Hi, my name is Leon Rowe, currency trader and trading coach at trading180.com and welcome to this video on trading the news using supply and demand and I'm going to show you my approach on how I trade the news and it's not trading the news using supply and demand zones per say, it's using supply and demand or understanding where the supply and demand order equation is when it comes to orders and liquidity and what you have to really grasp when you're trading and always keep in mind is that the market is a zero sum game, meaning for someone to win, someone else has to lose. So when you press buy on your broker, yeah, you press buy, someone is on the other side of that trade. So obviously your brokers on the other side of that trade sell, right? Buy is demand, yeah, and sell is supply. So where is the supply and where is the demand, right? And money is not made, it is taken, basically transfer from the buyer to seller or the seller to the buyer, you know, so the markets are manipulated, it's just a function of how the market has to work because everybody can't be long, yeah? Everybody can't be short, there has to be enough sell orders for buyers to fill the order and if you're getting short, right, and everyone's pressing sell, there has to be enough buy orders, yeah, in the market, you know, around for the other market to go higher. So there needs to be enough liquidity in the market and if there's not enough liquidity in the market and for the market, for example, to go up, yeah, and everyone's buying, there has to be enough sell orders to fill those buy orders and if there's not, then the market will search where these sell orders are and if the majority of the sell orders are below the market, yeah, i.e. stop losses and the market will go down, yeah, and take out the stop losses, right, filling buy orders before it goes higher and the edge when it comes to news trading is not trading the expected, right, it's trading the unexpected, right, so these are the scenarios that most people have, you know, maybe not necessarily, you know, written out, but these are the scenarios when news events come out, what can happen, right, so we have expected news result and then we have an expected price action. There is no edge in the expected news result being occurring, so if news trading was easy and, for example, you know, Forex Factory said that, you know, the Norm Farms is going to be this figure and it comes out as that figure and where's the edge, right, it's clear for everybody to see, right, everyone's going to be a buyer or everyone's going to be a seller, yeah, where we have an edge is the unexpected news result, yeah, we also have an edge when it comes to expected news results but unexpected price action, right, that is also an edge, I'm not going to really talk about that but it's to do with, you know, a term I've phrased as capture pain relief or CPR location, right, and this is how we can take advantage of unexpected, not necessarily just news but unexpected price action, yeah, and if you go to my YouTube channel, you'll be able to see the concepts there, members only Euro, USD analysis, right, FOMO, FIMC, sorry, capture pain relief trades, how to identify CPR location Forex trade zones, etc., right, and I go into it in a lot more detail on the course as well which you can access on the website but going back to news trading where the edge is is unexpected news results, yeah, and with unexpected news results we get an expected price action so let's give an example of this, this would be the unexpected news result for today, Fed cut would be for either no change because there's financial institutions are not expecting any type of change or we have a 21% or 22% chance of a 0.5% cut, 78 or say round up to 80%, 79% of the market financial institutions think there's going to be a 0.25% cut, right, it's going to be a cut regardless, you see what I'm saying, the world of probabilities anyway, right, Fed is expected to cut rates for the first time since the financial crisis, so my approach to this is not to trade this this this result if it comes out as 0.25 because it's expected it's already been priced into the market, so let me go back, let me get rid of some of this, so when it comes to abide the rumors of the facts, yeah, what we want to do is identify the market state before the news, so let's say for example the market has been trending and the news is supposed to be, you know, positive because it was probably known that and it's been known that the Fed may want to, you know, cut rates but let's just say for this example let's say they're hiking rates and you know it's about a month to go before they start hiking rates, the smart money, yeah, smart money, financial institutions, whatever you want to call them have already been buying in anticipation of potential rate hike, by the time the rate hike comes out, yeah, somewhere around here, retail traders have missed the move, yeah, the banks have already established a bargain price all the way down here with the expectation, yeah, by the rumors of the fact that they're going to hike rates and by the time they do hike rates on such and such date, yeah, this is being a date, then retail traders, there's no wage there, right, even if prices was to go higher, this is where the money was made, yeah, that's where the money was made, what you want to do is look for the edge when unexpected happens, the unexpected happens, so prices trend higher and then all of a sudden there is no rate hike, what do you think the market's going to do, the market thought there was a rate hike from here, all right, and it priced in, you know, what it thought was going to be the price, it's being a chart, yeah, if there was a rate hike, if there's no rate hike, what do you think is going to happen or what should happen, because we deal with probabilities when it comes to the markets, there's no certainties, yeah, the probability of a, you know, of the market being wrong footed is where the edge is, yeah, that's what we want to trade the unexpected news result, yeah, and the expected price action is for prices to go lower, so we need to identify market state before the news, yeah, is the market trending into them, into them in, you know, is price action trending or is it, you know, going sideways, why I'm meaning that, the market is unsure what's going to happen and then comes out and then obviously, breakouts tend to happen, right, and we need to understand where we're buying, if you're buying at market highs, you're buying at the highs, you know, who buys at highs, buy low, sell high as the mantra is the, you know, everyone knows this, yeah, all objectivity goes out of the window when, you know, we're looking to trade the news, we disregard what's happened in the past and we're just so focused on this, the money was made again on the way up, again, where is the liquidity, let's say for example, the market does want to go higher, yeah, let's say for example, the market wants to go higher, now, if everyone starts buying here, yeah, where are the sellers, as I previously pointed out, where is the sell, where is the supply, where is the supply, where is the supply, sorry, for the market to go higher, you know, where are the sell orders, if everyone is long, the market has to look for sell orders and that's where market manipulation is coming, this is where the liquidity is and as I explained before, if everyone is long, you need enough sell orders to fulfill those buy orders and if you don't have them, then the market will search for those sell orders, so I'm going to show you the example of this, matter of fact, I'm going to show you a couple of examples that's happened over the past couple of weeks and exactly what I'm talking about, so let's go to, for example, no, not the euro dollar yet, we'll go to the euro pound, euro pound, so it's a nice example of what I'm talking about, so in the lead up to pretty much the conservative election and Brexit, Theresa May stood down and the favourite to succeed her was Boris Johnson, alright, and you know, this was from the 13th of July, but in the lead up, everyone pretty much knew that Boris Johnson, I'll say knew, but the probability that Boris Johnson was going to, you know, was the favourite, right, the media kind of was trying to make it like it was, it was close with, you know, Jeremy Hunt and everyone else, but Boris was out and out of leader and the results pretty much showed that in the voting of the constituents, but Boris Johnson was the favourite, now there was a problem because Boris Johnson is, has been talking and he's been saying that he wants a Brexit, a hard Brexit or a no deal Brexit, he's more likely to take Britain out with a no deal Brexit, which isn't good for the market, the market wants a Brexit deal, yeah, or a deal basically, so the pound is weakening, the pound has been weakening and even again to lead up the pound could fall to parity with