alongside the river was just a sleepy little town and didn't look like there was as we were floating by it didn't look like there was much going on in there in the town except that they had this big gang walk and I'm pretty sure that that is probably well here let me show you this is the the town and there's this big building that looks like something that you would go into to go down you know to enter something on the river and anyway and I think I think just for the sake of letting you know here I think what they were entering was this great big casino it's the floating the floating casino and it used to go up and down the Mississippi the name of it is the lady luck it held a ton of people and now and they would they would go out into the water where gambling was legal and then they could gamble and have their showgirls and and have their fun and then when they docked all the people would get off the boat you know so I thought that was really an interesting bit of information and they keep the boat really updated and in good shape because I think I think what happens now as people go aboard the boat and have dinner and things like that so and I need this to be much much bluer a lot of unusual looking things you know the old mixed with the new this next photo that I'm going to show you is it was some kind of a mill of some sort and I'm sorry I don't know what it is some of you out there probably do but it was this really quaint looking mill in fact I really almost wanted to bring it today to paint that for you because it was so quaint looking now we're going to come back here and go for detail later but for right now it's just all these mixes of greens is what I'm seeing but anyway this this mill and then in front of this mill are well let me show you in front of this mill are all of these like pleasure boats speed boats great big fancy boats and in front of this old mill and the contrast the contrast of the of the old you know against the new the old way of life the old way of working against the new way of enjoying yourself and everything I thought that was pretty interesting you know I just kind of like that that the change between what was and what is I thought that was really interesting so that's why I wanted to share it with you here we go and now we got a little bit coming over here and you know this is this is probably pretty boring for you watching me do this but I just want to just get this green danced in there so that I can come back with some branches and I'm just making these shapes here this is the problem when you have a painting where you want to put a lot of green and then in front of something now this right in here seems to me to be a little bluer coming down that whole section there of the tree right now back in here we have the dark green again you know that's not dark enough let's see here getting a little too much paint on the brush let's just take some of that off and start over with a little darker green there we go we made the house here it's really dark by the side of the house that dark in there's looking for the dark spots and the light spots and then there's real light a real light spot coming down light and warm coming right here against the dark okay and then we have like a bush here and we have the green right here now we better take our wipeout tool and wipe out where we want our oh okay there is the porches coming here so I'm gonna have to re repaint that after I wipe this out a little bit because that's where there's a little porch coming off of it and I want that to show all right now then right in here we have a stilt coming down and that's on the front side then back here we have one coming down but he's on the back side so he doesn't go all the way up and he's not as long we have another one back here same thing he's in the back now here this one here is coming clear from up here and coming down we have another one in the front right here and we have another one over here okay so we'll get those stilts kind of placed in there and that's kind of a light gray back there because it's behind it's in shadow so we have to keep that in mind they're pretty good size let's see do I see another one back here yeah I think I do right there and then these ones in the foreground just a little lighter and a little warmer I think this place is so cute I wouldn't mind living there person lives there year-round I think at one time the person just wanted it to be a like a little summer cottage but then they came in and they fixed it all up and put it up higher on higher stilts and and now they live in a year round I just I can't imagine anything better than living right alongside the river except for the scary times when it's flooding of course now these are kind of wide as you can see so we'll just go back in there and when they're all up with some of the darker green and well I just got the 30 minute sign I thought I'd been going a lot longer than that that means we're halfway through the show and I have more than half of this canvas painted hey I'm doing okay quiet being too quiet I should be talking to you I'm really concentrating I don't like that at all but we'll be fixing it we'll come back to that later I do needle a little dark a couple of windows up here okay now I think what we're going to do is we're going to start on some tree limbs and I want the tree limbs to be oh let's see let's make them a little more of a violet color and we've got a big one coming right over here and we're going to make some branches come off of that I don't want these to be too straight and this guy here he's a little lighter at the base and then he gets darker as he goes up because that's where the shadow is now this coming all the way up here we have this and then we have a little little things coming off of it my brush is too big to make those little tiny branches so we're just going for the the larger ones right now there comes one over here and you know you never want to make those branches look like wet middles they're always jointed even on a weeping willow tree you want to make the branches jointed otherwise it just it has no structure it has no strength and just like a pipe you just you know make make lots of joints on it and it'll it'll be very forgiving if you make a mistake that way because it will resemble a tree much more than just little wet noodles I call them wet noodles do got something going over here too and something coming down over here all right okay let's get before we get too involved with anything else let's get some of this foreground down now that's that's nice and light and bright that Sun is just a shining on that all righty and then it gets a little cooler as it goes away over here see how the yellow changes and it becomes a little cooler kind of always watch for that color temperature that change in temperature okay and then down here now where we have this dark this is this is cooler and it's coming down into this right here into this bank and that's the bank coming down into the river there and so that's darker and it's quite dark right along in there and of course we have we have some branches and twigs and things like that but that's that's kind of finished work we don't we don't want to start tackling the detail right now we want to try to keep the broader approach going okay so now we do have we do have some rocks whoops that's not a rock kitty that looks like a I don't know what but it doesn't look like a rock let's get that off of there I don't like it and I needed I need a different brush I have 15 layers of paint on that one clean brush will be much better let's see here now I have lots of brushes to wash when I get back to my home studio today that's okay that's what they're for use them and wash them and use them again oh we got these rocks in here some rocks over here I want this tree to just kind of come down into that a little bit with a little I have a little bit of a light on warmish light on that tree on that side there where the sun is heading up right there and in here we have kind of a half tone bring this up and because I want the river oh now this is real light over here yeah okay this is this is very light in here let's get this going here nice and light nice and light night lots of paint lots of paint yeah let's just get that on there and we've got a looks like a bunch of brown rocks let's see what we'll get here there again it's in the it's in the light so the light is really hitting it and I don't use brown I make my own brown I make my own earth colors I don't I don't use an earth color like your earth colors would be like burnt sienna burnt umber those colors I like to make my own colors like that and then that gives you it gives you a cleaner a cleaner look okay now we're going to have the river bank coming right here we want this to come down as a shadow cast shadow this is all coming down as cast shadow from what's above I guess we need a little more green in there now we're going to have some nice blue water coming in the foreground that the the sky has hit and made it look kind of blue oh how pretty I like that I'm sorry I guess I shouldn't say my work is pretty but I do like that I like what's happening there I like it a lot okay now we still have 15 minutes to go hopefully we're going to be able to show you a little bit of finish today that'll be a treat all right pull this up and flip it over there we go some clean towel all right I'm going to come in behind here with some dark fill that in with some very dark okay I'll make some smaller branches these are just a ton of branches coming off this tree and and we really don't want to have all of them on here uh let me just way way way too much this is coming off of here and coming over here some nice dark branches up in here that's much darker if you ever get a chance to take a trip no matter how short it is down the Mississippi don't hesitate to do it the scenery changes so much I mean you just you see so much and the wildlife is just phenomenal the birds and the um regrets and the waterfall I mean it just it's you know and the little animals that beavers and things like that that live close to the and the and the beaver the dams that the beavers build and then there's the eagles and the eagles they build these big nests up in the trees when they and when the eagle lands in the tree you the whole branch because he's so big the whole branch just bends and quivers as he alights in his nest it's just it's it's such a marvelous marvelous adventure what a journey what a journey now I think we'll come back on top of that and we'll put some leaves patterns on top of this that will kind of set those back a little bit okay some of these leaves look like they're like they're kind of lighter this might be too much too much paint on here a lot of the canvas showing through that but I'm not going to worry about that to heck with it who cares we'll take care of that later time and place for everything let's just get some leaves on here make it look like these are leaves and not blobs of paint and I don't like this thing here even though he's in the picture I don't like him so