Dollar on hard Brexit concerns, a fear of hard line Boris and Jeremy Hunt could push sterling down to mid 80s, says Morgan Stanley, so again, traders were being primed by the news that Boris Johnson being potentially a hard Brexiter and taking the UK out of, you know, taking Britain out of the UK with no deal was most likely if he gets elected and the pound would sell off, right, meaning that, you know, the euro pound would go higher, now what actually happened on the day, so on the day we had Boris Johnson wins the race to be, to be Tory leader and he's now crowned the Prime Minister and this was around one o'clock, you know, 12 o'clock, one o'clock in the afternoon, so let's go back on the hourly time frame to what happened on that day, so we got an expected news result, yeah, expected news result and what we don't want to do is trade expected news results, right, that's not where the edge is, yeah, the edge is with, if you want to trade in real time, is with the unexpected news result, the market wanted to go higher, right, the market did want to go higher but everyone was pressing buy, so this is where market manipulations start to occur, all right, if you go to the chart, this is pretty much what happened, so one o'clock when the announcement came out, traders end up buying, putting their stop losses where if you buy your stop losses are sell and this is where there was no edge really in Boris Johnson winning the, sorry, winning the election, there was no edge, the market was searching for the liquidity, the sell orders, it eventually wanted to go higher which it did but there was no edge in pressing buy when Boris Johnson who was expected to win, you know, when it happened, the money was made all the way to the upside, a lot of traders ended up, you know, losing money, so you know, we sat out of this one and in fact, I've got a little something for you, this was our telegram group, you can have a look at the conversation that we had, you know, on the day, this is the 23rd of July, you can see at the top, right, where I was saying sort of Boris has always been the favourite and in reality there shouldn't be any major surprises, if price starts to get very volatile after Boris is selected then it's more likely to be a manipulation, so here we go, I have a chat with a trader who's in there, he's in the group named Drew and I'm sure Drew won't mind, you know, us having this conversation and being on YouTube but he rightly corrects, there is an opportunity to slam, stop hunts, etc. and I said 100% yeah, I said 100% and I said I've seen this time and time again, right, and Dien, he says basically that and it says short traders, I see the short traders are already in exactly, when he says short traders, he means they were shorting the pound, you know, he's going for a spike, wipe out their accounts, you know, right, and the market versus, right, everyone expecting Boris to win and the pound to drop, yeah, it's what everyone is expecting, when does the market do what everyone expects, exactly, if hunts, if hunts, if hunts get here and they'll be shocked and move forward, it's Jeremy Hunt, for me it's a stop hunting, manipulating opportunity, right, so and I said where's the liquidity, if everyone is anticipating Boris to win, liquidity is in them stops, yeah, so this isn't hindsight, this isn't something I'm just talking about, you know, as far as hindsight bias, this was on the day, you know, this is how we plan, this is how we, you know, we trade the news, so basically, long story short, the market took out all the stops, drew in short traders, which is also sell orders, new sell orders, and then the market went about its merry way, which is what it wanted to do and went higher, and again, the edge in the market was not the expected news result, right, the market did the other thing, the other way, yeah, it took out all the stops, went for the liquidity and then went on its way, another example of this, right, a slight variation on this would be, for example, recently, where we were talking about the Euro, right, and stimulus, so let's go to the chart in fact, let's go to the Euro dollar, Euro dollar, yeah, Euro dollar, let's go to the daily, so on the, this was dated 11th of July, right, 11th of July, go back to the chart again, 11th of July, which is this day here, yeah, there was a Reuters article and again, traders knew, if you understand fundamentals, we have a free fundamental analysis course as well, link is in the description box below, which basically explains everything about interest rates, inflation, stimulus, etc., and what the effects of those have on price, and the IMF sees prolonged dynamic growth in Eurozone, urges ECB stimulus, stimulus basically meaning that they want to, the bank will weaken their currency, they want a cheap Euro, an absolute cheap Euro, so the market knew this, and at the time, you know, this was, you know, the market was kind of coming down into supply zones, your traders getting, well, traders who knew were getting short by the rumor, sell the fact, right, so traders were shorting the Euro, yeah, in the lead up to the announcement, which was, which happened on the 25th of July, which was five days ago, yeah, so Euro hints, two-year low after ECB signals future stimulus, and this was where the 25th of July, this is where the potential announcement was supposed to be made, I mean, the market didn't expect it to happen on that day, but they were waiting for Mario Draghi to signal stimulus, it was a rumor here, right, and then they were waiting for confirmation of that, now, a lot of traders, we go down into, you know, maybe something like a one-hourly chart, a lot of traders were looking at selling based off of dovish comments from Mario Draghi and the ECB, if we go to replay, and in fact, what we'll do is we'll go down to even like a 30, as you know, we'll go down to something like the 15-minute chart, just to illustrate this point. Now, again, where was the money made in the lead up to the expected dovish announcement that, you know, Mario Draghi would introduce stimulus sometime in September, potentially October, right, the money was made all the way up here, and in fact, it's probably made even further back around here. What were retail traders looking to do, buying at where at the market lows into this demand zone? They're buying the dollar, I should say, buying and selling the euro, right, and they're saying buying the dollar at pretty much highs and selling the euro at lows, yeah. This is what they're doing. They're selling the euro at the low. There was no edge in this, and what price is done at the time is a drew traders in, yeah. So if you were looking to trade this news event, after 15 minutes, you would have seen a nice, you know, outside type candle, very, very bearish candle. Where are your stops? Where are your stops going to be?  If everyone is getting short, yeah, where are the buy orders? Where are the buy orders? The buy orders are going to be above there because if you're selling, if you're getting short, here, your stop loss is a buy order. Surely what happens is that the market starts to stop everybody out, yeah, stops everybody out, and then we are where we are. It searches for the liquidity, yeah, searches for liquidity. So with that being said, going back to how to trade the news using supply and demand, is understanding where the liquidity is, all right, buy and sell orders. We want to trade unexpected news results, yeah. That's what we're really looking to do if we're trading in real time. There's an opportunity and there's always opportunities to trade, you know, unexpected price action from an expected news result, but that's not going to be covered in this video. Understand that we want the market to be wrong-footed, yeah. Today, we want the market to be wrong-footed. The edge is either a 0.5 rate cut or no change. It's not at 0.25, yeah. In the same way that the edge was not in Mario Draghi announcing what everyone expected, because traders would end up getting stopped out. And not to say that prices can't go higher, tend to, you know, depending on liquidity and, you know, stop hunts can last for, you know, a day or two or even a week or so, right? We have no idea where, you know, when the market will reverse and what, if they've actually got enough liquidity. But when we're, that's a separate, I guess, different subjects and something maybe I might go into, you know, maybe another video. But when it comes to trading the news, the edge is not with expected results. Yeah, that's not where the edge is unless you get unexpected price action as a consequence of the expected results. Yeah. And again, that's through CPR. Or should I say we take advantage of that through CPR. So guys, hope that helps. Take care. And if you have any questions, if you can email me at info at Trading180.com, don't forget to like, subscribe, share and hope you guys have a great trading week.


So many devices so little time there Better so sorry many struggles. It is five o'clock. Can you know this already? Hello? From five o'clock for a whole 20 seconds. Yeah Yeah, so it's watch we work it's Thursday the 13th of August it's National or is it international left-handed people's day? So maybe we write if those of us who aren't left-handed Right with your left hand my son's left-handed and It's also five months since my show has been on hiatus, which is really crazy Anyway, this is watch me work. We've been doing the show for 11 years. We started in the lobby of the public theater I was at a desk with the typewriter and sat down to work and Asked people to sit around and work with me and then I took their questions about their creative process And I told them it was a play that we were making First the action and then the dialogue and we've been doing the same thing for 11 years Thank you to the public theater for supporting us all this while and thank you to howl around who came on a few years ago to help us live stream from the lobby of the public theater and Since this COVID thing has come on to help us create this beautiful community. We do the same thing every day That's why it's easy. We work for 20 minutes And then we I take your questions about your work and your creative process And if you have a question along those lines, Audrey is going to tell you how to get in touch go Audrey It's SLP So if you are inside of the zoom and you have a question All you need to do is click on the participant tab Likely it's at the bottom of your screen if you're on a laptop or the top if you're on an iPad or a tablet Click on that screen It'll pop out a little box and at the bottom of that box There's a raise your hand button click on that a little blue hand appears and we'll call on you if we have time If you're watching on howl around TV All you need to do is tweet at us to ask a question. That's at watch me work SLP with the hashtag howl around H-O-W-L-R-O-U-N-D or you can tweet at the public theater which is at public theater and why or You can write to the public theaters Instagram and those are noise Those are the ways. Okay, so let's get started here. We Okay, here we are For the dialogue part of the play That's right There are no questions at the moment. Oh good. We can just keep working. We've got a question Hey Larry How's it going Larry? Hi, I only have I have just a visual. Yeah, where's your background? Oh Look nice Very nice, so in that luxurious position of being actually able to Consider a structure and I have enough parts to actually have parts to mix and match and decide What my act two is supposed to look like and whether the things that went in act one belong in act one and stuff like that, so just Taking some of your advice Post it's not no cards, but I like post it's are fun. Yeah, you like your post it's huh other coding little left brain engagement, so just Calling out the process. That's great. It looks great to Larry. Thank you. Where's your Aurora borealis in the background? my son is occupying the station Thanks Larry That's really funny that's hysterical Up next we've got Christina Christina Hello again. Hey girl. I Just want to first I want to thank you for what you offered on Tuesday about going up for the work every day and okay, I mean that look whatever Way it needs to look so I you know Trick myself into thinking that I need to write a scene in every time I sit down to write a scene but What I realized was that I have actually been doing a lot of Work on the play not typing it, you know, like consistent work Alison music a lot So there's been a lot of not so much now that I'm not walking around the city anymore But a lot of time spent writing in that kind of way so I sat down Tuesday and wrote it all wrote about part two and three and it kind of just like blue So there's a version of it. Don't know what it looks like hadn't looked at it yet, but um it exists Um, so thank you for that because it kind of there's a valve that opened um Question I have is about Dramaturgie and inspiration I'm reading a lot of Baldwin and Angela Davis right now. She's doing wonders to my psyche and I'm noticing that my writing is uh Spicier or charged in a certain way and it's not necessarily a bad thing. I just Want to make sure that I'm staying on track with my play. Um, so my question is how do you balance? Your what you get inspiration from and your dramaturgy in a way that You can still let your voice come out in your writing and take what you need and let it go and then be SLP on the page Yeah, that's a great question Christina. I um, I I don't read as much when I'm writing Yeah, I mean that's just my personal thing, you know, I separate the two pretty much and um I mean, I mean to read Baldwin and Angela Davis is always great But if you're concerned about Your voice being able to shine through then just you know Yeah, just be mindful of that concern that you're happy, you know, I mean Uh, but you've you've written drafts of your play now. So maybe in this pause Before you do the next draft you can enjoy your reading and then you know Go back to your writing, you know, I just I just kind of slowed down the reading when I'm writing and Just in general Sounds like great reading And great writing congratulations on your writing too girl Thank you I feel like I I like I don't know I feel lighter. It's very strange, but it's it's freeing Great job Thanks, Christina I'm up next we've got rinald Rinald, are you there? Hello Hi, hey, hey rinald Hi, I'm actually new to this space. So I just want to thank you all for having the space to begin with. I'm very I feel very honored and lucky to be here um So I'm actually very young. I'm new to writing um and I'm 24 years old And honestly when it comes to my experience with writing, it's usually been academic or some kind of essayist type thing Um, and I love to edit. That's actually my one thing. I love to edit things. I don't know why Um, but in coming to this space It feels like creativity is like the main driver. So my question is is What is it that kind of inspired you to get into writing to begin with? You know to dedicate your life to this because these are the questions i'm asking myself In what ways like how what is my relationship with writing and how can I get more involved and in what ways do I think writing? um Can be a larger part of my life. So in what ways like when did you like consider yourself a writer? You know, and when did you start showing up every day to put in that work? And what's gotten you to where you are and kind of like You know, yeah, so that's yeah, so so ronald. So right you're new. So this is i'm going to do the you know The jujitsu move that i've done so many times in these 11 years because the question is about you Yeah, yeah, no, no, of course So i'm gonna say so i'm gonna say like why are you feeling moved to be a writer right now? I mean, you know to to start writing right now and to vote, you know, some of your life to writing What's moving you? What's what's what's firing you? How'd you even get here today? Oh, my friend christian's actually been part of this group. I don't know if christian's spoken I don't want to also put him on blast either, you know, but he's in here um So i'm here because i'm actively exploring it, you know, um, I do get like joy out of writing and I think they're There are things that cross my mind which give me inspiration. I generally think i'm a creative person um And I get satisfaction out of creating things, you know So I guess it's a matter of like the questions that I ask myself are Like how important do I think the things that i'm thinking are like, why should I be writing them? You know and like is it like is it worth the time? You know finding like those purpose type questions Because I think there's an inherent like a purpose in writing obviously like it's you've been around forever I like I see me doing some stuff, you know, but I don't know. Um, I don't think I've ever showed up Day to day to write something the way that this group has before, you know um So yeah, like I just inherently understand like the importance of writing But for me personally, I think It's just a side that I want to explore more to see like I feel like I have this talent I just kind of see what I want to do with it and in what ways I can unpack it I think that's great. I don't think, you know, those are great answers right now, you know And they resonate with you because they're yours And so what we would suggest is just show up every day for it, you know and Again since you're new this thing.  