I'm just going to make some leaves go across him and that'll set him back a little bit see there's a way to handle everything all right let's see here maybe I think I want that water to be a little more sparkly whoops I think something fell down gang but we'll just keep going and so it's okay with you guys it's okay with me we'll just keep going that that's too that is too yellow I want that to be more blue there in the foreground for the water all righty and then let's see here we've got this little bit here and that seems like that needs to have some dark in it well okay here didn't do that little porch yet and it's kind of a kind of a gray color it's kind of a gray color too a little white in it okay now we need that dark back in here all right let's see here maybe we can do a little something with these windows let's pray we don't mess them up maybe just a little darkness at the top then we'll do a little yellow over here okay I think we did pretty good today on this I did want to tell you another little part about the trip we after we took our cruise we stopped by this this mansion there was this huge mansion at one time this man was the wealthiest man and all of all along that area anyway in the cross area and he built this gorgeous mansion for his wife and the sad part of it was is his wife who was from New York she'd never liked living out there with the Indians and everything and so she never she would come and visit but she wanted the children to be raised with a city education so she lived in New York and he would go there and he would he would build this dream home for her that she didn't care to live in so they if turned it into a beautiful museum at one time one of the children were thinking one of his children after he was gone were thinking of turning it into a horse farm and so they built this big enormous beautiful stable and of course that never that never came to fruition either you know it's just sometimes your dreams just don't come true your dream maybe not might not be your mates dream or your spouse's dream or whatever and so when that happens then you just got to plow ahead and do what you think is right and that's evidently what this gentleman did his kids seem to really enjoy the place i had this um well i'm just going to show it to you here i think um i think i'm going to wipe off the bottom of this a little bit because i came back in with too much light and i don't think that looks good there we go that looks a little more like water now hear that knife i love that sound pretty scratchy anyway so i'm going to show you a picture of the mansion now and uh and there's there was this gorgeous absolutely gorgeous pond that was there i mean i just myself i couldn't imagine anybody building something like this for me and me not appreciating it and wanting to live there but i guess ladies back in the 1800s had different ideas so anyway here is a picture of the mansion and in all of its splendor gorgeous walkway up to this enclosed front porch where you could sit on a on a hot evening and uh and this is a picture of the pond with the flowers around it was so beautiful just such a that was just the nicest journey one of the nicest journeys i've taken in a long time i really enjoyed it and so this is our this is our little river our home on the mississippi and it's looking not too bad it's got some room for improvement but it's not looking too bad for an hour it's time i'm really glad you joined me today and once again my name is kitty lynn clish and this is painting journeys and i want to tell you if you really enjoy watching my show please think about sending a little money to w s c s shabuigan uh that's our station and we could use the funding to keep quality programs like this you know on air for you so if you think about it send a little money our way we could use it once again as w s c s shabuigan tv and thank you so much for joining me i'll see you next time bye bye for now


It is about a week since Nigerians across the country have been faced with fuel shortage. Now here in Lagos, lung cues are still very visible, as motorists invested into lung a lack of access of the state called for a fast solution to the problem. Laplace-Tivenes monitored the situation in Bradbac in the update. It doesn't be easy, depending on the first facility, the situation is very protective for we, the end users. It doesn't be easy, getting fuel from each fillet station will go to different fillet stations and it's very, very hard for us to get fuel. They should release the fuel, wherever they are, they should release it because it is making transport fail high. It's making people stranded on the road. Buses supposed to carry people, they don't get fuel to carry people, so people are planting the bussup. Some people used to sell the fuel 200 per litre, some used to sell the fuel 170 for the fuel. To get the fuel is not easy, it's too stressful. This is my second time of buying fuel in this total fillet, they are shitting people. This is Corolla, which everybody knows, they call it Almighty Corolla. You are using Corolla, you must know the fuel that will fill your tank to the beam. If I want to fill my tank from quarter down wall, the total fuel that I used to buy is 6,000 Naira. Okay, on half tank, I came in to come and just top up my fuel, at least I was thinking maybe 3,000 or 2,5. On getting here, they are selling 4,000 Naira, that's in fuel, so where are you selling it to? 4,000 Naira, stop. You have to stop, and I want to go and meet the manager, that what is so for me is not accurate.


Hi guys and welcome back to my channel. Thanks so much for tuning in. In today's video, I'm going to be letting you know of something I'm going to be changing with my hairstyles. So y'all know that I have been on this attempt to try to get the perfect twist out. And I've always done the double strand twist outs. Double strand twist outs just don't work. I'm just going to give it up. They just do not work for my hair. Double strand twists, they did define my hair but I noticed that with the single strand twists it actually gets my hair way better definition and way better volume. So I've already washed my hair. My hair is prepped. I did the lock method. So all of that's done, rice water, all of that's done. So all I'm going to be doing is just styling in this video. But one day I did just as a test. I just did a single strand twist and my hair was so defined and it was so full. It just looked a whole lot better. I'll be doing Bantu knot twist outs. I'm going to try to make these knots pretty chunky because I don't want to be up all night trying to do my hair. But I want to share with you guys just real quickly what I'm going to be using to style my hair for this video. I picked up something new in Sally's because I had a coupon plus I have a Sally's card. So I picked up from Jane Carter Solutions which this is my first time ever purchasing anything from the Jane Carter Solutions line. I don't know why but this is my absolute first purchase. So I got the revitalizing leaving conditioner. This is a detangler and heat protectant. It's for all hair types and hair textures and it's enriched with aloe vera. And this is an 8-fluon ounce bottle. What I like about the Jane Carter Solutions bottle is it tells you what hair textures this product is good for. So straight hair, wavy hair, curly hair as well as curly hair which is similar also to the Buy Made Beautiful brand as well. They do the same thing. They put straight wavy, curly, curly, curly and curly and they've got 1B all the way up to 4BC hair. So I think that's pretty cool that they let you know what hair types and what hair textures their products are good for. So I'm going to be using that. Also I picked up from Carol's Daughter, the Precache Nectar. This is the Style and Hold Foam which is good also for all hair types. It provides conditioning, hold, helps fight frizz, adds softness and shine. It has Precache Oil, Akai Extract and Shea Butter. I don't know if I'm going to use the Precache Curl Twisting Custer or not. It depends on how well it works with this Revitalizing Leave In Conditioner because some products just don't mix and it begins to make these little white beads and residue on your hair. This is pretty much all I'm going to be using. But again, I will be doing Bantu Knot single strand twist out using these products. So without further ado, let's get started. Around so you can see. That's it.  I'm going to have to wrap this up. So I'm just going to let this dry, air dry overnight and then I'm just going to unravel it in the morning and I'll show you guys what it looks like then. One thing I did notice about the Revitalizing Spray is I kept trying to figure out what the smell was. I could not think of what the scent smell like but it finally came to me. It smells like a flower. It says Camomile Flower Extract. It could be that. To be quite honest, I probably really didn't need to use the Precache. I really didn't need it. So it's getting late. Battery's about to die. So I will see you guys in the morning. Bye guys. So it is the next day. So it is time to take down my Bantu Knot which don't really seem very Bantu-y in some areas. Like this one is definitely like, yeah, not very Bantu-y. So I'm just going to use a little bit of the Black Castor Oil. I'm just going to rub a little in my hands and start to unravel my hair so that can cut down on the frizz. And we're going to see how this turns out with the products that I use and just to check the definition and hopefully I have a really great turnout with my hair and I get the definition that I want. Just to lay it down just a little more. There's one strand of hair on my head that stretches all the way down to my rib cage. I don't know where their hair came from. I didn't know I had a strand of hair on my hair that long for whatever reason I can't find it now but it's somewhere in here. And I can't find it but I wish I had a pull the camera out and showed y'all when I found it. I should have. It is the longest hair that I have on my head. If I find that hair I'm going to show y'all to let y'all know that I'm not kidding. The one thing I did notice is that it did have a fairy knot on it. So I don't know if it's two strands of hair together that just, but even so, even two strands of my hair together would not stretch way down. Not way down to my rib cage. That was crazy. My hair feels so good y'all. This is like amazing and amazing, amazing. I'm loving the results better of the single strand twist than the double strand twist. I just think it's just more, it just feels like it has more body. It feels more fuller. Yeah, I'm feeling my hair. Yeah, it feels good. But that's all I wanted to show you guys. I hope you enjoyed the video. I hope you enjoyed watching my little hair tutorial, I guess, on how I do my single strand twist. If you liked this video, don't forget to give it a big thumbs up. Don't forget to comment. Don't forget to subscribe. And also don't forget to hit the notification bell to be notified of upcoming videos. It's just Janine. I will see you guys on the next video. Bye guys.