So if you can ronald Get a timer a simple kitchen timer and give yourself, you know 20 minutes a day just to show it with your notebook Right Who said was it thorough or emerson, you know, I know by going where I need to go. So the answers to What should I be writing why does writing appeal to me all those answers will begin to unfold the more time you put into the craft it will start to Talk to you or if it's already started to talk to you the conversation will deepen and become more rich Like you will be developing a relationship with your craft And if you just put the time in and it's the easiest thing To do and it produces magic. That's where the magic is that the magic is in the time that you put into it and It holds all the answers because you're going to be Finding the answers within you Which I believe Are the most important answers you're going to find Thank you so much. You're welcome so much. Thanks for joining Um, all right, um up next we've got camille Are you there camille? Yeah Hi, hi there Hey there. Hi I am also new to the community like from like and I just found out from my beloved yoga teacher over the weekend that this was happening and uh It's really exciting So my question is I'm I'm a writer. I write nonfiction my background's journalism and starting in about june well actually june 11th. I know the exact date I sort of set myself The artist way morning pages And it went for a little bit of time sort of you know, musing nice sort of rambling into like Memoir short Very short almost like flash nonfiction stories Of my life and I got really excited about it My husband's an artist and he kind of Said hey, why don't you put some of this out there? So I started sharing it on facebook and my friends are going crazy over it I don't I guess my question is I have a novel that I want to write and I feel like this period has really helped me kind of like almost like creative therapy going through the These short little memoir takes of my life And I'm just wondering Like how do I know what form this should take? Or is it Just a form of therapy to help me get to the novel writing So I wondered if you had any thoughts about that in your own experience Yeah, I would say if it again, we were talking about feel yesterday and if it feels Good and you're every day you're kind of encouraged to continue Then I would say right now Definitely right now It is the form that it should be in Do you know what I mean? I mean it's all good. It doesn't have to um, you know Be a Stepping stone to something bigger. It can be the thing itself. It sounds like it's going really really well That's it's fun. It's obsessively fun. Yeah. Well, that's great.  Yeah, you know, and they could you can imagine them in a collection Of you know of whatever people were still reading, you know a collection, right that that could be kind of great Yeah, kind of great. Yeah Yeah Thank you. You're welcome and thank you in general to everybody. This is an amazing space Neil because you guys are here All right. Up next we've got verneeda Go for it verneeda All right. Um, can y'all hear me? All right. Hi everyone. Hi slp Hi, audrey Good to be here. Thank you as always for the space Um, I am coming in with a an update slash Uh, I guess part two to my last question. So I'm continuing to move forward on my hot but smart article And I've been pulling together my allies which is which is great and I'm very excited about that But um, I think I talked last time and I really took the heart the piece around I wrote down my goals. Um, I talked about, you know, doing kind of my brain dump first and having had the experience of Going so far out with the stream of consciousness having a hard time pulling It back in well, I have like my three very succinct bullet points as far as the goals for the piece I feel like I have gotten um all of the points that I want to cover Are there however, I have still done this brain dump where I now have seven thousand words that I'm trying to call down to You know under two thousand even sixteen hundred things kind of long um, and so, um What I have now though, it's like there's just like a lot of versions of any particular point that I want to make, you know, anyone Sentence I might have drafted four different versions of that sentence and I'm having a hard time deciding which of these four versions is best to move the piece along and support said three goals So any if I thought to ask if you had any thoughts about that? Yeah, so it's like the edit you're in the editing phase kind of right you're in the editing phase and you have um right, um So you have to focus we talked about the other day about putting blinders on right you've got a lot of material And now you've got to focus okay, so I would say focus on one bullet point a day Okay, will that get in in the way? I mean, will that still allow you to make your your finish line that you want to get to for nita? um I probably do need to move a bit faster than that my over my thought was I was trying to get at least like a rough didn't have to be polished but a rough First draft to one of my allies tomorrow and um so that he could take a look at it over the weekend Okay, okay. All right. All right. No, we can we can do that. It's where are you? Are you in new york east coast west coast? Okay, okay. I'm just trying to factor in the time. All right, so tomorrow so like eod tomorrow end of day Yeah, okay, so um, you're gonna take do you have All day to write tomorrow? Yes, okay, and it's Whatever it is 5 30 so it's going to be six o'clock the end of this okay, so you take You take an hour with each bullet point then you have four Okay, so take an hour or take an hour. Uh, yeah, do you stay up late? I can okay. I'm just I'm just trying to give you like an hour on each one Okay, so if you can't or no, how about this even better? How long in the bullet points like like what this this? Oh, I see I'm trying to I'm trying to give you if you spend 30 minutes on each bullet point Today, okay, so from six to Whatever, what is that two hours of writing? 30 minutes you just focus on one you don't look at them all you know go You know just focus on one bullet point for 30 minutes Okay, so after this watch me work is over you can set your timer work on one bullet point Stand up like we told we're talking to somebody the other day We read it aloud just one bullet point for 30 minutes Okay, just focus on it. Look at all the versions all the variations of sentences whatever for 30 minutes Enjoy it for 30 minutes when the timer goes off go to the next bullet point Just focus on that one. Don't go look back at the old one. Nope. Nope. Just just focus on the one you're looking on bullet point number two Just focus on it for 30 minutes beaty beat the timer goes off Go to the next one and so on till you've done worked on your four. Okay Okay, put away sleep on it repeat tomorrow uh at least like Two more times or one more time really if you want in a second time if you want to do it again Okay, so then in that that makes sense and then by I guess my follow-up question to that is Because there is a lot of material in the sense of like there's the three bullet points are where the goals like what's my Point that I want to make or what is it that I want to be the outcome? Of the article But then I also created this outline and that also has a lot of bullet points so that I could you know structure How I'm telling this story in order to achieve the three goals However, you divide up the work what you need to do for nita is divide up the work and focus So if you've got three bullet points in an outline, you're going to spend a certain amount of time Working on each thing Do you understand so you so 30 minutes working on a bullet points? Work through those and the outline spend 30 minutes working on it. Just focus I I feel like you've got a lot of work and it's very hard to just focus Yes Okay, so again and what's great is that you're going to hand it off to your your friend one of your allies by end of day tomorrow Which gives you plenty of time And the best way to work on it between now and then is to isolate the parts that you need to work on Okay If you start going from one bullet point to the other to the outline to this that you know What am I looking at? I'm looking at everything. It's very overwhelming. It also hurts your neck Okay Yeah, so focus and then go to the next thing focus go to the next one focus go to the next one, okay? Okay, I'm with you. Okay Thank you. Sounds like you're doing a lot of great work really does. Yeah, I'm excited. I'm excited It's freaking it's getting energy behind it. Right. That's really great Thank you rinita Oh, sorry Appreciate you Timothy you're next I'm clicking again. Hold on Are you there Timothy? Oh, there we go. Yes. Cool. Hello. Uh, hi This question sort of goes uh in the guise of what you were saying about showing up every day And it's kind of simple, but I was wondering are are you always working on something or do you recommend that or Is it More important to even show up every day when you're like finish something and haven't started the next thing or You know, what are your what are your thoughts about that? I joke my husband was like so when you're next not working on anything. What are you going to do? And I'm like, don't even don't you're making fun of me um The my difficulty is that I do a lot of um work for hires So I'm in this like I said five months hiatus I've been working on this genius series of things every single day seven days a week for the past five months So that when we go back into production with covet we're going to be ready Um, and I'm writing two movies so When I work on when I'm not working on anything I'm usually doing something You know, I like to I like to do things You know what I'm saying? But then like you guys when you have you know research, you know what I mean? You can you know or or maybe reading, you know our friend Pima children You know that could be kind of that's showing up for yourself. You can show up for yourself and your work in so many different ways Sometimes sitting on the beach or in the backyard or in the park You know just soaking up the vitamin d is showing up for your work also so I think most importantly is the getting into the habit of showing up for yourself I think that's the the the most important thing so that you're creating this this garden for yourself to return to When it's time to do a job Does that make sense timothy? Yes, yeah, okay. I don't mean to become like workaholics I just mean to create that space so that if you have kids or a spouse or whatever or live with folks And they know that you're working. They know that you value that that Schedule for yourself if you will That's kind of what's wrong. Okay. Thank