All right, check this out, like in the beginning, like I used to be like in the beginning, meaning like 05, 06, 2005, 2006, I was like 310, 320 pounds, like big, yeah. But like 2009, 2010, I started going to the gym, running on the treadmill, like I was 50 minutes, 40 minutes, 30 minutes, running, running, running. Next thing you know, I lost 50 pounds. And when I lost 50 pounds, we came up with the song drop and gave me 50. Drop and give me 50, yeah, drop and give me 50. Your mama right there bashing, dropping and shaking fast. Yeah, we on Boss Talk 101, 101. Yeah, we gon' talk. You surged my niggas out. You felt it, so it's all love, so it's like, you know what? I tell everybody about that. I'm like, man, Mike Jones, coolest nigga in the world, man. Then came through Bless My Family, he came to the store, then I tell everybody. Anybody say something about Mike? I'm like, hey or no, I'm not playing like that by Mike. That's how we move, bro. When you be on no bed, like we really just, now I'm gonna be in the take care of the fam and we chill. That picture right there, that's what we do. Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. She put that up quick, so. Yeah, Mike, so go ahead, babe. Okay, couple things I wanted to find out, cause the last time we spoke, we never really indulged in the fact that you lost a lot of weight. Yeah, yeah, yeah. And how you lost a lot of weight. Yeah, yeah, yeah. Cause if people follow you on Instagram, all you post is gym video or gym photos. See, I'ma be honest, like now I got it so easily, so all right, check this out, like in the beginning, like I used to be like, in the beginning, meaning like 05, 06, 2005, 2006, I was like 310, 320 pounds, like big, yeah. But like 2009, 2010, I started going to the gym, running on the treadmill. Like, I was 50 minutes, 40 minutes, 30 minutes, running, running, running. Next thing you know, I lost 50 pounds. And when I lost 50 pounds, we came up with the song drop and gave me 50. Drop and give me 50, yeah. Drop and give me 50. Your mama right there, bass drop it and shake it fast. Cause I was like, man, I lost 50 now, y'all got lost 50 now. Did anybody ever come to you and say that they had lost 50 pounds? Oh yeah, yeah, yeah. People's come to me. That's right. That's what made me start doing, driving and giving me 50. Cause I'm like, I lost 50, y'all finna lose 50 now. I love that song, did not know that. But you know what? And what he just said is the fact that in everything he does, he tried to bring people with him. That's not only money trained, but here I lost 50 pounds now. Y'all come do it with me. Yeah, cause once you see, the way I feel when I was losing and doing it, you gonna feel good once you start getting to it and doing it. So after I started losing the weight, I'm like, okay. I know how to do it now. At first, it was my mind. You know what I'm saying? I can be lazy. So I'll let the say, I gained the weight back, right? Yeah, yeah. Stronger to you. Like he was around me forever. So I'm big, I'm gaining, I'm gaining. But I was dealing with all the IRS stuff. So I was even telling him, I'm like, bro, it's a mind thing. It's like, it's a mind thing. When I'm ready, it's gonna, I'm gonna lose it when I'm ready.  And then they started getting everything right, getting everything right. And now just maybe not even few months. I'm like, man, I'm gonna go and get in the gym. Just go in. How much have you lost in total? I wanna say now another almost 50 pounds. So 100 in total. No, no, no. See, when I lost the first 100 something, that was back in 0809. So in total from the three something to the now, how much have you lost? Now I'm like 195. That's what's up. Right, right, right. Congrats, man. No, 100, 100. I'm gonna be honest with you. I'm working. I'm this summer, it's over. No, you're gonna be the only guest. I see what I was saying is that in the beginning, when I was super big, the reason why I did even start running because I was dealing with all the politics with the label. So I'm like, man, when I come back this time, I'm gonna have a whole new look. So when I came back in 2008, 2009, we'll cut it, but it next to you. That's why I had the muscle shirt. I'm like, okay, I'm gonna show them. I lost the weight. Boom, boom, boom. Hey, baby, you want my mind? Long as we spend the time, girl, cause I got it. But 2012, 13, 14, I gained the weight back. Right. You know what I'm saying? Dealing with all this. But now I lost the weight again because my mindset is already known from what I knew years back. Yeah. When you're ready, you just gonna be ready. It just goes. You know what I'm saying? And it just was easy. So what's your fitness goal? Cause I know you've been doing a lot of cardio to lose the weight.  Yeah, see now I'm doing the weights. Now that I've got, yeah, and I posted that, I say now that I lost the weight, it's time to hit the weights. You know what I'm saying? Wow, there you go. So yeah, I did it. You might get us a bang out of that. Now I ain't gonna be all that. I'm just trying to just, y'all know I'm just trying to stay focused into the lifestyle level because. That's what's up. I know me with so much on my head and on my mind, I can lose focus on it quick. And end up going right back to where it was.  You look awesome. Right, so I wanna try to, okay, I lost the weight. Now I wanna hit the weights so I can be okay, I'm tone. Right. Still running a little bit. Just keep it regular. I don't wanna.  Right. You can only do a little bit. And see now that I lost the weight, I go to the gym now and do all weights and then I don't do no cardio. All weights and then I don't do no cardio. Right. All weights and then I don't do no cardio. So that way when I go to the gym, I'll post after I'm working out because I don't wanna never just post like a video of me working out. I always post when something's done.  You would like to see the visuals. You know, cause I like to see the visuals because for me, it makes me get up and it's okay, I'm gonna work out with them. They doing this, I'll do it too. I hate when people say, okay, I'm gonna show you the beginning and you do three reps and then move on to the next one. I'm like, no, I want to do the whole workout with you. I got you. You know what I mean? And see the problem with me, if I go to the gym and there's a lot of people in there, I'm not gonna be able to work out because people gonna come in me with questions. People gonna come in me to talk. People gonna come in me. So my whole zone, my whole vibe is gone. What time you be getting up? Shit, I try to go to the gym like five, 30 in the morning. You focus bro. Yeah, I get up early and I just go. You know what I'm saying? Cause I know I ain't nobody in there when I'm going. Yeah, we on boss talk one-on-one. One-on-one. Yeah, we gon' talk.


Hello dear learners, I am Antora Mahontoborva, Assistant Professor, Discipline of Electronics. In this video class, we shall discuss about some sequential logic circuits, which is included in the digital technique paper of first semester PCA program. In our previous video class, we have discussed about the combinational logic circuits. We came to know that all the digital circuits are categorized into two types. One is combinational logic circuits and the other is sequential logic circuits. In combinational logic circuits, the output at any instance depends on the input at that instance. We have already discussed about the encoder, decoder, multiplexer, demultiplexer, adder, all these combinational logic circuits. And about the subtractor, today we shall also discuss about the subtractor before going to the details of the combinational logic circuits. So the subtractor, similar to the adder, the subtractor also classified as two types. One is half a subtractor and other is a full subtractor. Now let us first discuss about half subtractor. We know the rules of binary subtraction as 0 minus 0, it is a 0, then 0 minus 1, it is 1, that means 1 borrow, then 1 minus 0 is 1, then 1 minus 1 is 1. So this is the subtraction rule in binary subtraction rule. So in case of half adder, first let us see the block diagram of half adder. It has two inputs, suppose A and B and two outputs, that is D i and B 0. So this is the half subtractor. So what is D i? D i is the difference output and B 0 it is the borrow output. And if we see the truth table, suppose these are the inputs A and B and outputs are D i and B 0. This is the difference and this B 0 is the borrow. So for the two inputs, the four possible combinations are 0 0, 0 1, 1 0, then 1 1. So from this difference binary subtraction rule, so difference for 0 0, 0 0 is 0. So there is no borrow so borrow is 0. For the second case 0 minus 1, so 0 minus 1 the difference is 1 and there is a 1 borrow so it is 1. For the third case 1 minus 0, that means 1 minus 0 difference is 1 so it is 1, no borrow so 0. And for the fourth combination 1 minus 1, the difference is 1 and the borrow is 0. So this is the truth table for half subtractor. So next we shall see the logic circuit for the half subtractor. So two gates are used, so this output is D i and this is a B 0. So two inputs A and B, so these are the two inputs A and B and the inputs of the N gate that is where the output is B 0, the inputs are A bar that means a north gate is applied and another is B. So what are the Boolean expression for the half subtractor? For difference output the Boolean expression is similar to the half adder that we have discussed already discussed. So this is the expression for D i that means difference output and for the other output B 0 A bar dot B equal to B 0. So this is the Boolean expression for the borrow output. So till now what we have seen first we have see the half adder, half subtractor. So in half subtractor there are two inputs suppose A and B and two outputs one is difference and other is the borrow and this is the truth table for the half subtractor and this is the logic circuit diagram for the half subtractor. So this is the diagram of full subtractor and this is the logic circuit diagram for full subtractor. In case of full subtractor there are three input bits and two output bits similar to the full adder. Here the two input bits that is A and B means one input is subtracted from the other inputs and the third input is a borrow of the previous stage. That means borrow from the previous stage that is the third input for full subtractor. And there are two outputs one is difference and other is the borrow output. Now let us see the truth table for full subtractor. There are three inputs that is A, B and other is the borrow input. That means it is the borrow of the previous stage and the two outputs that is DI difference and the borrow output. So for the three inputs the eight possible combinations are 0, 0, 0, 0, 0, 0, 0, 1, 0, 1, 0, 1, 0, 1, 0, 0, 1, 0, 1, 0 and 1, 1, 1. So now let us see the difference in output. So first all are 0 so difference is 0. There is no borrow so borrow is 0. Next 0 minus 0 is 0 then 0 minus 1 so here difference is 1 borrow is 1. Next 0 minus 1 from the law of binary subtraction. 0 minus 1 is 1 then 1 minus 0 is 1 so here 0 minus 1 there is borrow 1 so B output is 1. Next 0 minus 1 that is difference is 1 borrow is 1 so borrow 1 then 1 minus 1 that is 0 so difference is 0. Next 1 minus 0 that is 1 again 1 minus 0 that is 1 so borrow is 0. Next 1 minus 0 that is 1 again 1 minus 1 is 0 so borrow is 0 then 1 minus 1 that is 0 then 1 minus 1 that is 0 and 0 minus 0 is 0 so borrow is 0 and the last case that is 1 minus 1 is 0 then 0 minus 1 is 1 and borrow 1 so this is the truth table for full subtractor. Now we have discussed about the subtractor combinational circuit here the full adder there are in the logic circuit there are 2 half adder circuits are there so this is 1 half adder circuit and this is the another half adder circuits as there are 3 inputs one is A B another is borrow input that is from the previous borrow and the for the first half subtractor the output difference output is applied to the input and the borrow output these are added by using a OR gate to get a final borrow output so these are all about combinational circuits now we shall discuss about sequential logic circuit so now we shall discuss about sequential logic circuit in sequential logic circuit there is a memory element why it is used because the output of sequential logic circuit depends on the present input as well as also the past output so let us see the block diagram of sequential logic circuit so here there is a memory element which is connected to the combinational logic circuit to form a feedback path as the output of the output of the sequential logic circuit depends on the present input as well as the past output so what is this memory element so memory element is a device which stores the binary information and when the memory element stores 1 bit of binary information is 1 bit that is called the flip flop or latches now we shall discuss about the different types of sequential logic circuit so sequential logic circuits are of two types one is synchronous sequential circuit and other is the asynchronous sequential logic circuit so now what is synchronous logic circuit the synchronous logic circuit is it depends on the clock pulse that means the clock pulse it is a signal which consists two states that means 0 and 1 that means the clock signal and in the clock pulse when there is a transition from 0 to 1 so this is it is called leading edge or a positive edge that means there is a transition from 0 to 1 and when there is a transition from high to low that is 1 to 0 here 1 to 0 then this edge is called trading or negative edge and the time during the transition of 0 to 1 then this time is called enable and the transition from 1 to 0 that means high to low that is called the sequence of synchronous sequential logic circuit the output is changes the state is changes during the transition either from 0 to 1 or 1 to 0 so that circuits are called sequential logic circuits and next is the asynchronous logic circuits that means in asynchronous logic circuits there is a no clock pulse clock signals and this asynchronous logic circuits it is a simply a combinational logic circuits with the feedback that means with the memory element now latches or flip flop so latches means it is a memory element it is a device which stores the 1 bit of information latches and flip flops are similar but the only difference is that the change of the state that means in case of latches the output is changes that means it stores 2 states either 1 or 0 1 bit of information that means our latches can store 1 or 0 and it is changes the difference is that the output stages changes in case of latches the output is changes when the input is changes once the enable is asserted that means it is in the combinational logic circuit that means it is a latches so this is a input output q equals a this q is state is changes that means in latches the output stages changes when a is changes that is input is changes as long as the enable the enable is asserted so that is the difference but in case of flip flop the output change of the output states is depend on the clock so that is the basic difference next we shall see the flip flop or it simply it can written as f f so flip flop is nothing but a memory element which can store 1 bit of information and this flip flop are generally are designed by using the north and land gates so let us first check the r s latches circuit using north gate so here r means it is expressed as reset and s is set