you. Thank you timothy. Thanks, timothy Um, up next is ellie Hello. Yes. Hi This is my first time here as well. So thank you all. Um, I just learned about this and this is really fun and amazing to get to write with people my question is um Something I've found myself struggling with on my writing recently and I just actually got some Feedback and critique that parallels with my own self critique Is that just the tendency to over explain? In my writing and kind of not trust the the story to do the work itself I find myself really drawn to writing Strong thematic pieces with a very strong core essential theme and idea But then I sometimes find myself getting dragged into writing the theme What instead of writing the story And I'm wondering if you have advice on how to balance having like that strong theme and letting that be a big part of the story But having the characters still lead the story and not getting dragged into this over explaining and kind of giving the theme space to be If that makes sense. Yeah, so why are you attracted to theme ellie? um, I just I I really love um theater for social justice and I've really drawn to uh I always say I'm drawn to writing things that um deal with tragedy and trauma but Through a lens of hope So kind of so I'm really drawn to writing um That focuses on on on themes of like how do we move forward or how do we deal with certain issues? So I find myself usually writing about one particular issue But then for example the last piece I did um where I got this feedback was I Produced it at the college Penn State. I just graduated from Penn State Congratulations. Thank you And I produced it there and it was all about drinking culture on college campuses and the effect that that has on students on the university on parents who lose children to alcohol abuse and so I find myself really wanting to write about one single issue But then I feel like sometimes the issue will cover the actual story Right, right. Hmm So if you were going Because while you're talking you know everything you were talking about Had words in it That made me think of people But when you used the kept using the word issue I didn't hear any people in there Just tonally so if you're Walking, I don't know. This is weird if you're walking into a house And you look around the house I want you to see the people You know, I mean the the thing you play road about college drinking that's a really important issue But more important than the issue are the people Right, right. We want to we want to I mean we want to know the people Right So like a play like Oh, I don't know, um, you know King Lear, do you know that play King Lear, right? So the issue of that play is oh, I don't know Power and the abuse of power and what love what is love really and parents and children right kind of right stuff like that.   Why does the dog have breath and now no breath at all? I mean issue What who cares get into your characters your people Social justice plays are very important to write but they wouldn't really Fly if they weren't they didn't have great characters in them. Right, right Okay, so Fall in love with your people So if you have net and if you think of an issue play that you want to write say who is that person Who's going through that thing? You know get in with with the people You see what i'm saying like who is she? What's her deal? How she's struggling? How does she get from day to day? You know, so the issue and I got the issue or the theme will start to Fade away, but it won't be any less pungent Right or present because you would have you the issue is going to be like wine Everybody's going to be like totally seeping intoxicated on this amazing issue, right? I've uh, I've yet In my 190 billion years of writing I've yet to write a play where I even know what the theme is I read about people tell me. Oh, that's the thing. Okay, great Yeah, I think I sometimes get too bogged down being like this is when at the end of the day Your right meaning is subjective So even if I have this strong theme everyone will get a different thing from it Yeah, and again part of your power as a writer is you don't Need to tell people what to think right I find plays and novels and movies that that are like that very thin in their writing Yeah, there's just there's a theme and you get it and homelessness is bad. Yeah, okay great. Yeah, you know You know, we all gotta join together and be friends.  It's like, oh man, there's so much going on in that play Yeah, we're fences. Wow. I don't know the theme But wow the characters right And actors are going to get excited and they you know and and your director she'll get thrilled and your designers, you know You're creating a world, right? Right, so get excited about people. You like people. Do you? Oh, yes, I do Well, there you go Thank you. That's great. You're welcome. Thank you so much. You're welcome. Thanks Ellie Um, all right, we've got about 10 minutes left and we're going to go to Lynn Are you there Lynn? Hi, I have one question and when you talked about theme just now I couldn't help thinking of white noise and how you know, I mean You cared so much about the characters that I mean it broke your heart and and Of course there was theme and it was you know You know, it hurts you but it hurts you because it hurt the characters You know because you showed the humanness You know, so okay, that's about you. Okay. That's what's about you. How you doing Lynn? I'm doing okay. I I I have like two questions one Also, I was reading Pema children and um I had the honor of going for a weekend up to that amazing place where where she used to give seminars, you know, just like weekends and it was quite remarkable, but I when I was looking at her book last night I saw this Recognizing our kinship with others and I was thinking about that and how this space is so um Remarkable in this and it's It's remarkable in the way that um You know, I write for now. I I do my writing. I do my work.  I know we just do 20 minutes I'd love it to to be longer, but you know, it's just a It's an energy thing which I I think is remarkable and Inexplicable for me Uh, so my question, okay That's that my question is when we spoke the other day you said talk to your characters And talk louder And so I was walking in the park and it was really hot and my mask was so wet you know and all of a sudden These other characters came for another piece another play You know and I thought What it was so kind of loud, you know, these characters these other characters talking to me and nothing to do with the play I was working on Uh, was that you? Keep going And So who do I follow? I mean should I just follow these people who are talking to me? But just it's a different story.  That's great Okay, so and you're listening you're opening your ears up great and you're hearing things And you're excited about what you're hearing great. That is not No need for you to get distracted otherwise, I mean Then you could start working with those characters and get distracted tomorrow You know, and then you're just going to jump from thing to thing which might not be very satisfying So I would suggest you can walk around with your notebook, you know, not this but a notebook and you can Jot down some of the things that you're Hearing or you can take your phone and record some of the things that you're thinking about, you know and jot them down later um But I would suggest You know, if it's it's monday, it's it's thursday and i'm going to focus on this project You know, or i'm going to write on this project for 20 minutes and then I will jump to the next project But but uh, just be mindful that when my phone went off you were like, huh? Yes, focus is really important. Yeah.  I have my health sleep cycle is different now because I don't lie But you know, I'm I'm going to sleep like at four or five in the morning. Oh, wow Right, you know So It feels like that, you know, it's not it doesn't feel bad. It's just I like to be on more of a schedule You know my life so So it's more like what you're talking you talked to Bermuda about I mean you gave her the structure of her day tomorrow You know, she has some she has it, but she also has a deadline You know This hour work on this part this hour work on this part, you know, like that I mean that kind of focus and that kind of structure is So important and I And it's completely made up. I mean, it's it's not completely arbitrary because you know, she has a deadline She has a but it's completely specific to what she wants to accomplish So for example, if you know if ronald we talked to wants to get you know Wants to deepen and unpack his his desire to write He has a structure. It's 20 minutes a day focus on it You know, we can identify the goal and then we can create some kind of a means to achieve Something like that. Um, that's all it is It's I mean and we can do this on our own for ourselves and we have done it Those of us sort of finished things or at least shown up a couple of days in a row You know, larry's got his post at board. I mean people we're doing that for ourselves, right? I know Yeah You know So Thank you All right, we've got about a minute left and we actually don't have any questions And I thought it'd be a good time for me to chat about what's coming up So, uh, just so everybody knows we're actually going to be taking a hiatus for the next few weeks And we're going to be changing our structure when we come back in the fall For uh post labor day So we will be working that out in the beginning of september and we will keep you all posted as we have new dates As we can when we come back in the fall And that's that's pretty much it Everything we've been talking about whether it's whether we've been talking specifically about your project What you're going through what you're trying to achieve Everything that we've talked about Hopefully has been useful to what you're going through now What you might be going through in a week or so and again the most important thing Is that you continue to show up for yourself Continue to show up for your work That will solve In my experience again a million years of writing that will solve Ninety nine percent of the problems and the other problems you can't solve because there's somebody else's shit And you know you got to let it go So to get your own work done Just keep showing up to your work And when you find yourself thinking oh, it's too hard Spend a little time more time with it Beautiful things will unfold for you. It's it's I mean everybody On this in this group has had that experience So far so Okay And we'll be back. We'll be back. Yeah, and I'll be sure to email everybody that we are clear We love you and be well. Yeah. Oh, thanks for the heart mo.  Yay Love kisses. I know thanks. Thank you. Thanks Audrey. Have a good hiatus