so the logic circuit is for north gate using north gate this is a north gate one input this is another north gate this is one input so here r and other is the s and s there is a memory element is there that is a feedback part so this output of first upper north gate is goes to the input of lower north gate and similarly the output of the lower north gate will go to the input of the upper north gate so there are two outputs in case of flip flop the two outputs are one is q and the other output is the complement of the first output that means if q is 0 the other output is will be 1 or if q is 1 the other output will be 0 that means the two outputs are complement of each other and if we see the proof table suppose r first is r then s one is q and then there is q bar so these two are the inputs and these are two are outputs so first we see the two conditions 0 0 then 0 1 1 so first for both the inputs that is r equal to s equal to 0 then what will be the output the output is says q will be 1 and q will be 0 anyone so suppose we consider this q is 1 that means this is the first condition means 0 0 so q may be 1 and q may be 0 so it does not depends on the condition of the two inputs the north gate the output of the north gate does not depends on the condition of the two inputs that is r and s so the output of this combination that is 0 0 there is no change and c that means if you write here comment there is no change and for the second case when s is 1 that means s is 1 and r is 0 then what happen this output s is 1 so q bar q bar output is 1 is s plus this q so if as we know from the rule of north gate north gate what we know suppose 0 0 0 1 1 0 1 1 for or gate what happen 1 1 1 and this is for or gate and for north gate that is 1 0 0 0 just complement of the or gate so what we have seen when any of the input is 1 the output is north gate output is 0 so s s is 1 in this case so output will be 0 0 0 0 0 s q bar is 0 that means q is what q will be 1 because q is the complement of q bar so for the second condition q is 1 q bar is 0 that means it is a set output because set when s is 1 that means set input is 1 the output will be the 1 next condition third condition what we have seen in the third condition r is 1 and s equal to 0 so what will be the q q is r plus q bar q bar is the output of the lower north gate so r is 1 that means definitely q is 0 according to this rule of the north gate so q is 0 means q is 0 therefore q bar is 1 so for the fourth case when s is 1 and r is 1 then what happen q will be 0 because q is r plus q bar then similarly q bar is also 0 because this s is 1 so any of the input is 1 output is 0 but this condition cannot be happen because we know that q is opposite of q bar that means if q is 1 the other output should be 0 but in this case we have got both the 0 so this condition is called a race condition that means it is not used so it is called a race condition so this we have discussed about the r s flip flop or lags by using the north gate so dear learner in this video class what we have learnt first we have discussed about the subtractor so there are two types of subtractor one is half subtractor and the other is full subtractor and next we have discussed about sequential logic circuit so there are two types of sequential logic circuit one is synchronous and other is the asynchronous sequential circuit and we have also discussed about the latches and the flip flops then we have discussed about the r s latches that means by using a north gate in our next video class you will get the other flip flops like SR plugged flip flop, JK flip flop, master slap flip flop so these are all sequential logic circuits so we shall meet again in the next class thank you all.


Everybody forced here up in a box of twenty one twenty two tops you a from Merlin Chrome for Benedict D makes Benedict. Good luck. Hobby box here Come on time for Merlin Super Fracture still haven't pulled one of the shop yet All right angels alchemy Paul Gascoigne, but these tell base Under 23 stars Felix the Fennec Geon. Oh, I do Kalulu Shubba's lie refractor a Hamza Choudhury refractor auto non-numbered as the auto Fennec Geon base a killian imbap a Aqua speckle 95 a 199 Always room for a number to mbappé in every box. That's awesome There he is Gonna have to do some heavy lifting for France if they want to go far Ah Under 23 stars Lucas Uchicha Gusto guy Kari Madagyemi refactor Ivan Romero Speckle western Mckeni numbered 68 of 150 had the red-white and blue a striped honest here today What did I just say? Refractor rookie, us to bronc. Ref... rookie. That's something from Star Wars for sure. Proposive fulfilled, Mason Mount. Proposive fulfilled, Cristiano Ronaldo. Under 23 stars, Malik Tilman. A few more pack. Refractor Marco de Grasa. Zlatan. Aqua-speccle, David Alaba. 145 of 199. Last pack, Jose Koke Refractor. Thank you, Benedict, for the order. We'll get this box out to you shortly.


course. We can move now to Olena. Olena is from CEDOS who did a lot of the analysis and the hard data crunching to produce the documents. So Olena, if you'd like to share the process, that would be really helpful. Thank you. Thank you. Hello everyone. And yeah, first of all, I would like to just also tell that I'm joining you from, actually not from Ukraine, but from Berlin, where I'm right now also on an exchange networking meeting with Ukrainians, civil society representatives, and also the ones from a cultural field where we are talking about recovery and in particular recovery of culture and cultural infrastructure. So for me, it's also very interesting and important that we are all maybe in different places, spaces, country cities, but we are still working for shared purpose and also in terms of recovery. And I would like, first of all, to thanks Ukrainian Institute for inviting CEDOS to conduct this study. And I will share today some thoughts and outcomes of our research. And first of all, I would like to tell a few words about the methodology and how we conducted this study. And I would like to start with conceptualization and definition because in the study itself, we operate with term Ukrainian cultural field and we focus on the visual arts. However, for me, I feel that we can also kind of apply these findings not only to the visual arts field, but also to the broader fields of culture in Ukraine and cultural workers in Ukraine. And when we talk about Ukrainian cultural field in the visual arts, we define it as a system of networks, connections, practices and interactions between artists, cultural workers, communities, institutions and other actors who work with visual art and are related to the Ukrainian context, but maybe also located outside Ukraine because this transnational component and focus is extremely important right now. And also I would like to mention that we used a qualitative approach in this study. We conducted 12 in-depth interviews with four groups and the first group was cultural workers who left Ukraine more than two years ago, so those who more permanently live abroad. The second group was cultural workers with a high transnational mobility, so those who have high mobility and who are moving between cities and countries. The third group was more about the first groups were about institutional level and there were representatives of cultural institutions that collaborate with Ukrainians who live abroad and the other group was representatives of cultural institutions that could collaborate with Ukrainians who live abroad, but do not do so. So there were two levels like more individual one and the other one more like institutional one. And also I would like to point out a few limitations of this study because we also have to understand that this study was rather small-scale one. We conducted in-depth interviews and also we used the materials of the previous assembly that took place one year ago and the study was exploratory. Also it was not representative, so we cannot extrapolate the results to all the representatives of visual arts built in Ukraine, but we rather can grasp some trends, some problems that people who are working in the field are experiencing right now. And I also would like to mention that there was a limited number of in-depth interviews and like we cannot also claim that we reflect all the available experiences of representatives of visual arts built. I also would like to mention a bit of the context of Ukrainian cultural field that we found out in this study. And first of all one of our hypothesis was that Ukrainian cultural field and the visual arts field is kind of integral that it is more whole or united, but we found out in the process of interviewing representatives of cultural field that they describe Ukrainian cultural field more as something heterogeneous, non-uniform, non-monolithic, porous, patchy, polished, and for them is also it's rather positive characteristics of the field rather than negative ones. And also and I would like to also make reference to what Tatiana Falevska was mentioning about the difference and heterogeneity and diversity of experiences that Ukrainians and if we talk about Ukrainian cultural workers that they have and one of our finding was that this diversity it can lead actually both to some conflicts and misunderstandings with which naturally appear because of this heterogeneity of experiences of people, but also it can lead to the unification of different groups of people in the cultural field. And when we talk about Ukrainian cultural field respondents also mentioned the importance of consciously maintaining and preserving ties with Ukraine. It's also important to highlight this conscious emphasis. Another thing was when we talk about the context is that the former policies especially the policy of decentralization was named as one of the key factors that influence the formation of connections and networks within a Ukrainian cultural field before the start of the full-scale war and it actually led to like strengthening the agency of productivity of regional cultural workers which after the full-scale invasion started played a crucial role in mobilizing and solidarity among the cultural workers. And also another very important thing according to the research participants where at first local ties that were formed between in the invasion and also connections and communities and communities and artists which maintain these local connections. Then now I would like to highlight a few things which are related to our main findings and of course I will not go in detail it will be rather more such something like an overview of our results and of course it all can be found in deeper detail in the report itself. But I would like to mention a few topics which a few issues and aspects that are important for connections and networks within the Ukrainian cultural field and in the field of visual arts. And first of all it's a bit obvious one it's migration and forced displacement because of the full-scale invasion the second one is also institutional interaction and exchange of experience which is happening which is happening after the full-scale invasion started and the third one is agency of Ukrainian cultural workers. And when we talk about migration and forced displacement interview participants mentioned the increase in distance and dislocation from the Ukrainian context due to their migration like both internal but also of course external. And this is due to the fact that some Ukrainian cultural institutions and curators may consciously or unconsciously exclude those who have left Ukraine from our art projects. And they can of course prioritize the support of those who remained in Ukraine and at the same time the loss of ties due to departure of Ukrainian cultural workers from Ukraine can occur gradually and imperceptibly also because of the lack of activities that contribute to the preservation of these ties. Some of the interviewees mentioned that they started to feel the feeling of separation between them as people who left and those who remained in Ukraine in terms of cultural field. And they also mentioned that they felt that some barriers started to appear between them and the Ukrainian cultural environment between them because they are currently staying abroad. And they mentioned the feeling of lack of programs and projects aimed at keeping them in the field. Also, when we talk about like now I will mention institutional interaction and exchange of experiences and the cooperation of Ukrainian institutions with cultural actors from Ukraine who work in cultural institutions abroad can be kind of a catalyst for interinstitutional partnerships and also Ukrainians who permanently work in Ukrainian institutions and join some internship programs or other engagement program formats such as fellowships in foreign institutions perform the role of ambassadors of these institutions in Ukraine. And during the interviews that we conducted representatives of Ukrainian institutions also mentioned the value of the experience of Ukrainian cultural workers who worked or are working abroad for a certain time and the involvement of such employees or as creators, advisors, organizers of events in Ukraine is a kind of an opportunity to invent new formats of programs or projects. And also the thing that Jennifer has mentioned that there is a problem that was also mentioned in our interviews. It's one of cooperation both in Ukraine and abroad and this means that after the completion of projects employees of these institutions they do not support interaction and do not develop the connections that were formed and because of these one of the key needs of the informants that took part in the research was the building and establishing a long-term stable connections both within the Ukrainian cultural field and with foreign cultural workers. Also another thing that was important that is important to mention is about personal connections and this is a kind of reason so it's common scenario of like the construction of personal connections between cultural workers abroad and Ukrainian institutions was the involvement of representatives of cultural institutions in short-term programs abroad such as internships or residences and at the same time the opportunity to go beyond one of cultural projects and delve into the context and activities of one institution can contribute to the creation of more permanent partnerships. And now I will talk about the third issue which is agency of Ukrainian cultural workers and the participants of the previous assembly and also the people we interviewed they expressed for strengthening of agency both within the Ukrainian cultural field and within the framework of interaction with cultural workers from abroad and during the interviews they mentioned that before the full scale invasion there was this issue that European cultural workers did not recognize the agency and subjectness of Ukraine and it was as Jennifer Skoles mentioned like perceived through Russia's like imperialist policy regarding Ukrainian culture and Ukrainian cultural workers they mentioned that they had to kind of conduct educational work for cultural workers abroad because of that like after the full scale invasion started and they also mentioned that gradually this perception changed and they feel these changes already and also another thing which is another facet of these colonial practices is the difficulties in cooperation with cultural workers from abroad and their attitude towards Ukrainian cultural workers and people were mentioning the problem of unequal superior or condescending treatment caused by colonial policies and practices of European cultural institutions and according to the research to the participants of the research this undermines the possibility of mutual exchange of experience and they shared their experience of interaction with representatives of institutions abroad and that did not recognize the expertise of Ukrainian cultural workers and wanted to kind of teach them something at the same time they also mentioned that some kind of activities such as internship residences and involvement in the work of European institutions since the beginning of the full scale invasion helped to increase like their own confidence in their own knowledge and experience and kind of overcome the so-called inferiority complex in terms of their professional activities in the European and other international cultural institutions and regarding cooperation with cultural workers from abroad the respondents also mentioned the need to include and involve Ukrainian cultural workers in program activities of institutions abroad in particular in broader discussions about issues of inequality for example or the environmental crisis and this would help change the focus on representations of Ukrainians as war victims and strengthen Ukrainian's agency in the international cultural field so coming to the conclusions I would mention a few things and first of all it became urgent for Ukrainians already after the one and a half years of the full-scale invasion to engage in long-term activities programs and projects and at increasing their interaction with each other and also with the cultural international cultural actors so not only short term but rather long-term activities also there is also a need to establish cooperation with those who have left and who especially after the start of the full-scale invasion feel disconnected from from the Ukrainian cultural