Everybody forced here ripping 2022 flawless football hobby two box full case number 36 pick your team style Let's go ahead and read off the names and teams got Alvin s with the Falcons Andrew C. Cardinals Strive with the bangles Brandon J. Panthers Brian B. Giants Chad P. Bills Chad C. Seahawks Grant C with the Texans Gregory and Bucks Harper Washington Heath F Cowboys JD with the Ravens Jamie has the Packers Jeffrey H. Steelers Jeffrey M. With the Lions He's used with the Chargers John B. Jags Josh H. Vikings Kahoe with the Dolphins Kevin W. Bears Keon out the Browns Les C with the Chiefs Mason B. Raiders Matt P Broncos Mathias has the Rams Mike C has the Eagles Nathan J. Patriots Scott a Colts Shawn M. Niners Tim s Titans Troy s with the Saints and Van El with the Jets. Good luck everybody. Let's go ahead and get started See a shield again back-to-back shields Come on. All right. Come on. Okay. It's calm down. I'll do it Lava lamp sure is lava ink you look at it go Lane it works. Lane the lamp the lamp is lava ink. It's working We just we had to be patient What if I hit this? There's a real lava in there you buy a lava lamp to uh, I Don't know where I put it my house. I'm gonna get one there. Here we go There you go. Here we go Well, it should be good to go like if you plug it in up here. It shouldn't be fine like if it's warmed up used Okay, starting off dual patch four or five Derek Henry Titans career milestones I'm a player worn dual patch nice card Four or five tractor seat though Quad relics Sam Howell rookie showcased at 20 commanders. That's a nice one. Very nice how leading the league and passing still, right? Do you have a good game yesterday? I know you got whooped but team roundup is not that great Hall of Fame autograph Packers Leroy Butler to 15 Leroy Kelly flawless flyers auto four of five for the Bengals Chad Johnson a nice one, too Did he I figured he would I mean figured he had to throw in a lot They don't run the ball very well most of the time Yeah, and that's what that that's what that brutal old line Maybe if they tank hard with the rest of the year they can get Marvin Harrison somehow All right next is a Jonathan Taylor auto four of eight for the Colts Nice hit there for Scott a and the Colts All the fame auto champ Bailey one of eight Broncos Matt P. It's a pretty good interbox Pretty solid Nice champ nice, too rookie frame signatures one of eight sauce Gardner Jets dude, what's with all the numbered eights sauce sauce Your box was saucy Jets awesome one there. This one's going to van Really good interbox actually Got a Diamond two of ten Jerry Rice Niners on the Pro Bowl Pro Bowl diamond.  Good Lord. Those are insane Jerry Rice diamonds Triple patch Hertz Smith and AJ Brown to 15 nice card Eagles diamond guarantee for the Rice the Eagles this one's going to Mike C Sean strikes again Brock Purdy rookie dual patch auto out of 25 Monster whoop monster hit dude appreciate you Sean Another party for the for the old PC. That's definitely Purdy Rookie dual patch auto crushed it yesterday and the past week. It's Purdy. He's back on the come-up Getting their stride to the Niners I mean it feels like NFC's come down to those same two teams last year Thank you, sir. Wow Let's go. That'll do a man That'll do that'll do That'll do. I was a great box overall good inner and a fire hit on the party Alright, let's see what the second one has maybe it'll just keep going to be a hot case Come on shield. Come on shield Well that that ain't gonna do that What happened? That's all rookie quad patches Alec Pierce four or five Colts Colts Jumbo patch Steelers rookie George Pickens number seven twenty patch auto Minnesota to 15 and Harrison Smith Josh H nice Harrison Smith patch auto player worn one of the better DB's of the past decade plus rookie auto number to ten Damian Pierce Houston Grant with Houston, oh, that's a cool. I don't see this auto very often great auto for the Titans Eddie George Dude, what is it? What a sig I like that number to ten Eddie George Tennessee that is Tim S This one's for Atlanta. It is a Ruby Gem rookie auto six of 20 Drake London London for you Alvin with Atlanta That's his team man Atlanta and then RPA and Malik Willis Titans had a really good break They're one of the last teams sitting there too Tim has Titans again True RPA of Malik Willis 10 of 20 sapphire to 15 B doc birds Sapphire to 15 Derek Henry Titans All-Pro, Inc. Randy Moss straight cash homie Great break Minnesota Josh age congrats straight cash on me 12 of 15 Fitting we pulled the day after Thanksgiving after he was Have put it that huge stat line on Thanksgiving. I forget it was about 99 or 2,000 We had three catches hundred and seventy something yards and like three touchdowns Couldn't be stopped straight cash right there that'll do it. Thanks again everybody moving on now to personals


This dataset was created to provide a comprehensive collection of vibration data from various types of ball bearings under different operating conditions. It consists of 99 raw vibration signals collected from six types of bearings, 6204, 6205, 6206, 6207, 6208, each of which were tested under three different power levels, 0W, 200W, and 400W. The data was recorded at a sampling rate of 51,200 samples per second for 10 seconds. The dataset will be useful for researchers who are interested in developing algorithms for bearing fault diagnosis using vibration analysis. This article was authored by Nien Duc Thuong and Hoang Sai Hong.


Today I'm going to talk about a topic that's very urgent and an emerging field in criticism called ecocriticism and the topic is all about how disaster is framed. I start with a definition of disaster, which from a United Nations body is defined as a code, a serious disruption of the functioning of a community or a society involving widespread human, material, economic, or environmental losses and impacts, which exceeds the ability of the affected community or society to cope using its own resources. If the picture that I'm showing now is any indication, disasters, in this case the eruption of the Al volcano in 1911, destroy human life on a scale wide enough to excite public alarm, thus disrupting internal patterns or normal patterns of behavior and impairing, I quote from another source, any of the services necessary to the conduct of normal affairs or to the prevention of suffering and loss, unquote. The question is, is the picture an accurate reflection or depiction of reality? On one level, the answer is yes, it is factually correct, the Al did erupt in 1911, many people have indeed died and the magnitude of loss and grief is indeed disruptive of normal patterns of behavior. On another level, we could also say that the picture's depiction of reality is highly selective, occupying almost 90% of the pictorial plain is a wasteland strewn with burnt corpses and trees. Barely discernible in the background is the idyllic image of two islands on a placid lake, forming a stark contrast to the scene of destruction in the foreground. The shot might have been taken from a low angle dead center and our sight line cannot help but focus on the bodies looming before us. We could almost smell the stench of death with little relief inside. The scene is claustrophobic, the feeling is one of horror and shock. In short, the shot was skillfully framed to elicit the kind of reaction I described. The photographer was coming from a certain position or viewpoint and was telling a story according to a trope, which is defined as a widely shared narrative pattern or interpretation of a situation or a story based on the simplest, most archetypal and most widely held beliefs. A trope can be considered a narrative stereotype that is so commonplace and deeply ingrained, it has become natural, innocent and largely unconscious. My aim in this short talk is to surface the natural and unconscious positions and tropes, particularly those concerned with how we view our relationship with the natural and physical elements that make up our ecosystem. In other words, our home, the English equivalent of echo, which comes from the root word oikos or home. I argue that there is no innocent eye, only lenses through which we interpret the so-called objective phenomena like disasters. To be aware of these lenses is to develop a critical eye, one that will help us understand reflectively, reflexively and critically disasters in their multiple dimensions and enable to take the appropriate measures to mitigate disasters damages. The key points of this essay largely drawing on the book