field and as a result may gradually lose contact with it so this can happen thanks to programs and projects initiated by Ukrainian institutions and that are aimed at strengthening cross-border interaction between Ukrainian cultural actors and another important thing is the importance of local connections and communities so there is a need for opportunities for networking building solidarity networks as well as physical offline communications and platforms for this communication between Ukrainians and Ukrainian institutions and it is also important to maintain the policy of decentralization and the last thing I would like to mention so this is what I was mentioning about the subjectness and agency of Ukrainian cultural actors in the international cultural field and this can happen thanks to the strengthening of Ukrainian cultural policy the representation of Ukrainian artists not only at exhibitions focused on the Russian war against Ukraine the inclusion of cultural workers in the program activities of institutions abroad and it is also important for the strengthening of solidarity with Ukraine and the development of sensitivity to the context of the Ukrainian cultural field on the part of cultural workers from abroad thank you Olena thank you so much you did an extraordinary job in this complex process of pulling all these ideas together so we'll have now a short break so you can everyone can stretch their legs make some tea whatever we need to do and we'll be back in 20 minutes when we will be discussing the document itself with a number of leading artists and cultural leaders from Ukraine we'll see you in 20 minutes


Alrighty, so we have quite the interesting video coming out today, and this video idea is actually in credit for Jazm on YouTube. Jazm and I are in our Discord every night, and she came up with this brilliant idea. She wanted to hear my ideas on what flat rides I think we could see at Canada's Wonderland. And I was like, God, that's such a great idea. I can't believe I didn't think of that myself. So here I am making that video. I'm also going to do this for all of the Cedar Fair parks because anyone that follows along on this channel knows that I think a lot of the bigger Cedar Fair parks are going to see more flat rides added each year because Canada's Wonderland has been doing that for quite some time now. We always get a thrilling attraction, and it is working. It is a great business model. It helps the GP return each year thinking there's a thrilling attraction added, and it helps with capacity. It's something in between the coasters that eats the general public and keeps lines shorter. So as we know, Canada's Wonderland has quite the flat ride collection, and coming up with this list has literally taken me about one to two hours. I've been sitting here searching for flat rides that I could potentially see at Wonderland, and it was a lot harder than I thought. So I want to start off by A, saying yes, I'm going to make one of these for each Cedar Fair park, all of them. Smaller ones, medium sized ones, and the big ones. So this is just the first one because this is my home park, and I thought it would be easy to make, and it was not easy, and it's only going to get harder for some of the smaller parks as well, figuring out what would fit each park in the Cedar Fair chain. So I want you guys, while you're going along, comment below your home park and what five flat rides you would like to see at your home park, and I'm going to analyze all of them to the best of my ability, and kind of like see if it helps me figure out which parks need what, but on top of that, I'm also going to look at attendance and past attractions added at those parks as well. So just again, as we know, Canada's Wonderland has quite the diverse collection of flat rides, and again, this was super hard to come up with a list. We have almost everything you could possibly think of, and we know Canada's Wonderland, when they add a flat ride, it's usually a beautiful, nice looking and high capacity flat ride, other than soaring timbers, cough, cough. Regardless, soaring timbers looks really nice. That wasn't shaded that, but it's not a high capacity ride. But figuring out a nice looking flat ride is really hard because a lot of flat rides look like fair rides. And in my opinion, I just don't see those coming to Canada's Wonderland. We know that Canada's Wonderland typically gets the nice giant flat rides that kind of look like works of art for the most case. So this didn't help my list, but I did. I have five and I have them in order of most likely and probably the sooner than latter of additions coming to Canada's Wonderland. So they are in order when they appear and I'll discuss each one. So anyone that follows along knows there's this one flat ride that I really think would suit Canada's Wonderland really well. And we have this kind of like wind flying section of the park developing. You have Windseeker, you have Skyhawk, you have like the slingshot. And I think an air race would suit that area really well.  And this looks awesome this year, by the way, just to throw this in out of nowhere. We have quite the extra charge kind of like attractions at Canada's Wonderland, which seem really cool. So one of the first ones is this one. So action theatre at Canada's Wonderland is not being used. And in my opinion, we could potentially even see something added next year with the 2019 coaster, because that is going unused this season so far. I say so far because we don't know yet. So I'll be interested to see what kind of EA attraction we get at Wonderland or if it's an EA attraction, some sort of upgrade to that theatre or if it's just turned into a permanent hot maze on both sides. But here's the air race. So the air race is something that I really think would suit Canada's Wonderland really well. It's a medium thrill to high thrill attraction, and it has great capacity. Now we have the scream and swing swing. This is my favorite flat ride in the world. I love the one at Cedar Point. And I really think Canada's Wonderland could do with this, even though it is similar to some attractions we have. It is still a really high thrill attraction that gets me every time I ride it. And I would love to see that. Then we have this one. So this one was hard because I'm like, we already have a similar attraction. But this has a decent lighting package. It fits the Wonderland's like look book and it can look really nice. I'm sure you can stick on some decals and that to fit in, maybe make it look like lumber or like a sawmill or something. And I think it would really fit. I think a lot of people are looking forward to this attraction. And I think Cedar Fair sees that and they go, OK, maybe this could fit at some of our parks as well. So it would be interesting to see which Cedar Fair parks get this. I think we could see this maybe like five to six years from now added to our park. The next one is a Skywarp. So I think this is the final one on my list, the fifth. Just because I ran out of flat rides that I could see Cedar Fair get it, giving Canada's Wonderland side through this in there because, you know, it looks like it has a great capacity. It looks good and it fits a very small footprint, which is what Canada's Wonderland needs. It needs flat rides that fit small footprints and they can make look really nice. And this is definitely one of those. So let's get into the topic of discussion. Where would these flat rides go? So we have our my not our but my top five flat rides I think Canada's Wonderland could benefit from. And I think their locations are very limited right now based off of just the construction site. So we have this area, what could potentially be the Chilcoot Trail or Frontier Canada, a flat ride could fit in one of these small areas or replace the Enterprise attraction just behind us there. It is aging and it doesn't look the nicest. And I really think this area could benefit from that. Then we have this other area just out front of Action Theatre. So you have the new queue just off to the left there built. And you have this whole area that the queue line used to take up that's now available for attraction to fit in. And this area is really empty back here. So it would help bring crowds to this location. So I would love to see a flat ride in this location. What do you guys think? Do you think that area would fit a flat ride? And then this is the last area. So this area could fit a flat ride really well as well, and it's already trimmed. I guess comment below what you guys think. Again, answer any of the questions I asked earlier in the video. Give the video a like, subscribe if you haven't. Thanks for watching, guys. Have a good one. Bye.