entitled Echo Criticism by Greg Garard revolve around the following pairs. Anthropocentrism vis biocentrism, mechanistic vis-a-vis organismic, shallow vis-a-vis deep ecology, artist representation vis-a-vis artist process, the logical and literal vis the illogical and figurative. Last but not the least, the stress on fixed outcome vis-a-vis intermodality and poasis. With its focus on death and destruction, the picture tells us an apocalyptic story. One possible result of the sensational depiction is the reaffirmation of the common sense logic that perhaps these people were given fair warning about the dangers of living so close to the volcano and were given enough notice to evacuate but were overtaken by the overwhelming forces of nature. The picture relies on the shock and fear tactics of the visual language so stark we all have to take notice and learn our lessons. On the other hand, the horrifying quality of loss is contained within the confines of the photograph and our TV or computer screens. Unless we are directly affected, the time and place are by now very remote, 1911. Such that while we only imagine and empathize with a grief and pain, we are detached and distanced from the actual event. After the initial shock, one possible response could be fatalist. We could assume that the event is extraordinary and it's just a matter of luck or chance for such outcomes to affect us in our lifetime. Perhaps in the end, preparedness would not matter. We either become paralyzed with inaction or we can instead focus on coping and finding our resilience in the face of hardship. We can choose to highlight smiling people, receiving reliefs, or finding strength in Bayanihan and volunteer work. Or in religiosity, a scene in a very poignant photo by Philippe Lopez of Agence France-Presse. Once documented, we move on to the daily business of living. Disasters are therefore seen as isolated, destructive, in uncontrollable episodes, even if we know they are naturally recurring, especially in the Philippines, where we are in constant state of habul-hininga, or gasping for breath, a means one disaster after another. In the face of inconsolable grief, the paga-habul-hang-hininga, or gasping for breath, oftentimes leads to huling-hininga, final breath. For long effects of disaster, leave us in a state of pag-hingingalo, a word used to describe someone caught in the final death throes. The framing of disaster as non-routine incidents renders it distinct from the everyday struggle of a great number of the population, who are often out of breath, kapus-hininga. The poor are the most vulnerable and the most exposed to hazards, and when they are visited by disaster after disaster, the helplessness and hopelessness they encounter in their daily lives are reinforced. Given the unequal distribution of wealth, where 20 richest Filipinos have a net worth equivalent to the combined income of the poorest Filipinos, those who are deprived of the most basic needs are left to hajive a sigh of frustration or bun-tung-hininga, as Maria Linn Versosa in one of her studies put it. Disasters recur so frequently that they have already become markers of time according to Cecilia de La Paz in her essay on disasters and Philippine festivals. For instance, Bukawa residents mark calendar years not according to a linear periodization, but according to the eruption of volcano in 1991, Lahar flow in 1992 onwards, and the sinking of the boat in a pagoda festival in 1993. From an ecomarxist position, social conditions that affect human life are paramount. Nature is harnessed as a primary resource for land use management, for production and so on. The degradation of these resources affects housing, education, availability of clean water, health among others. Unequal distribution of resources alongside with the growth of human population makes certain societies more vulnerable to disaster. Lack of proper waste disposal, helter-skelter urban planning beset with clogged drainage, for example, could quickly turn the chance occurrence of continuous rainfall into a major disaster such as what happened with Andoi. The stress on the apocalyptic, non-routine dimension of disasters overshadows these social realities and the endless cycle of vulnerability of disadvantaged overpopulated communities. The ecomarxist position argues that daily life is not a separate sphere. The issues arising from it are of important consequence to the onset and mitigation of disasters. Disasters hit us whenever and wherever we are. Framed by the apocalyptic and fatalist trope, it is assumed that the future is so uncertain that planning and preparation are bound to fail. So one must respond to a hazard event and hope for the best. On the other hand, the more rational and logical approach depends on the ability of humans as the determining center of reality in the era of modern capitalism. The focus is on knowing the seemingly unknowable. It is possible to study hazards as a natural phenomena with characteristics that are measurable, concrete, and observable, and that while we cannot control the eruption of volcanoes and the natural cycles of weather and shifting of tectonic plates, the disastrous effects of such hazards can be mitigated, prepared, and planned for. Hazards from eruptions of volcanoes, from floods and typhoons, from earthquakes, landslides, and fire, among others, need not necessarily turn into disasters. The unknowns can be known, the powerless can be empowered without knowledge, and that knowledge can form the basis for concrete and proactive solutions instead of reaction, inaction, and resignation. On the other hand, the faith in science and technology could come very close to what Greg Gerard explains as the cornucopian position, which posits the assumption that technological progress, the cornucopia of wealth, growth, and commodity production, within capitalism, can manage or even solve our environmental problems largely brought about by industries that are often environmentally damaging. Entrepreneurs and consumers can produce and prefer to use green technology, for example, such as electric vehicles, recyclable eco bags, energy saving appliances, compost pits, among others. In other words, capitalism can find the solutions to the damages it rots. The magnitude of environmental impact is then minimized, if not altogether elided. At the end of the day, the primary motivation is profit. The apocalyptic trope and the cornucopian positions may, at first glance, appear as opposite assumptions clustered around two extremes. One is grounded in a rational approach, and the other a resigned, fatalist response. Both share an anthropocentric view of the environment, which is considered of no inherent value and valued only in so much as it is of interest to human wealth and welfare. Nature is separate from the human realm. It exists out there in the external world. At times, it can be mindlessly and randomly be powerful, unpredictable, and destructive. At other times, it can be managed, known, and controlled. Swinging between extremes, depending on the situation, humans view the environment mechanistically. Nature and the rest of the non-human world is an inert, inanimate resource that can be exploited for human interests. The non-human world is not just a source of food, shelter, clothing, and other basic needs. It is also a source of emotional retreat, leisure, and aesthetic pleasures. We go to beaches and mountains and other places, left relatively unspoiled, pristine, or untouched by human intervention. At least that is the image. In concrete terms, in the age of capitalism, virtually nothing is left untouched. Resorts are carved out of landscapes. Hotels are built for our comfort as we go snorkeling, trekking, or bird-watching. We go to Tagaytay or Baguio to picnic, enjoy the view, with some of us opting to live there on a long-term or periodic basis. When we reach the peak of the mountain, we take a picture, as proof of having been there and conquering not just the landscape, but also ourselves and our weaknesses. Nature and its beauty becomes a photo op, a painting, a film, and a romantic song or dance in the pastoral or wilderness mode, where the former highlights the bucolic calm of the countryside as explored in an amor solo painting. The wilderness trope, on the other hand, finds solace in the primeval, at times terrifying and exotic beauty of the wild, a stable and changing heart of darkness in which lies the core of human existence, stripped of the veneer of civilization. We hear of Western artists like Rambol or Gogan, who got so burned out in the civilized Western world and left it in search of themselves in the wilds of Africa or Tahiti. Today, we call them expats, who settle in third-world countries like the Philippines to retire, build resorts, and or do humanitarian work. They find self-fulfillment in the other world of underdevelopment and poverty. We wish to protect, preserve and save such images and instances of wilderness, not for the environment's own sake, but for our own, so that at the end of the day, we can seek refuge in the space and recharge. The anthropocentric and mechanistic view of the environment is anchored on a hierarchical relationship between elements that make up an ecosystem. Ecology, as previously mentioned, is a branch of biology that studies the relations or organisms to one another and to their physical surroundings. It comes from the root word oikos, meaning home. In the anthropocentric view of the world, home is a place where humans occupy the top tier of the food chain. Other creatures exist for their survival. One might also notice from the illustration that the figure of the woman is similarly placed with other creatures, implying a patriarchal structure. The pastoral, apocalyptic and wilderness tropes could also partake of the system of domination this time along gender lines. In the language of patriarchy, there are certain terms associated with being female, nature, the earth and the land, which, as we have earlier discussed, are resources that sustain man's survival. We can detect the meaning system in the use of terms. Nature is always nurturing mother nature, which is according to the apocalyptic trope will be lost to us if we do not do something about it. In various images, woman is associated with a beautiful pastoral landscape and functions as a poster girl for the bucolic, as seen, for example, in Amor Sola's calmly bariolas dalagang filipina. As the Marxist critic John Berger famously and succinctly stated, men act, women appear. The woman is the object of the gaze. They look at themselves as objects of sight. Men are seen as active doers exemplified in the commercial from Marvel. The male figure in the ad appears at rest, but it is strongly implied that he may just be resting from doing his job on the land aided by the horse, both of which, wild land and wild animal, he tames and domesticates to his will. His post indicates that he will spring into action the moment he lights and smokes his cigarette. From the combined viewpoint of the ecomarxists and ecofeminists, the apocalyptic pastoral and wilderness tropes, along with a cornucopia position, efface the importance of gender, class and context in understanding the way we look at nature and by extension, the way we look at disasters. Ecomarxists and ecofeminists aim to focus not just on the damage to human life, to property and the way of life, but also on perception and practices in our everyday life that may affect the way we understand and act before, during and after disasters. The mechanistic and anthropocentric positions and tropes can also be described as instances of shallow ecology. Saving the earth is important for the sake of saving our skins. The strategies are often short-term, quick fixes, recycle, reuse, create substitutes, use technology creatively and sustainably. There is no accompanying overhaul in lifestyle and consciousness. On the other hand, deep ecology poses a change in paradigm. Home is not just a place where humans dwell, separate from the non-human world. Home includes that world, which is not an inert resource, but is alive with an agency or will of its own. Maurice Berman describes that connectedness as one of enchantment. Where rocks, trees, rivers and clouds were all seen millions of years ago, down to the eve of the scientific revolution. As I quote, wondrous, alive, and human beings felt at home in this environment, the cosmos in short was a place of belonging, unquote. Today, at least at the level of the mind, the story of the modern world is thought of progressive disenchantment. I quote, from the 16th century on, mind has been expunged from the natural world, unquote. For deep ecologists, the call is for a re-enchantment of the world, for reconnection with nature, which we will protect and save for its own sake. The process of re-enchantment is holistic, long-term, rooted in magic, beyond logic, beyond surface appearances. The relationship between humans and non-humans is egalitarian, not one based on hierarchy and domination. The self is one with instead of separate from the rest of creation. In the Philippines, this sense of interconnectedness beyond the self is concretely manifested in the practice of pakeipag kapwa, which roughly translates into treating your kapwa, fellow human beings, fellow beings, as equals. Kapwa cannot be framed or subsumed under the I slash they, self, others, I, non, I, binary's Western schema. As kapwa, one is not separated from the others, but rather the self, the one is inextricably part of others. Pakeipag kapwa translates into helping out or providing tulum, not as a matter of charity or simple volunteerism, as in giving back, for example. But should be seen as addressing a need, kailangan, and that is about the humane or makatao and proper or right thing to do. Karapat, dapat or dapat. For a person to retain and reclaim a sense of dignity, karangalan, pagkatao, amorpropio, and humanity, pagiging tao. Pantay-pantay na karapatan or equal rights are not just about addressing discrepancies in what is delivered and what is promised in terms of material and basic needs, but rather they are about not being scorned and treated as less than human, just because one lives in poverty or nagahabulhinigah. To be deprived of resources is equal to being deprived of the means, not just to survive or address basic needs, but to live decently and to be treated decently as equals. In deep ecological terms, our cop walk can include not just humans, but other creatures in an ecosystem where man does not have dominion over others as illustrated in this diagram. Deep ecology is exacting and requires a lot of time and effort. Consciousness and lifestyle overhauls do not happen overnight, especially since, as previously pointed out, positions and tropes are deeply ingrained into the unconscious. But perhaps we can find and learn from traces of deep ecological practices that have survived in traditional societies through time. Among the aitas of Pinatubo, land is life, not a commodity. It is a legacy handed down to them by Apanamaliari. To lose their land is to lose their lives and their claim to dignity and humanity. The essay by Cynthia Sias may prove instructing at the very least for understanding why the aitas were resistant about evacuating despite Pinatubo's then impending eruption. My essay on the Pasig River and a ritual in Batanes where I conducted a short field for a documentary is also an effort to understand how a community can preserve a watershed from a deep ecology position. Deep ecology also intersects in significant ways with eco-phenomenology, which draws on some of the principles outlined by Heideggerian philosophy. The first concept, that of intermodality, is anchored on the sharpening of our senses and being more attuned to your environment, which we take for granted as we go about our daily routines. The idea is to feel and experience danas, dama. The world around us is beyond the literal and beyond our usual ideas of what home is. Art, with its powerful resources, can open up the world and come alive, thus expanding our initial contexts, which becomes consequently molded by this constant exchange between the body and the environment. As we attune ourselves to the living, breathing world around us, we develop a heightened sense of being that makes us more active participants to even the most subtle, mundane moments of our everyday life. In the process, we are reminded that home is contiguous with the larger world. As the Robin Williams character in August Rush tells us, music and perhaps all the other arts is God's little reminder that there is something else besides us in the universe and there is harmonic connection between all living beings everywhere, even the stars. Continuous interaction with art can also have applicability to real-world situations. Our powers of observation and perception occasioned by looking at and analyzing art lead us to see events from different perspectives, a skill that does not begin and end in an esoteric plane of the fine arts but have applicability in dealing with real-world problems. Art and art-making are thus more than just expressions, reflections or representations of emotions, events or ideas, nor is it a finished product or object, a perspective that puts more emphasis on the outcome, artwork, instead of the process, work of art. The art as object paradigm sees the arts as a tool for producing an expected, often profitable outcome. As collection, for example, as object of display, as status symbol, et cetera. On the other hand, art is a process of poesis of bringing forth through creative revealing, responsiveness and interconnectedness or pakepagkakwa. Thus open many other forms and opportunities for thinking, acting and feeling outside the box. Poesis is about imaging and imagining other worlds, not to escape this one, but by making present and bursting open a broader range of experiences, interaction and realizations. It does not mean we ignore the overwhelming feeling of grief and pain or wish away the death and destruction resulting from disasters or pretend they did not happen. We acknowledge the feeling and the event and put it in perspective in a larger context, our bodies, other bodies and the world around us. When we open ourselves to the rhythm of the cosmos and the pulses of the larger life world, we're able to sink the beats of our heart and of our breaths with that larger world. In effect, we draw strength from the process of fully sensing and interacting with the material, spatial and temporal environment. Disasters are totalizing events. They result in injury, death, suffering and loss. However, they are not unidimensional and unified physical phenomena that can be understood by one discipline alone. My discussion is a contribution from the arts which highlights the social and cultural nature of disaster and the role of deeply ingrained and widely held beliefs about the environment. Several paradigm shifts have been forwarded but one of the most important is the shift in the concept of art from one of object artwork to process work of art and from one of fixed and prescriptive outcomes to one of openness to many possibilities within the noise and routines of the everyday. From such transformative and process well viewpoint, we may find a springboard for action for change.