So we spent a little time talking about heat and work and more recently figured out how to relate heat and work to internal energy and it turns out that doing things under constant volume conditions is quite convenient because the heat is the same thing as the internal energy regardless of whether we're talking about the differential amount of heat and internal energy or finite change in the internal energy or finite amount of heat. On the other hand experimentally it's more convenient usually to think about things in a constant pressure environment. If you want to do an experiment at constant volume you've got to be very careful, have a rigid container, make sure it's fully sealed, make sure that it's sturdy enough that the volume can't change so it's a lot more difficult to do an experiment at constant volume at constant pressure on the other hand. This room is at one atmosphere or pressure roughly if I did a reaction in this room if something expands it just pushes some of the air out of the room and keeps the air the whole environment at one atmosphere pressure so it's quite convenient to do things at constant pressure rather than constant volume but then we lose the advantage of not being able to not having to worry about the PV work in a process. So that's the next step we can think about is we can define a quantity that has all the advantages of the internal energy and not having to think too hard about PV work when we do a process but also the experimental advantages of being more convenient at constant pressure rather than constant volume and the name for that new quantity that we're going to define is called the enthalpy something that quite possibly you've heard of in earlier chemistry classes so we define in fact I'll use a triple equal sign to say that for the very first time at least in this class I'm defining the enthalpy to be equal to the quantity internal energy plus pressure times volume so that's just the definition we choose to use with that definition we can ask ourselves what is the change in you or what is the differential change in you or in this case what is the change in enthalpy so if I take the differential of both sides of this equation the differential change in my new quantity the enthalpy I should give this a name dh on the left on the right I have du and then the differential of p times v I can use the product rule to write that as pdv plus vdp so that's the differential of both the left and the right but we know some things about the terms in this expression du we know from the first law is equal to dq plus dw I'll just leave the pdv and vdp in there we also know at least if the only type of work we're concerned with is pv work we know how to write down the differential change in work dq I can write as minus p external dv if I leave the rest of these terms unchanged so now we've got two terms here a minus pdv and a plus pdv but the difference is this one is the external pressure and this one is the internal pressure the system's pressure we know that the external pressure and the internal pressure are the same as each other p is equal to p external if we have a reversible process where the pressure and the external pressure remain equal to each other throughout that whole reversible process so in that circumstance p external and p are the same thing this negative term cancels this positive term and we're left with enthalpy is heat plus change in enthalpy is change is the amount of heat plus vdp and now we're at the point where we can do what I promised at the beginning if we're under constant pressure conditions so that any change in the pressure is zero because the pressure is not changing if dp is equal to zero because we're at constant pressure that second term goes away and what we're left with is the statement that the change in the enthalpy is equal to the change the amount of heat transferred so that's the equivalent of this statement that we've had earlier internal energy is equal to heat if we're under constant volume conditions if we're under constant pressure conditions this new quantity that we've defined the enthalpy the change in the enthalpy is equal to the amount of heat when we're at constant pressure so we can write that either in differential form or if we prefer for finite size changes in this enthalpy so we've got completely analogous expressions to these two that we had for the internal energy but now for the enthalpy and really if you get confused about what's the difference between energy and enthalpy all enthalpy is is a slightly tweaked version of the internal energy the energy of a system tweaked in such a way that when we do things under constant pressure conditions the enthalpy is the same thing as the heat that makes it a convenient quantity to use under constant pressure conditions because under those conditions we don't have to worry too much about the PV work we can ignore the the work contribution and it's only the heat that's related to this new quantity we've defined called the enthalpy so we can use the enthalpy in an example in fact we'll do the same example we considered previously we'll talk about heating of an ideal gas so let's take exactly the same problem as in the prior video lecture let's say we've got one mole of an ideal gas at one atmosphere and we're going to change it from condition one to condition two but we're going to do it at constant pressure so the initial pressure the final pressure are both the same number what we are going to do though is is heat the gas up room temperature 298 Kelvin increase the temperature by 50 Kelvin to 348 Kelvin so what that's the main thing we're doing is we're heating this gas up when we do it at constant pressure of course the volume is going to change using PV equals on RT with these numbers will tell us that the initial volume has to be 24 and a half liters at least if we're talking about an ideal gas and the volume after we've heated it up because the temperature is increased but the pressure hasn't changed that volume is going to have increased again PV equals on RT as we considered previously tells us the final volume of 28.6 liters okay so that's the setup the question then is what is the enthalpy change for this process and we can use the equations we've just determined one very nice thing about the enthalpy similar to what was nice about internal energy when we're comparing it to heat and work heat and work are sometimes inconvenient because their path dependent processes enthalpy because we've defined it using only state variables energy pressure and volume enthalpy is also a state variable so I don't actually have to tell you whether what path I took to get from these initial conditions to these final conditions doesn't matter whether reversible path irreversible path what changed what didn't change the enthalpy change is just the enthalpy under conditions to minus the enthalpy under conditions one because enthalpy is a state variable so initially when the gas is under these conditions we can calculate the enthalpy as U plus PV so we need to know the energy of the gas and the pressure and the volume for an ideal gas at least one that we can treat like a 3d particle in a box we've seen previously that enthalpy is three halves and RT so we can plug numbers into this expression we know moles pressure temperature and volume so the enthalpy of the gas before we've heated it up is three halves and which is one mole gas constant times the initial temperature 298 Kelvin to that we need to add P times V so I'm going to add initial pressure one atmosphere multiplying by the initial volume 24 and a half liters all right so now that's numbers plugged into this expression if I stop and look at units however moles will cancel moles and Kelvin will cancel Kelvin three halves and RT gives me units of joules which is fine because we're interested in something that behaves like an energy a tweaked version of the energy is what the enthalpy is the second term the PV term I've got liters times atmospheres that's also an energy but it's not in units of joules so I need to convert from joule from liter atmospheres to units of joules in order to get rid of these slightly inconvenient units of liter atmospheres convert them to joules and then my final answer will be in units of joules and when I do that calculation three halves times one times gas constant 298 added to the second term 24 and a half times this conversion factor we find that the enthalpy of the gas under this initial set of conditions turns out to be 6200 joules 6.2 kilojoules if you prefer is the enthalpy of the gas under this set of conditions so again enthalpy is a state function for a given system under some thermodynamic state if I supply pressure temperature volume we can calculate the enthalpy of the gas at that state likewise we can calculate the enthalpy of the gas under the final state of the system where I've increased the temperature and also increased the volume but left the pressure the same and I won't work through all the arithmetic again but if we use the same expression 3 F's NRT with the final temperature and then P2 times V2 all that's going to change here is instead of multiplying by 298 Kelvin I'm going to multiply by 348 Kelvin and then instead of one atmosphere times 24 and a half liters for the PV term I'm going to have one atmosphere times 28.6 liters for the PV term so both of these terms have actually increased if we do the arithmetic what we find you're welcome to double check and make sure you agree with this result is that we get an enthalpy of 7,240 Kelvin so the main thing we're interested in the change in the enthalpy when we go from condition one where we have 6200 joules worth of enthalpy to condition two where we have 7,240 joules of enthalpy the change in the enthalpy is a little over a thousand joules a thousand and forty joules which if you recall the answer from the previous example we did when we considered this exact same heating gas under constant pressure turns out that the heat required to heat that gas at constant pressure was the same number of thousand and forty joules because as expected the change in the enthalpy is equal to the heat under conditions of constant pressure so we can notice a couple things about that number one we didn't have to explicitly think about PV work that was the the promise I made when we defined the enthalpy is we wouldn't have to think about the heat and the work separately and add them together turns out we didn't actually save ourselves that much arithmetic because the PV work is really hiding in this this p1v1 and p2v2 the difference between those two terms but at least we were able to do the calculation without specifically having to ask ourselves about path dependent functions like heat and work and instead we've now got a state function that we can use to calculate the change in enthalpy or if we prefer the amount of heat required to get from state one to state two so that's that's really the biggest advantage of the enthalpy is it's a state function and we don't have to burden ourselves with questions about path functions one more thing that we can do with the enthalpy before we move on is because we've been talking about ideal gases in particular if I go back to my definition of enthalpy as being energy plus p times v just like we've seen here if we have an ideal gas that behaves like a particle in a box in other words an ideal gas whose internal energy is three halves times nrt then the enthalpy will be three halves nrt plus pv one additional shortcut we can take that we didn't explicitly use here is if it's an ideal gas pv is of course equal to nrt so I've just used the ideal gas expression to rewrite pv as nrt and then I've got three halves nrt plus an additional one nrt so all together I've got five halves nrt so there's an expression that we didn't use explicitly but that we can put in a box and use from this point on if we have an ideal gas that behaves like a 3d particle in a box then the enthalpy of that gas will be five halves nrt so that's a comparable expression to the result we've had previously that gives us the internal energy of an ideal gas now we have an expression for the enthalpy of an ideal gas so now that we know about enthalpy what we can do is see what that tells us in particular about heat because enthalpy is the same thing as heat when we do things at constant pressure so we'll focus a little more carefully on heat in the next video lecture